Tom Blumenhofer, creator most more ambitious and more expensive tries to expensive Horn systems, now also in the moderate price range. The result is the fun 17, a slim column speaker with a bass Horn.
Usually he does it like almost all other providers of Horn: Tom Blumenhofer used horns In the mid-range and treble its transducer (for example on all genuine models), the bass, however, are unterstu by bass reflex designs? tzt. The explanation is obvious: bass horns are, if they want to really give deep bass, much too big and much too expensive to.
Blumenhofer fun 17: Bass with short Horn
But Blumenhofer which has to do with sound system and thus to the Vorzu? ge bass horns white, looking for a way, as well as in the bass Horn thought gu? to implement effectively and above all small. As a solution, he found a simple short Horn, which he calls a quarter wave Horn .
Only a cross running Board behind the bass makes a Horn is linear hoop with the hole along with the housing down; the woofer does not work on a pressurized Chamber, but is beamed directly into the Horn.
Blumenhofer holds also that medium tone portions that are not eliminated by the damping of the Horn and commonly troublesome notelets in check so simple and yet so tricky – because with the opening downwards. In particular, You can’t see the relatively large opening. But this form of construction is u? at all a bass Horn? The impedance curve that fun 17 rather than a Bass reflex design shows, the fact that it the cleanest bass with plenty distance to pages – and ru? ckwand produced, also. The high efficiency and the passable with 105 decibels maximum level talk, however, fu? r the Horn theory.
Blumenhofer fun 17: Construction
Let’s keep it even in the official version. By the Bestu? the fun packaging in the bass a horn in the treble a classic 19 mm silk dome – is a counter-proposal to the larger models of the brand, in which the upper layers are reinforced by horns 17 anyway.
But perhaps Blumenhofer here wants to attract even a slightly different clientele. Because the strongly oriented directivity horns is also not for everyone. Fu? r is a breezy and spatially grosszu? independent figure a dome – especially since a such small – certainly represents an excellent choice. And also, that Tom Blumenhofers in-house carpentry dresses Fun series – in addition to the classical veneer variants – on request in finest leather, suggests: the master wants not only the rustic Hornju with the fun 17 nger beglu? press.
Probably but he wants to win the friends of Tube amps . The fun of 17 has not only this reasonable efficiency. Thanks to their consistently high (and mostly linear) impedance by uber 6 ohm you? installation is the most tubes on your right probably fu? choose. Tom Blumenhofer himself is a fan of the smouldering piston, on measuring he and his public workers Andrea Vitali the transducer of the luxury brand like on the tubes can play by Einstein.
Blumenhofer fun 17: listening test
Fu? r the hearing test, we had these devices to the backend? gung, but that Ayon-(spirit III) amplifiers and Preamps (Vulcan II). To anticipate it: the connected transistor amplifiers, the fun sound 17 already u? berzeugend, she developed her true qualities but only on the tubes.
There was above all the bass: Tired, stable and surprisingly deep reaching Fun-17-Bass mastered even such nasty challenges such as “The Expert” Yellos. The slim column speaker followed the impressive bass lines, without ever dynamically break up the massive timpani strokes at the beginning of Cáceres ‘ “Barrio” (stereoplay SACD “Ultimate Tunes”) had exactly the right dose of balance and precision. It was thought to see the fur swing after almost. And the voice of Chris Jones in the hearing test classic “No. sanctuary here” had that power, those warm coloring, the Jones’ voice is so unique.
Also the immense dynamic requirements of Markus of Schirmer’s “GNOME”, recorded on a mighty Fazioli flu? gel, showed the fun 17 grew. The keystrokes came so easily, so transparent; the spatial impression and the three-dimensional representation of the instrument were simply fantastic – how u? by the way also the detachment of the sound image from the speakers. The fun 17 produced a very credible holographic whole.
But it was really loud, verflu? chtigte the spell, and the small low-midrange driver in the Middle made to. Deep bass and tweeter have as much had more reserves , but the centers were then slightly ungracious. This trait was especially with strings and brass, voices was then still properly the fun 17.
Wanted to put you the slim Blumenhofer Horn in a thrust position, then it is certainly rather box fu? r jazz and pop as fu? r large orchestral classical music.
In other words: the fun 17 is no ALLROUNDER, No mainstream box. It calls for attention in the choice of amplifier , as well as the exact positioning. Who heeded both, get an exceptionally audiophile fun box with her.
The frequency response being break at 160 Hertz (above) looks fierce, but rather is a measurement problem: Because the signal very wide bandwidth and distance between bass and Horn opening is quite large, created this measuring extinction – which however does not fall in the weight. In the hearing test, it was not perceptible.
(Below), however, was very probably heard the moderate increase to 4000 Hertz. You fu? fed a very direct sound. Here, it is advisable to align the boxes not directly to the listener’s position. Alternative: just shine can, discreetly (20 degrees) angles a or u? ber that more angles spikes in the vertical.