Opinion 1

If you would track what we are doing on our portal regularly, then you would notice, that we hosted a few systems costing more than one million zlotys already. And I am not only talking about electronics producing sound, but also accessories, like the tested set of Siltech Triple Crown cables. Yes, this was pure madness, but I must confess, that besides the set occupying a spot in price Himalaya mountains, those cables brought elements into the sound, that would be something worth considering, or even the end of the audiophile journey, for some clients; however I also need to admit, that there would not be very many of them. But let us leave aside the cable world, and return to the present day. After recalling those happenings, important for us, many of the readers may think, we have seen everything and we will not hear anything more interesting. Yet it turned out, that the hard work – everyone knows, that High End is listening to good sound only half the time, the other half is occupied by transporting heavy gear – was appreciated, and we received for reviewing, as the first in the world, new loudspeakers, presented for the first time during the Munich 2016 show, the Gauder Akustik Berlina RC-8. Of course the speakers do not reach the stellar price on their own, but paired with electronics that has enough power and quality to drive them they do, and that without the sound source, in this role we used my trusty Reimyo set. So concluding this paragraph, I would like to invite you to a listening session with music generated with a German-Danish set, the loudspeakers Gauder Akustik Berlina RC-8 and electronics provided by Vitus Audio, the separated preamplifier MP-L201 and stereo power amplifier MP-S201. As you probably already noticed, the whole set was provided to us by the Katowice based RCM.

I will start the section devoted to the visual description of the components from the novelty, the loudspeakers. As you can see from the attached photographs, the loudspeaker seems to be a combination of two similarly looking speaker cabinets. What is the similarity? With completely different volume of both cabinets placed one on top of the other, in cross-section they have the same lute-like shape, to combat internal resonances. Of course the shape is not the only anti-resonance solution used, as the cabinet itself is made from alternating layers of a proprietary material, a derivative from MDF and plastic, which was designed to absorb parasitic resonances, that may occur inside the speaker. The tested loudspeakers are the intermediate step between the smaller, and cheaper, Tofana and the top RC-9. However looking at the speakers we can clearly see, that they are an evolution version of the smaller Tofana, with the cabinet being much more voluminous. Going over to the used drivers, I will for sure not discover America, when I tell, that the RC-8 uses Accuton products, in the form of three ceramic bass drivers, one ceramic midrange driver and one diamond tweeter. A very clever solution is the way, how the two modules are connected – those are not two separate cabinets – only one, and the modules are distinguished just by the ribbing changing from large to small, what not only results in very high rigidity of the enclosure, but also creates a very consistent external looks. Another very interesting thing, often used by Roland Gauder in his products, is the possibility to adjust the amount of low frequencies emitted by the speaker – here this is made possible by dedicated ports on top of the bass module, where we can adjust the bass in the -1.5 to +1.5dB. The crowning of the whole are the double wire terminals, allowing for bi-wiring. I know, that for many those are unnecessary items, that only increase the price of the final product; but if you can afford 60 000 Euro, then you will enjoy the opportunity to freely choose cabling for each of the frequency ranges.
Another element of today’s test jigsaw is the monstrous, stereophonic – switchable to mono – power amplifier MP-S201. This 125kg heavy amp is capable to deliver 2x700W at 8 Ohm, and 2x1400W Ohm, what was a very desired, or even required, power reserve, as the RC-8 have very steep filters in the cross-over. Regarding the looks, the device follows the general Vitus looks, with the front being two thick panels of aluminum connected through a black, acrylic panel. The top cover has a set of rectangular holes allowing the unit to vent heat and the back panel has a set of loudspeaker terminals, signal inputs in XLR format only and three power sockets – one for the control electronics and two for the left and right power channel. I must confess, that the need to use so many power cables can move even a seasoned audiophile, but looking at this from a purely technical point of view – separation of power supply for each of the sections of the amplifier – the construction was very well thought through from the very beginning. Finishing the visual and configuration paragraph, I will just briefly mention the top line preamplifier from Vitus, the MP-L201, that was the final part of the system. It is a two box construction, which evenly share between the elements the 50 kilograms catalog weight. The looks is also similar to the power amp, the only difference being the size of the chassis, and the set of connectors on the back. Due to the dual-mono setup, the XLR and RCA terminals are located on the sides of the unit, mirrored. There is also a multi-pin socket for the umbilical connecting the PSU with the main unit and an IEC power socket on the power supply box.  Now we have finish the description of the Danish and German set, so I can invite you to read on about the sound generated by it.

I will start with a statement, that every time I am going to test such expensive gear, I have goosebumps. On one hand it is caused by the confidence placed in me by a given distributor, that the logistically complicated undertaking of supplying me with the devices to test will not just be a run-of-the-mill review, but a thorough analysis of the sonic capabilities of the tested set, and on the other hand, the result of the confrontation with the system I own. This is the reason why I always try to write about such tests with slight delay, as any adrenaline, regardless if positive or negative, influences my judgment significantly, and this would not be good. So I waited, that the emotions after receiving the tested system will diminish and then I started to listen and write some remarks, which I encourage you to read.

Maybe you will find this silly, but almost every time I receive some expensive gear for testing, I organize kind of “open doors”. That was also the case this time. Why am I doing that? For once – not many audiophiles have an opportunity to listen to such system at ease, without the need for immediate results, like in an audio shop, and secondly – the observations my guests do, are not hidden, but very spontaneous, on my request. And they would never be honest elsewhere. And I think, that most added value comes from those observations, not restricted by any false etiquette. And those are usually very diverse, fro total appreciation to total dismissal, what reminds me all the time of the fact, that there is no ideal audio system for all, and trying to be objective, I can only comment on some aspects of the sound, but I should not make any authoritative evaluations.
And what can I tell about the tested loudspeakers – of course connected to the described electronics? I must confess, that with a very small palette of things – well, in fact only one thing – I would like to slightly correct, the resolution of the sound was for me at a level unheard to date. Please do not confuse resolution with the amount of treble, or artificial blowing up of the size of the sound stage – I mean something, that allows showing all the smallest nuances of micro-dynamics, with the background not being extra darkened. Without a trace of sharpening of the edges, without brightening of the sound, it was just the removal of all the distortion, that usually resides between us and the speakers, what results in the human voices becoming very palpable, as do all the instrumental phrases. For many listeners, who are not ready for this, it can be regarded as over interpretation, but my experience with systems, which were not able to achieve such results, allow to distinguish the wheat from the chaff. And the most peculiar thing is, that this resolution is present in a very dark way of sounding in general. This was a big, and very positive surprise. Well, but what would I want to change to meet my preferences? Here, trying to satisfy also lots of my guests, I would soften the turn o bass with the midrange. It was far from bad, but informing the listener consistently, that this part of the sound spectrum has something to say, where it should only connect the two sub-ranges, may become detrimental. However knowing the palette of products coming from the school of Roland Gauder, I prefer this approach, which can be easily controlled, to the need of adding additional color to the speed oriented previous products, which were lacking a tad of the timbre. Please remember, that we can do a lot more changing the cross-over, as the RC-8 showed, than changing the so beloved cables. Continuing, I would like to say, that the mentioned boost created a coloration of the midrange, that I strongly desired, knowing how usually ceramic speakers sound. Of course there was not Harbeth-like result, but compared to other products from this brand, the RC-8 are a timbre demon. If you do not believe me, then I urge you to visit Katowice, once they are there, at the distributor, and give them a listen. Then you will know, if I am right or not. Going further, I will add, that this boosted part of the sound spectrum, determines also the increase of the mass of the bass, but thanks to the electronics it was absolutely controlled. Yes, when the volume was turned up, the sound did not fit inside the room, but it was never too slow. Also during the listening sessions, when I listened at my usual volume levels, I did not have any issues with the lower registers. The observation of overly active lower frequencies happened during group listening, where conversations conducted made me increase the amount of decibels in the room, and that led to the walls being expanded. So did the set have any flaws? Yes, in absolute terms, the main thing, that bugged me, was the described bass to midrange turn, which I described a few lines above. Well, I did also mention, that I liked it, but I will not defend it to death, because I liked it as something I could tolerate, but for sure this effect was not a wanted one. I would like to find my beloved color by using a different route, than blowing-up some frequency, but this is how the constructor envisioned it, and the client has to decide, if he accepts this solution or not. If it would be up to me to decide if I am for this solution or not, then I would just say, that leaving aside this aspect, all the other sonic values were absolutely perfect. And now I am not only writing about the frequency reproduction alone, but also about the buildup and materialization of the virtual sound stage, things that I probably do not need to write much about. Why? Gentlemen, any departure from the highly set master, on this price level would be fraud, and Roland Gauder would for sure not allow himself doing something like that, what he just proved here. But, but. To balance out my text, which is hopefully quite even-tempered in terms of praise, I would like to tell you a small anecdote. I knew, that every listener means a different opinion about the sound, but when during one of the visits of a bunch of guests I heard a statement “there is no properly buildup stage here, we do not have anything to talk about”, despite being talkative, I did not know how to comment. I will tell you even more, I still did not get over it emotionally, so I will leave you to test it for yourself and decide who is closer to the truth? Somebody who witnesses sound from this price level every day, or somebody who has only limited possibility to witness a system from the price and quality stratosphere, and draws radical conclusions. But please do not worry, audiophilia is a very subjective, yet only a game, and if you treat it with appropriate distance, just like in ski jumping outlier values are not taken into account.

Having the general sound issues discussed, time comes for a not so long list of disc examples. But I think, that you might be surprised, when in some cases, the mannerism of boosting the bass and midrange will either disappear completely, or will become helpful. In the beginning, to confirm the RC-8 is drawing the musical spectacle with a bit too thick edges, I will call upon a sampler from Manger, which fortunately does not follow the Stockfish route for the sound. To show the clou of the issue, I will focus my attention to the quick passages of contrabasses, which informed me more about the body than the strings here. But also in this case I need to give truth to the speakers, that besides the not fully ideal characteristics of the contrabass, all the other instruments did not have any problems. And I would like to point out, that this disc was chosen on purpose, to showcase what I wanted to see. Now we will change our perspective, as a completely different reception of the Gauder-Vitus set was created by old music, especially John Potter. The reproduction was so striking to me, that I listened only to that kind of repertoire for the first two days. The thing that got me into a 48 hours loop with baroque music was the resolution I mentioned in the very beginning of the description. My collection has recordings of that kind of music done without cuts, directly by all the musicians in the studio. This means, that the source material has a minimal amount of compression, and with the incredible resolution of those speakers it resulted in its phenomenal perception while listening. I really spent two full days listening – and I wish you can have such an experience. What was important, those theoretically harmful boost of the frequency spectrum was completely non-existent, and the effect of its intrusion into vocals and instruments was even helpful. For me this was an ideal repertoire match. It was a bit different with classical music featuring many instruments. Here it was often one or the other – once I got a seat at the concert hall, with a very palpable and energetic spectacle flowing from the speakers, while at times I lost some information about the contrabass section. Of course I am coloring my feelings a bit, but the musical spectacle was capable of reaching emotional heights, while on occasions it could neglect a sensitive audiophile searching for the smallest nuances. But I think, we should not be surprised, as the Berlina RC-8 look like princesses, and as such, they may have different moods. Another disc, that was very positive in perception, was the “Gladiator”  soundtrack. The scenes of the battle, with the furious attacks of the full orchestra escaped any comparison with what I heard to date. Well, I am maybe exaggerating a bit, but this was for sure one of the better reproductions I heard in my life. And approaching the end of today’s test, I just want to mention another positive surprise I had. I mean the session with the group Massive Attack. When one of my colleagues asked me to play it, and the first sounds appeared in the space between the speakers, we both expected lots of clamor, as there is a lot of clipping in the recording. Yet that what reached our ears, was too well played, something he did not expect, being used to the distortion usually heard. But instead we got very clean information about the attempts to get overdrive on purpose, but still artificial. What was the effect? Leaving the financial aspect aside, the loudspeakers were too refined for him.

When the Roland Gauder speakers had to leave my premises, a bit earlier than initially planned – I mentioned, that this was the first pair manufactured, and it needed to go to Asia for a show – I did not know, how long it would take for me to assimilate again with my usual sound. Fortunately for me, the system I own, is the result of many years of searching for the right sound, and my common sense allowed me to reconfigure my senses back to what they were. Are the described loudspeakers, the whole set, for everybody? I cannot judge. On one hand we get very fast drivers, but on the other a certain way of sounding, with boosted bass-midrange turn, which will not satisfy the audiophiles trying to split every hair in four. For me this system, after some minor corrections in the color-contour area, would be a dream set. But regardless of the personal choices, the main asset of the RC-8 is the resolution. Resolution, which for many listeners can seem to be overdrawn, but after a few days of non-offensive openness it allows to lose yourself – and what is most grave you cannot leave it later – in the smallest details. And I must remind you, that this amount of information does not have any similarity to brightening of the midrange. I will tell you more – the Gauder speakers sounded as dark as my Isis, what most of my guests tell me, and what I am aware of. So if you are able to afford this sum of money and you love music devoted from distortion, then you should give those German loudspeakers a try. But I must warn you, if you like vocal music, then you might get completely lost.

Jacek Pazio

Opinion 2

Somehow it turned out, that about a month after the Munich High-End show, we could enjoy our eyes and ears with the sound of one of the most electrifying systems you could imagine. And it is absolutely not about any race with anybody, but just a rare opportunity to listen to something, that was never outside the locus of the Polish distributor, the Katowice based RCM. Even more, taking into account the controversial setup at the MOC, we felt, that now we will have an opportunity to really listen to the only existing pair (!!!) of the Gauder speakers. Regarding the complete dream system, please allow us this time to graduate emotions in more digestible installments, and to not create too long tests, we decided to create something like an audiophile saga. A saga, where we start with the description of the absolute high-end novelty in the form of loudspeakers, and later we will turn our attention to the Danish electronics from the Vitus Audio brand. Of course nobody will try to change reality and try to tell you, that it was different, so here comes my warm request to you, that you should look at this review of the Berlina RC-8 as a part of a greater whole, and view them in the perspective of the accompanying electronics, the two box preamplifier MP-L201 and (fortunately) one box, stereo power amplifier MP-S201 (which can also be bridged).

So let us start! The RC-8, which debuted on the Munich High End are mighty (142 cm high and 85 kg heavy), three way, bass-reflex, with ports facing down, stand alone speakers. Looking from the front you might not notice that, but their thinness is illusory, they are 65 cm deep, so they really need a lot of space, and the idea of placing them close to the walls you should abandon immediately. To cut some costs, or to customize if you wish to call it that way, you can choose a ceramic tweeter instead of the diamond one. However looking at the cliff separating those two drivers, you must really be desperate to do that. But let us rest that. Besides the mentioned tweeter, Dr. Gauder equipped his newest construction with a new, 7” midrange, with a FeNdB magnet and three 9” ceramic Accuton woofers. Those drivers are connected via a symmetrical cross-over with a slope of 50 dB/octave, with a dedicated input impedance at 4Ω level. However I have one small remark – this value should be treated with a grain of salt, as the RC-8 reach 2.6 – 2.8Ω around 150 Hz, so you absolutely must have a real welder as you amplifier to come close to the Berlina. You should also be wary with the efficiency value quoted by the manufacturer. A quick look into the datasheet and … what? Well nothing. Every time I asked Dr. Gauder about this parameter I got an answer like “the efficiency is absolutely satisfying and enough”. This is just a small setback for all, who would like to judge the Gauder only based on technical parameters, which, as was confirmed many times in practice, do not produce sound.
As it should be in the Berlina line, also in this model a proprietary solution was used to combat all possible parasitic resonances, which could falsify and influence the sound. The massive and practically “deaf” cabinets were not made from large plates of MDF, as usual in the competition, but solid rungs, placed one atop of the other. To make things even more interesting, this is not run of the mill MDF, which was lute shaped, but a “secret” wood composite with a much bigger density, and much better acoustic parameters. I absolutely do not know what is really inside, but the final effect is clear, and you can notice that this is something special even when just knock on the cabinet.
The tested pair was finished in high gloss white, but people who want something not so common and want something absolutely original can have their artistic visions fulfilled with any color from the RAL palette.
Also ergonomics is fine, even very good. Double WBT terminals are located in a small immersion, but close to the floor, so that mounting even stiff and heavy loudspeaker cables goes easily. Additionally the manufacturer thought about a possibility to adjust the speakers to the room they will be placed in by regulating the bass in a range of -1.5 to +1.5 dB using special shunts, located on the shelf created by the bass cabinet being much deeper than the high-midrange module.

Now it is high time to describe the sonic value of the speakers. Jacek described very thoroughly the repertoire based mostly on vocals, especially the baroque one, so I decided to try them with some other climates. Due to the fact, that the speakers were fully burned-in and there was synergy with the electronics, and I will not even mention the set being high-end, I decided to skip all the courtesy and I played an album, that for me is a true litmus paper – “Kristin Lavrandslatter” Arild Andersen. This beautiful Scandinavian music is full of every tastes and nuances, as well as true fairytale climate; yet due to its above average dynamics it often proves deadly for the tested systems. This time there was absolutely no cataclysm, although despite our tests being conducted in a separate part of the house, dedicated to testing, you could not go around feeling a tidal wave when the organ was played, or during other culmination moments. But I did not want to concentrate on bass, as it will have its time, but on the striking resolution and crystal cleanness, absolute freedom in the creation of the events on a truly holographic stage. But it was for sure not a laboratory three-dimensional puzzle, but something much more palpable and close to things we know from the real world. We could sit with open mouth and re-define our surround world anew. If I would need to quote a synonym for reference resolution, which I heard in our eight angles, then I would tell you about the Berlina RC-8. I know it can be done better, even more precise, and at the same time more true, as I had the opportunity to listen to the RC-9 and the top RC-11, but this was not in our listening room, but on an away sessions, and those are excluded today.
Time came for symphonic music and the ever alive “The Planets” Holst (JVC XRCD24; Los Angeles Philharmonic Orchestra/Los Angeles Master Chorale/Zubin Mehta), a disc, that with the tested system could awaken the seismographs located at the Polish University, or other institution, which care for the seismic activity of our planet. But there was one “but”. Probably due to the listening room being too small, and one of the nodes in it superimposed on the sound, as I could hear a kind of coloration, a boost to the midrange/bass turn. This characteristic made wood instruments gain intensity, and the French horns operating in lower frequencies sounded almost apocalyptic. However after some time we came to the very professional conclusion (a little auto-sarcasm), that the bass is “made”. What do I mean, and is it bad? I mean, that in the back of our heads we always had some kind of “Gauder-Accuton” sound master, including a very short played, even a bit dry bas, given with atomic precision exactly to the point. And this precision was absolutely the native, and from our point of view, the lead characteristic. And in the RC-8 this precision comes with timbre and … also fleshiness and juiciness, which we earlier heard from the Estonian Estelon. Knowing that this characteristic is a kind of, or even evident departure from neutrality, I come to the conclusion that I can live with it, or even more, be happy with it for the rest of my life.
I will show you the reason for my assessment below, and it is the album “…Tales” from the duo Bogdan Hołownia and Jorgos Skolias, which played through the tested system created a kind of mystery. I have not heard such realism and holography in our listening room before. At first the effect was overwhelming, as both gentlemen did not materialize in our room, but we were transferred to the recording studio and sat quietly on a couch next to the musicians. I tell you, in front of the musicians, and not behind the glass window, with the sound engineer. Every phone, every movement or the work of the piano were so evident, as they were here and now. Just like that. A fairy tale? Rather a kind of virtual reality, one that is not yet accessible for normal people, and will not be for a long time.
Another album, that kept me in this conviction, that this is it, was “The Astonishing” Dream Theater, as when you are a fan of Hitchcock, and think, that a good spectacle should start with an earthquake and then the tension should rise; then you should use this album to open every listening on the tested system. Bombastic sound and complicated, confusing yet full blooded progressive playing transmitted by the Berlina and Vitus exploded you from your shoes better than dynamite. No compression, no slow-down, no veiling. Absolute, never constrained dynamics, spontaneity and most of all joy from playing. Yes, Dr. Gauder made loudspeakers for the fans of juicy, rock sound. If this is not yet enough, then you can reach for the rough, as three day beard, “Sweet Noise” My Riot. I know, that the text about learning to know your library anew is old and devaluated like an open phrase, but it was exactly what I felt this time. Because the disc sounded like a heavy road roller with engines from a Hercules or a B52 plane. Might, nobleness, ruthlessness. Surprising is the total lack of underlining of the sibilants, treble was also not irritating. It was incredibly dynamic, aggressive, but at the same time almost creamy, no, finally we can hear that the album is dark, in a certain subcutaneous way.

So are the Berlina RC-8 from Gauder Akustik ideal constructions? Absolutely not for all and not in every repertoire. But if you give them a try, and provide them with electronics capable of driving them right, or better said, with ease, then do not hesitate, but call them in for an audition. The question is only if you are fans of the “accuracy” that was there with previous loudspeakers from Rennigen, or if you have a need for some rock madness. If it is the first thing – then I would rather suggest to take the RC-9, but if the second, then you can believe me, nothing will be the same anymore, and the smile from your face will only be removable by a surgeon.

Marcin Olszewski

Distributor: RCM
Price: 60 000 €

Technical Details:
Nominal impedance: 4 Ω
Max.power: 830 W
Dimensions (HxWxD): 142 x 36 x 65 cm
Weight: 85 kg

System used in this test:
– CD: Reimyo CDT – 777 + Reimyo DAP – 999 EX Limited
– Preamplifier: Robert Koda Takumi K-15; Vitus Audio MP-L201
– Power amplifier: Reimyo KAP – 777; Vitus Audio MP-S201
– Loudspeakers: TRENNER & FRIEDL “ISIS”
– Speaker Cables: Harmonix HS 101-EXQ (mid-high section); Harmonix HS-101 SLC (bass section)
– IC RCA: Hiriji „Milion”
– Digital IC: Harmonix HS 102
– Power cables: Harmonix X-DC 350M2R Improved Version, X-DC SM Milion Maestro, Furutech NanoFlux – NCF
– Table: SOLID BASE VI
– Accessories: Harmonix Beauty Tone Milion Maestro, Harmonix TU 505EX MK II, Stillpoints „ULTRA SS”, Stillpoints ”ULTRA MINI”; antivibration platform by  SOLID TECH; Harmonix AC Enacom Improved for 100-240V;  Harmonix Room Tuning Mini Disk RFA-80i
– Power distribution board: POWER BASE HIGH END
Analog stage:
– Turntable:
Drive: SME 30/2
Arm: SME V
Cartridge: MIYAJIMA MADAKE
Phonostage: RCM THERIAA