»When the form is right, we don’t need to deal with the content any more«, is certainly a motto which can often be found also and especially in the audio sector. Yet for more than 20 years Audionet has represented the exact opposite. Endowed with diligence, meticulousness and until today a great deal of idealism, the engineers work at the Berlin based company. The »Nobel Prize Project« is lead by Thomas Pohl and Volker Wischniowski. Using the company’s already excellent amplifier technology as a basis, their task was to not only step up the game, but to realise simply everything it takes for the music experience at the end of the chain.

Any monetary limitations for the components’ acquisition had been swept aside. Standard parts were compared to custom solutions from other branches, which at times produced stunning effects on the sound quality. But the fact that Stern and Heisenberg are no adhoc products which happened to be created in two years’ time, can be deducted from a statement by Volker Wischniowski that refers to the circuitry: Since his study days he had been musing about one or two ideas for an ultimate amplifier concept, which he was now able to realise. The result had rarely been something »just properly functioning«, as he told me; either it convinced by the expected quality – or it turned out to be a flop. »With all of these development structures we learned quite a lot, and of course this know-how will now benefit all Audionet components«, he thus finished his explanations.

A Stern on the Horizon

I can’t remember if I’ve ever had the option of specifying the shape of an audio component – in this case the preamp – during the order process. How would you like to get it: flat or vertical? For me it was pretty clear that, because of the overall visual harmony, only a vertical Stern would come into question. But already among the editorial team there were different views as well, for man is naturally a creature of habit. I’m eager to see whether the versions will balance each other or if there’s a winner. The Stern is the system’s command centre that offers and controls six line-level inputs, two of which with a balanced layout. During the listening checks the designers decided to opt for Furutech rhodium sockets. The pre out signal to the power amps can be flexibly tapped either via RCA or twice via XLR.

The usual standard includes an IEC socket, ground clamp, the Audionet-Link communication interface and the RS232 port. A remarkable feature is the connector for the WLAN antenna, supposed to give the Stern access to e. g. software updates – considering its weight of almost 50 kilos [110 lbs.], this is indeed a very convenient thing. In everyday use its control and operation is a delight. The menu is clearly structured and perfectly readable on the large display. Of course, the volume may also be adjusted via the remote control, but I put it aside instantly because of the big, massive rotary knob which you’d rather expect to find on a bank safe. It is equipped with a double ball bearing and controls a network of painstakingly calibrated precision resistors.

The bottom section of the preamp houses no less than four 50 VA transformers which take care of either the positive or negative half cycles per channel. With a sieve capacitance of – for a preamp – awesome 176,000 microfarads they offer enough buffer capacitance to definitely feed every dynamic transient sequence in an unshakeable manner.
Via the power switch on the front panel Heisenberg communicates its different operating conditions and also if it’s generally well. Because if this isn’t the case, the clear white one turns into a red LED ring which transmits its message through a morse signal code. Decoupled, encapsulated and in twin packs come the 1,200 VA transformers, whose energy is stored temporarily in a 200,000 microfarad buffer. 900 solid watts into four ohms are a true statement.

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