And it does, with the “how” being the most important aspect. While the set masters the general parameters of resolution, impulsiveness and width already at a very, very high level, there are two parameters through which the Swabians distinguish themselves in particular: on the one hand that is their exceptional three-dimensionality. The realistic staggering from the front edge of the stage to the rear "horizon" does not only go deep. Rather, instruments and voices of different depths are set off plastically and with clearly defined distances from each other, making the reproduction appear extraordinarily natural.
Almost even more lasting in this way was the incredibly delicate and graceful appearing midtone, which performed without the slightest hint of artificiality. Whether Vincent Bélanger's shaded cello playing or Anne Bisson's intense timbre - the duo reproduced it in bright colours and creamy enamel but did not apply any oily make-up. Better still, where the predecessors slightly emphasized the foreground, thus producing a crisp, shimmering, fine dynamic, the current "top" components succeed in combining a pronounced liveliness and openness with more closed homogeneity from a more opulent low-frequency range, whereby this merit goes equally to the player DAC and amp. Just great!
Even Accustic Arts' exquisite pre-/power stage duo, which ran as a reference and appeared even more dominant, expansive and stoic, could not really catch up with the performance of the POWER I in this point. It even looked great against its more than three times as expensive family members outside the championship for natural mids. Although this sounded easy and unstrained, it must have been very difficult to achieve in development!