Here some of the highlights in Srajan’s review.
Context. Having reviewed Rethms with Lowthers and later Jacob’s own driver; Ocellia with PHY drivers; Voxativ with their own AER-type variant; and various Zu… the Wave in my estimation moves right to the front of this pack ahead of Voxativ’s Ampeggio which does however make a bit more bass. With Ampeggio’s €16.900 price when I reviewed it (this has since increased considerably) one always spent heavily on Schimmel’s flawless true Piano-lacquer gloss skins which arguably didn’t do much if anything for sonics. With soundkaos the same sticker feels far easier justified by the nearly impossibly demanding build and pricey tone woods which most assuredly pool directly into the sound. Ampeggio’s higher sensitivity also came at the price of greater inherent leanness. This ideally wanted to be compensated with prime valve amps like my friend Dan’s Trafomatic Marie monos with 10Y driving 50 direct-heated power triodes or his 300B Berning Siegfried. The Wave clearly lacks this must-have triode need as antidote to any borderline whitish zippiness and textural dryness. Like Martin I thought that the Exicon Mosfet-based push/pull Bakoon was simply perfect. Bakoon’s Soo In Chae ordered a pair of Wave to serve as their in-house reference monitor in Korea, suggesting he suspects likewise.
Where to my ears the Wave eclipses the Ampeggio is in rendering different recordings far more different than alike. The Ampeggio had a peculiar propensity for painting everything with the same brush. And though the Ampeggio’s faceted rear horn delivered bass to 40Hz, it also suffered some LF resonance which the Wave 40 doesn’t. Finally and regardless of propaganda, I hear more finesse and extension with the Raal ribbon than—with due apologies to Rethm, Lowther and Voxativ—one ever gets from even the snazziest of whizzers.
Conclusion. As quintessentially Swiss as Gruyère cheese or Emmenthaler—its very wood was grown in the Swiss alps and finessed by a Swiss master craftsman—the Wave 40 from Feutersoey embodies the country’s reputation for fastidious workmanship in every single aspect. Be it the veneered zigzag Raal tweeter edge; the Auditorium 23 umbilical; the custom four-spade termination with one-way guide pins between it and the cylindrical solid-Maple xover; the choice of dense felt footers for exposed wooden floors or pointy jobs with felt-covered receptors; the shipping crate with very thick sewn felt sleeve for the wooden carcass (the stand ships disassembled in the same crate); the flawlessly executed wood shaping and finishing; the luxury brushed finish on the metal plinth… absolutely nothing has been left to chance or oversight. Whilst others have championed the speaker-as-musical-instrument angle before, only the Wave 40 actually looks the part. Though not exactly shaped like a cello, its similar size and flotation above a short stand are more reminiscent than not. Considering merely the curvy Maple sides and color of the shellacked front one would instead think guitar relative. Thus enjoying a distinctive sculptural or art aspect, the Wave 40 opens doors on appearance alone. Whilst I can’t speak to the Enviee driver’s claimed ±2.5dB measurable linearity from 50Hz to 15kHz, it certainly sounds amazingly even. Perhaps this really is the mythical widebander perfected?
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6MOONS review wave 40 review