{"id":41965,"date":"2025-10-30T09:57:02","date_gmt":"2025-10-30T07:57:02","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=41965"},"modified":"2025-11-22T22:22:36","modified_gmt":"2025-11-22T20:22:36","slug":"clarisys-audio-basel-showroom-visit","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/specials\/clarisys-audio-basel-showroom-visit\/","title":{"rendered":"Clarisys Audio Basel Showroom Visit"},"content":{"rendered":"

Last month, I visited Clarisys Audio Headquarters in Basel, Switzerland, with audio buddy NK, who shares my passion for ribbons. Florian Wiegand, co-founder of Clarisys Audio, courteously picked us up at the airport. After a brief stop at our hotel, he drove us straight to the showroom.<\/p>\n

The showroom is situated in an industrial complex and features a spacious, tall design, which is essential for demonstrating large systems such as the 265 cm-tall Atrium. Florian mentioned in passing that he actually envisioned the Atriums being 300 cm tall, but that this would not fit through the building’s hallway. Thus, the team “made do” with a slightly shorter version.<\/p>\n

Each time I meet him, I am captivated by Florian’s passion and dedication. He can (and did!) talk all day about anything and everything related to audio and, of course, speaker design in particular. To better answer our questions, he took a practical approach by taking apart a Clarisys Piccolo and showing us precisely what matters in the design, how the foils are tuned, and what to look out for. He even took the time to connect a measurement microphone to a laptop to demonstrate to us, both audibly and in computer software, how not just low tension, but also uneven tension across the foil can incur resonances. Then, he illustrated how the precise ribbon tension affects bass depth versus precision. One of the upsides of a Clarisys speaker is that all parameters, including the tension, can be adjusted at any time, and the foils remain accessible from both the front and the back. The modular system even allows the ribbons to be replaced by the end user.<\/p>\n

The showroom features an extensive multi-amplifier system using four VAC Master 300 iQ Musicbloc mono\/stereo tube amplifiers driven with an Accuphase four-way DF-75 Digital Active Crossover and time delay, to accommodate any Clarisys speaker model. In particular, the unit’s delay function enables accurate time alignment of multi-tower speaker systems, such as the new Atrium, even when the Mid\/Treble towers and Woofer towers are separated and the subwoofer panels are positioned several meters farther back.<\/p>\n

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During our visit, the newly released and very impressive 4-way, 6-tower Atrium speaker system was set up as the active system. Other Clarisys Audio models present at that time included the Piccolo, Minuet, and Auditorium.<\/p>\n

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Possibly the ideal size for most: the Minuet. For listening impressions, see my review<\/a> at PUUR highfidelity in Zeist, the Netherlands.<\/p>\n

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The smallest model, Piccolo, may be physically tiny, but, like the small classic Apogee Stage, it features double-foil bass panels to compensate. Based on my initial experiences at PUUR high-fidelity, the Piccolos deliver a surprisingly full-bodied, rich, sweet, and expansive sound.<\/p>\n

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The Auditorium was Clarisys’ first 3-way model, seen here in its latest incarnation, with its impressive CNC’d backside shown on the left. This was the largest model until the recent introduction of the 6-tower Atrium. As a large three-way single-enclosure speaker, it occupies the second flagship position in the Clarisys Audio lineup.<\/p>\n

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This is Clarisys Audio’s largest system currently: the 6-tower, 4-way Atrium, as seen above. The full-size subwoofer panels are obscured from view by the two front towers.<\/p>\n

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Above is a photo from the Clarisys Facebook page, showing the brand-new Aria model in front of the Atrium. Sadly, we just missed it.<\/p>\n

The Clarisys portfolio includes two additional models that were not on display: the 3-way Studio (between the Minuet and the Auditorium) and the brand-new four-panel Aria. Based on the Atrium, the Aria is a (relatively) more modest-sized system with smaller panels, yet still offers the freedom to position the bass and midrange\/treble towers independently.<\/p>\n

Next: Auditorium and Aria<\/em><\/p>\n

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A closer look at the Auditorium<\/h3>\n

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The Auditorium (left) is certainly not small. However, it appears almost modest compared to the enormous Atriums.<\/p>\n

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Above and below: Clarisys Audio makes no secret of the fact that its designs are originally derived from classic Apogee models. For instance, the Auditorium was inspired by the Full Range. Although the basic magnetostatic principles remain similar, Clarisys Audio implemented improvement upon improvement with every new incarnation. The upside of this approach is clear, even if the consequence is that an early Auditorium model is no longer fully representative of current performance levels. On the other hand, the speakers’ modular design often allows upgrading a model to a later spec.<\/p>\n

These back-panel photos of the Auditorium’s CNC-milled aluminum panels illustrate perfectly just how thoroughly they deviate from the original MDF-backed Apogee designs.<\/p>\n

Besides looking fascinating, the construction is designed so that the entire backpanel and magnet structure can be removed while leaving the ribbons in place. This way, a speaker can easily be repaired or upgraded in the field. Invisible in these pictures is another change Clarisys Audio made to the original designs, concerning the infamous deteriorating damping foam. Current refurbishment jobs by Graz-approved installers use foam that is said not to deteriorate. Clarisys Audio does away with foam altogether and applies piano felt, as used in a Grand Piano.<\/p>\n

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The pure aluminum ribbons are vertically suspended between left and right rows of Class N52 Neodymium magnets. These magnets are used on all Clarisys Audio models. Copper foil wiring is used throughout for the internal connections.<\/p>\n

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One of the Auditorium’s defining features is the dual pure aluminium bipole ribbons for both midrange and high frequencies. These custom-engineered drivers are mounted in a back-to-back, in-phase configuration, creating a true bipole radiation pattern from 250\u202fHz upward. This is the case for all models, including the Studio Plus and upwards.<\/p>\n

Brand New: Aria<\/h3>\n

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The Aria is the latest model that can be seen as a more sensible descendant of the Atrium. At the heart lies the Clarisys Audio signature dual pure aluminium midrange\/treble ribbons, operating in a true bipole configuration. These full-length, back-to-back ribbons begin at 275\u202fHz and radiate in perfect phase. Each of the Aria’s bass towers employs the latest-generation curved ribbon panel, which minimizes panel resonances and controls modal behavior. The two towers are connected via external crossovers engineered for ultimate purity and flexibility.<\/p>\n

With a more modest height, four towers instead of six, but with its double foils inherited from the Auditorium, the Aria could be very special.<\/p>\n

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I love how Clarisys Audio lays out its technology in the open so you can see exactly what’s inside, while maintaining a curvaceous, artful appearance.<\/p>\n

Next: Atrium and Listening<\/em><\/p>\n

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All About Atrium<\/h3>\n

The Clarisys Atrium System was designed to redefine the limits of what a loudspeaker can be. This 6-tower, 265 cm (8.8-foot)-tall loudspeaker system, weighing over 1250 kg (2755 lbs), is a tour de force of precision ribbon technology and acoustic architecture.<\/p>\n

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The Atrium features eight ribbon drivers per stereo pair, with the company’s most advanced pure-aluminium dual-bipole ribbons for both midrange and high frequencies. These drivers operate in perfect phase and begin radiating at 250\u202fHz, producing a coherent, unified bipolar field.<\/p>\n

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The Atrium’s two frontmost towers feature the company’s most refined, resonance-controlled curved ribbon bass panel design to date, along with the independent Mid and Treble ribbon sections, which share a common footer construction.\u00a0The woofer foils consist of aluminum on Kapton with Neodymium magnets on the back, while the midrange and tweeter ribbons are pure aluminum with Neodymium magnets on the sides.<\/p>\n

Naturally, the Atrium is constructed entirely from CNC-machined aluminium, with every mechanical and electrical detail optimized for absolute performance and longevity.<\/p>\n

Supporting the foundation are dedicated infrasonic ribbon subwoofers, designed to reproduce the lowest octaves with precision, speed, and visceral physicality without resorting to traditional cone-based designs.<\/p>\n

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The two boxes behind the Mid\/Treble tower are impedance transformer units. Clarisys Audio exclusively uses Lundahl Transformers from Sweden.<\/p>\n

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Besides the two frontmost panels for treble, midrange, and bass, there’s a third sub-bass panel, placed closer to the room’s back wall. These subwoofers look different from the two other panels because they are a proof-of-concept, and this is still a prototype version of the Atrium system. The final version will feature subwoofers in the same curved style as the frontmost bass panels.<\/p>\n

It’s interesting to note that, uniquely, the subwoofer panel’s geometry features slanted edges on both sides to further reduce standing waves on the membrane.<\/p>\n

You can read specifications and look at photos all day, but there’s nothing like the real thing. When seeing these massive towers in real life, one can’t help but be in awe. What makes it extra fascinating for me is that the speakers are built entirely open, with the insides clearly visible from the outside. As Florian mentioned, there are no secrets at Clarisys Audio! As a tech-lover as much as I am an audiophile, I don’t think I would want to cover up any of the speaker’s insides, but the Atriums are supplied with grilles that magnetically attach to the rear sides for a calmer look.<\/p>\n

Atrium Core Specs:<\/strong><\/p>\n

Frequency Response: 13Hz to over 35KHz
\nSensitivity: 101 dB per 2.83V at 1KHz in Stereo
\nImpedance: 8 ohms<\/p>\n

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The Audio System<\/h3>\n

The Atrium speaker system is quad-amped with four VAC Master 300 iQ Musicbloc amplifiers, which can be switched to mono or stereo as needed. The VAC Master preamp is the system’s analog hub. All sources, whether analog from the Kronos Perpetual turntable or the classic Ampex analog tape machine, or digital from the Pink Faun Dual Ultra Music Server and Lampizator Horizon combo, are fed into an Accuphase four-way DF-75 Digital Active Crossover and time delay, to accommodate any Clarisys Audio speaker model. Notably, the unit’s delay function enables accurate time alignment of multi-tower speaker systems, even when the subwoofer panels are positioned several meters farther back.<\/p>\n

While the use of additional A-D and D-A stages may raise eyebrows when using analog sources, it should be noted that it is just not possible to achieve time alignment in the analog domain. Another significant benefit of using a digital crossover is that far sharper filter slopes are possible with greatly reduced artefacts. For instance, the DF-75 provides free selection of 6dB, 12dB, 18dB, 24dB, 48dB, and 96dB slopes, independently for each of its four channels! The benefits of this were very clearly demonstrated by Florian as we toggled between three favorite slopes, resulting in easily discernible differences in the areas of focus, articulation, and perceived precision and pacing. As mentioned, the DF-75 also offers greater freedom in speaker placement, allowing the subwoofer panels to be placed farther toward the back wall to increase room gain and optimize room loading.<\/p>\n

Rather than posing a potential hurdle, the Accuphase crossover allows free placement of all three panels to optimize the presentation as desired, whether tuned for maximum spaciousness and engulfment, razor-like precision, and anything in between.<\/p>\n

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Listening<\/h3>\n

This is not a review, but I could not very well finish the article without sharing a listening impression. What struck me most about this system is the size and expansiveness of the sound. The music filled the massive room effortlessly, flowing freely and engulfing us. What truly surprised me, however, was the level of coherence from such an elaborate system. I fully expected the sound to be big and powerful, but I feared it would also be a little fat, and less articulate and precise than is typically possible with simpler systems. I was proven wrong on all accounts. The feeling was like listening to a single speaker system, and the bass was particularly clean and well-defined, with no fat or overhang. It went as deep as any recording required without calling attention to itself.<\/p>\n

I did feel that the focus between the speakers was less distinct than I preferred and, in fact, less precise than what I experience at home with the Apogee Duetta Signatures and particularly the Centaurs or Magico S1 MkIIs. When discussing this with Florian, he understood precisely what I was saying and indicated that he had intentionally tuned the setup differently, in line with his personal preference. He added that what I am after is an audiophile holy grail that is not truly representative of a real-life experience. Naturally, he has a point there, as you don’t hear pinpoint imaging and indeed no focused central vocal “ball” in any live concert setting. Nevertheless, I enjoy this kind of portrayal, so I wondered, would the Atrium system be less proficient in this area?<\/p>\n

This is where the Atrium’s independent tower design comes in. As Florian pointed out, the soundstage depth and sense of directness can be dialed in by varying the placement of the Woofer towers relative to the Midrange\/Treble towers. Likewise, the sense of imaging and focus is dependent on the positioning and toe-in of the Midrange\/Treble towers. Meanwhile, the Accuphase crossover is used to retain perfect time-alignment.<\/p>\n

By request, Florian moved the two frontmost towers. First, he aligned them in an alternative arc closer to the listening position, with a lot more toe-in for the midrange\/treble towers, pretty much pointing the inner two towers directly at my ears. This resulted in a more intimate, direct sound precisely as he predicted, but with a considerable reduction in the immersive quality. Although this made the sound technically<\/em> more impressive, it also made it emotionally less satisfying. And if I were being critical, I still did not hear very sharply defined imaging. Next, Florian moved all four towers again, arriving at a more or less midway position between the former two setups, and with less toe-in for the Midrange\/Treble towers. Bang! That was it. Suddenly, the system had the precise focus I was after, while still sounding beautifully spacious and free-flowing.<\/p>\n

As is typical for full-range ribbon speakers, the Clarisys Atrium system has zero cabinet coloration, impressive transparency, and immense clarity. In these areas, the experience is quite similar to what a well-restored classic Apogee Full-Range can do. This should not be too surprising, as the Atrium is ultimately a scaled-up, more elaborate version of the company’s smaller speakers, which were directly inspired by these classic designs. However, what differentiates this system from simpler two-way full-range ribbon speakers, besides the obvious tremendous sense of scale, bass depth, and massive power handling, and the utter freedom the Atrium system gives the listener to tailor it to the room and personal preferences precisely. The result is superb driver integration and impressively even-handed behavior. It’s perhaps the biggest trick that a huge system can pull off: to sound like a smaller system.<\/p>\n

Official dealer for the Netherlands: puurhifidelity<\/a>
\nManufacturer’s Website: clarisysaudioglobal<\/a><\/h4>\n
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