Strauss Elektroakustik

Strauss Elektroakustik Pure Analog Reference Monitoring & Electronics
Architectural Acoustic Design
Nothing Added. Nothing Lost.

SE MF-4 | Behind the Faders.At our Los Angeles showroom, the SE MF-4 reference monitoring system is integrated into a pr...
24/09/2026

SE MF-4 | Behind the Faders.

At our Los Angeles showroom, the SE MF-4 reference monitoring system is integrated into a private, fully equipped working studio, featuring a painstakingly restored, custom 1978 Quad Eight Pacifica analog console, vintage tape machines, and an extensive collection of analog outboard gear.

From tracking and mixing to mastering and critical listening, accurate monitoring is fundamental to every stage of production. The MF-4 delivers the clarity, dynamics, and precision needed to make informed decisions with confidence.

Hear STRAUSS ELEKTROAKUSTIK for yourself. Bring music you know intimately, explore the system, and discover what accurate reference monitoring can reveal.

Private demonstrations are available by appointment. DM us to arrange a visit or ask any questions. Learn more about the SE MF-4 at strauss-elektroakustik.com (link in bio).

STRAUSS ELEKTROAKUSTIK
Nothing Added. Nothing Lost.

SE REQ-1S | Quiet by Design.There’s a reason the EQ controls are inside.The SE REQ-1S places its calibration controls di...
22/09/2026

SE REQ-1S | Quiet by Design.

There’s a reason the EQ controls are inside.

The SE REQ-1S places its calibration controls directly on the analog filter boards. The blue trimmers sit alongside the circuitry they adjust, keeping connections short and avoiding extended wiring to front-panel controls. This arrangement helps minimize interference pickup and supports the low-noise performance essential to reference monitoring.

The black switches allow individual filter bands to be enabled or bypassed, so each channel can be configured with only the adjustments it needs.

With 18 independently configurable peaking filters, plus high and low shelving filters, the REQ-1S provides precise control over specific frequency regions and overall tonal balance. Separate left and right channel boards allow each loudspeaker to be calibrated independently, accounting for differences in how it interacts with the room.

A −6 dB input pad provides additional headroom when multiple filters are boosted, helping prevent clipping as the response is shaped.

Every adjustment happens in the analog domain.

External measurements guide calibration during setup. Once calibrated, the REQ-1S maintains the established response across recording, mixing, mastering, and critical listening—with no app, DSP, or additional A/D or D/A conversion in the playback path.

Working alongside careful loudspeaker placement and acoustic treatment, the REQ-1S refines the monitoring response with the recording’s detail, dynamics, and spatial information at the center of its design.

Explore the SE REQ-1S at www.strauss-elektroakustik.com, or hear it in action at our Los Angeles showroom. DM us to book a demonstration or ask any questions.

SE MF-20 | Reference Monitoring at Full Scale.The SE MF-20 is the flagship active reference monitoring system from STRAU...
21/09/2026

SE MF-20 | Reference Monitoring at Full Scale.

The SE MF-20 is the flagship active reference monitoring system from STRAUSS ELEKTROAKUSTIK.

Developed for scientific research and the most demanding recording, mixing, mastering, and critical listening environments, the MF-20 brings together technologies and design principles developed across decades of work in acoustic reproduction.

Its fully active architecture combines two custom 15-inch low-mid drivers operating in a compound system, a custom 40 cm exponential horn, dedicated amplification, physical time alignment, and controlled directivity. The two-way system crosses at just 450 Hz, contributing to broad, homogeneous dispersion.

The compound architecture contributes to extended bandwidth and lower harmonic and nonlinear distortion.

The objective is not simply greater output or greater bandwidth.

It is greater access to the recording itself — its scale, spatial structure, dynamics, low-level information, and temporal detail — reproduced with exceptional control and coherence.

A system created for applications where every layer of the source matters.

Nothing added.
Nothing lost.

—

www.strauss-elektroakustik.com
For inquiries, demonstrations, or system consultations, contact us by DM or email.

SE MF-4 + PA-100 | Kim Rosen — Knack Mastering⁠Ringwood, New Jersey⁠⁠(Bonnie Raitt, The Avett Brothers, Aimee Mann)⁠⁠Rec...
14/09/2026

SE MF-4 + PA-100 | Kim Rosen — Knack Mastering⁠
Ringwood, New Jersey⁠
⁠
(Bonnie Raitt, The Avett Brothers, Aimee Mann)⁠
⁠
Recordings mastered by Kim Rosen have earned 5 GRAMMY Awards and received 30 nominations.⁠
⁠
Kim upgraded her mastering room to the STRAUSS ELEKTROAKUSTIK SE MF-4 with matching SE PA-100 amplification.⁠
⁠
“They’re full-range, with a fantastic frequency response, and they’re meticulously made. They allow me to be far more specific in the way that I work.”⁠
⁠
— Kim Rosen, quoted in Music Connection magazine’s “Masters of Mastering”⁠
⁠
At the mastering stage, every decision becomes part of the finished record. From transient detail to low-frequency structure, the SE MF-4 and SE PA-100 provide a precise reference for evaluating the recording as a whole.⁠
⁠
STRAUSS ELEKTROAKUSTIK⁠
Nothing Added. Nothing Lost.

Elektroakustik Journal | Vol. 7Sound Radiation — Radiation Pattern & Opening AngleRadiation describes how acoustic energ...
12/09/2026

Elektroakustik Journal | Vol. 7
Sound Radiation — Radiation Pattern & Opening Angle

Radiation describes how acoustic energy expands into space.

Not how loud a loudspeaker is. Not how flat it measures. But where the energy goes as soon as it leaves the source.

Radiation has width. The opening angle describes how wide that energy spreads away from the source.

Narrow radiation concentrates more energy forward. Wide radiation energizes more of the room.

Neither is inherently correct, and they are not equivalent.

Radiation width influences what reaches the listener directly, what reaches surrounding boundaries early, and how the loudspeaker’s response changes away from the listening axis.

What matters is consistency.

As frequency changes, so does the natural directivity of the radiating elements. In a multiway loudspeaker, this becomes particularly important through the crossover region, where adjacent drivers contribute simultaneously.

If directivity changes abruptly through that transition, the off-axis response changes with it. The balance of energy entering the room becomes less consistent, even when the response on-axis may appear well controlled.

If radiation changes smoothly, the loudspeaker behaves more consistently into the room, contributing to a more predictable relationship between direct and reflected sound.

That consistency also helps support a stable phantom image. Stereo imaging depends not only on what reaches the listening position directly, but also on the loudspeaker’s behavior around that axis and into the room.

Radiation is not an effect.

It is not tuning.

It is primary system behavior — a fundamental acoustic property of the loudspeaker design.

Once the radiation behavior of a loudspeaker is established, equalization of its summed output cannot independently correct its response at different angles.

A directivity discontinuity is therefore not something that can simply be EQ’d away.

Everything that follows inherits this decision.

You cannot EQ your way out of poor directivity.

STRAUSS ELEKTROAKUSTIK
Nothing Added. Nothing Lost.

SE MF-4 in the control room at the STRAUSS ELEKTROAKUSTIK Los Angeles Showroom.A full-range passive reference monitor de...
10/09/2026

SE MF-4 in the control room at the STRAUSS ELEKTROAKUSTIK Los Angeles Showroom.

A full-range passive reference monitor designed for critical recording, mixing and mastering, the MF-4 combines high sensitivity, controlled directivity and extended low-frequency performance in a two-way design.

Private demonstrations are available by appointment at the Los Angeles showroom.

For demonstrations, pricing and availability, send us a DM or visit strauss-elektroakustik.com

STRAUSS ELEKTROAKUSTIK
Nothing Added. Nothing Lost.

SE PA-100 at the STRAUSS ELEKTROAKUSTIK Los Angeles Showroom.Built around STRAUSS HGBT (High Gain Bandwidth Technology) ...
09/09/2026

SE PA-100 at the STRAUSS ELEKTROAKUSTIK Los Angeles Showroom.

Built around STRAUSS HGBT (High Gain Bandwidth Technology) and high-performance bipolar output transistors, the SE PA-100 is a precision analog stereo power amplifier engineered for extremely low output impedance, wide bandwidth and high damping factor for precise loudspeaker control.

Delivering 2 × 120 W RMS into 8 Ω, the PA-100 is designed for the control, accuracy and low-noise performance required for critical monitoring.

Available to audition in the Los Angeles showroom with both the SE NF-3 nearfield monitors and SE MF-4 main monitors.

Private demonstrations are available by appointment.

For demonstrations, pricing and availability, send us a DM or visit strauss-elektroakustik.com

STRAUSS ELEKTROAKUSTIK
Nothing Added. Nothing Lost.

Jürgen Strauss listening in THE LAB at SE MUSICLAB, Bern.For Jürgen, acoustic design extends far beyond surface treatmen...
07/09/2026

Jürgen Strauss listening in THE LAB at SE MUSICLAB, Bern.

For Jürgen, acoustic design extends far beyond surface treatment. It begins with understanding the relationship between the room, monitoring system, and listening position, as well as how geometry, materials, reflections, and low-frequency behavior affect the whole.

Simulation, measurement, and critical listening guide the process, supporting imaging integrity, controlled low-frequency behavior, and the overall performance of the monitoring system.

THE LAB is one expression of this approach: a purpose-built acoustic environment combining custom acoustic structures and fully integrated reference monitoring for electroacoustic research, system development, and immersive 3D audio.

www.strauss-elektroakustik.com

STRAUSS ELEKTROAKUSTIK
Nothing Added. Nothing Lost.

THE CLAY ROTUNDA | SE MUSICLABBERN, SWITZERLANDMore than 60 metric tons of clay form the outer sound-isolating shell sur...
05/09/2026

THE CLAY ROTUNDA | SE MUSICLAB
BERN, SWITZERLAND

More than 60 metric tons of clay form the outer sound-isolating shell surrounding THE LAB at the SE MUSICLAB.

A first-of-its-kind robotically constructed clay structure, the Clay Rotunda stands nearly 5 meters high and almost 11 meters in diameter, yet its unreinforced wall is only approximately 15 cm thick.

More than 30,000 individual clay cylinders were assembled in place over 50 days by a mobile robotic fabrication system. Its undulating geometry was computationally developed to stabilize the exceptionally slender earthen structure, while its enormous mass contributes to the acoustic isolation required around the listening environment within.

Developed with Gramazio Kohler Research at ETH Zürich as part of Jürgen Strauss’s concept for THE LAB, the Clay Rotunda brings together natural material, structural engineering and robotic fabrication in a purpose-built environment for critical listening and electroacoustic research.

The acoustic design and monitoring system of THE LAB were developed by Jürgen Strauss and STRAUSS ELEKTROAKUSTIK to operate together as one coherent reference.

For acoustic design, custom monitoring systems and complete room integration, visit strauss-elektroakustik.com.

STRAUSS ELEKTROAKUSTIK
Nothing Added. Nothing Lost.

Max Planck Institute for Empirical Aesthetics — Control Room, Frankfurt⁠⁠Acoustic Design by Jürgen StraussSE MF-2.1 refe...
04/09/2026

Max Planck Institute for Empirical Aesthetics — Control Room, Frankfurt⁠
⁠
Acoustic Design by Jürgen Strauss
SE MF-2.1 reference monitoring with dual SE PA-250 amplification⁠
⁠
The Max Planck Institute for Empirical Aesthetics is the world’s only research institution dedicated specifically to empirical aesthetics, studying how humans create, perceive and experience art, with a particular focus on music and sound.⁠
⁠
For an environment built around critical listening and the controlled reproduction of acoustic stimuli, the monitoring system must provide a stable, repeatable, accurate and transparent reference.⁠
⁠
Jürgen Strauss was responsible for the room-acoustic planning and acoustic architectural design of the facility, including its control-room environment.⁠
⁠
At its center is the SE MF-2.1 — a two-way passive reference monitor engineered around physical time alignment, controlled directivity and carefully integrated transducers. Rather than relying on DSP to establish its fundamental acoustic behavior, Strauss addresses driver integration, timing and radiation geometry at the loudspeaker itself, with the objective of maintaining consistent, predictable behavior both on-axis and within the listening environment.⁠
⁠
Dual SE PA-250 mono amplifiers provide the headroom and control required to maintain linear behavior throughout the system’s dynamic range.⁠
⁠
When perception itself is being studied, the reference should reveal the signal — not impose itself upon it.⁠
⁠
STRAUSS ELEKTROAKUSTIK⁠
Nothing Added. Nothing Lost.⁠
⁠

Adresse

Gurtenbrauerei 37
Köniz
3084

Webseite

Benachrichtigungen

Lassen Sie sich von uns eine E-Mail senden und seien Sie der erste der Neuigkeiten und Aktionen von Strauss Elektroakustik erfährt. Ihre E-Mail-Adresse wird nicht für andere Zwecke verwendet und Sie können sich jederzeit abmelden.

Verknüpfungen

Teilen

Kategorie