Přinášíme překlad skvělé recenze nových dánských reprosoustav Axxess L1 z portfolia skupiny Audio Group Denmark.
The Axxess brand is part of the vast portfolio of the increasingly prominent Audio Group Denmark, which consists of nearly four hundred products. As the name suggests, it represents their take on affordable (though somewhat relative when considering Czech purchasing power) hi-fi. In addition to Forté amplifiers, cables, and power distributors, it also offers loudspeakers – one pair of floorstanders and one pair of bookshelf speakers, simply labeled L1.
These are compact two-way speakers with a relatively simple design. In their shapes, you’ll find the distinctive signature of Michael Børresen and his former workplaces such as Raidho. The basic shape of the cabinet, made of composite material, is quite simple, with sharp edges. The usual “boxiness” is disrupted by a slight tilt of the speaker and a protruding front panel, which, with its width exceeding the basic proportions, serves as a sound-optimizing waveguide with curves and organic recesses.
At the top, there is a tall and narrow ribbon driver, while at the bottom, a dust-free cone with a beautifully "stitched" membrane. The body of the speakers narrows towards the back, and through the slim rear panel, three bass reflex "exhausts" pass, along with a pair of solid speaker terminals.
The external appearance is the work of the duo Michael Børresen and Flemming E. Rasmussen (the one who created Gryphon). The technology, however, was developed by Michael and his team, gathered from various prestigious brands across the high-end audio world.
The high-frequency kapton flat ribbon driver channels its energy through six narrow vertical slits, with a "baffle" installed vertically between them to optimize the radiation pattern. It operates within its own working chamber, with the upper reflex leading out from there.
The two bottom ports lead into the working space of the mid-bass driver, which, like the tweeter, comes from Axxess's development and manufacturing facilities. It is a laminated sandwich construction made from two layers of carbon fiber, interwoven with aramid fabric in a honeycomb structure. The magnetic system, based on a circular ferrite magnet, is adapted from the X-series loudspeakers by Børresen, using a pair of copper shorting rings to optimize performance. The cone diameter is four and a half inches.
For a proportionally modest additional cost, you can also purchase a dedicated stand with the option for secure attachment of the loudspeakers.
The L1 boasts a declared frequency range of 50 – 22,000 Hz, a sensitivity of 86 dB, and an impedance of "greater than 6 ohms" – all without details regarding conditions or tolerance bands.
The cabinets have a height of 43 cm, a width of 21.5 cm, and a depth of 32 cm, with a weight of 10.3 kg.
We listened to the Axxess L1 in the small room of the importer, primarily paired with the Axxess Forté 1, as products from Audio Group Denmark are evidently well-matched. Replacing the amplifier with other models always resulted in less excitement. We could compare them, for instance, with the Kerr Acoustics K300 mk.3 – despite their threefold higher price, they didn’t seem to be better.
The track "Baby Blue Movie" by Texas-based Cigarettes After Sex ("X's" | 2024 | Partisan Records) features pop-like overemphasized low frequencies in a soft, plump form. Considering that the Axxess L1 are relatively small and slim, they handled this surge of bass excellently (when paired with the Forté 1). The powerful sound filled the small space with richness while maintaining agility and punch. For bookshelf speakers, this is a remarkably powerful performance, a firm yet supple force. The bass oscillates, undulates, and is smooth, with enough rigidity and refinement to avoid just being a bloated rumble. With the company’s amplifier, you also enjoy solid contours and clarity – all better than expected for the price or given the size.
The collaboration between Orville Peck and Beck in "Death Valley High" ("Stampede" | 2024 | Warner Music | 054391269577) is lively and energetic, with the Axxess L1 delivering the snap of guitar strings and the clarity of both voices. The ribbon tweeter really shines, creating an expressive sound without being harsh—right on that edge that enhances the drive, yet doesn't tire the listener during extended listening. But truly, it's worth opting for Axxess electronics; while other combinations weren't bad, they never quite matched the experience. The sound is clean and clear, compact, with a solid dose of balanced musicality. There are plenty of details, but it's not about sterile analysis.
The ribbon tweeter revealed the cymbals in "Empty Trainload of Sky" (Gillian Welch / David Rawlings | "Woodland" | 2024 | Acony Records | 0805147708549) in impressive depth within the context of the category – again, notably when paired with the Forté 1. The metal had a lot of crisp detail, speed, great definition, yet remained refined – and the strings sounded beautifully present and immediate.
The well-recorded "Love is a Bitch" (Two Feet | "Momentum" | 2017 | Majestic Casual | MR 109) has a very robust low end, and even the small L1s managed to convey its power, though perhaps not the full volume, particularly in the trembling sub-bass region. The sound is confident and explosive, more so than dramatically heavy, with strength at the right moment and in the right place, and it retains its form (especially with the company’s electronics) at any volume. That touch of dynamic breathing is already noticeable at low levels, but you can also choose concert-level volume, and surprisingly, the Axxess L1s hold their ground without falling apart. The bass doesn't boom, but it has a decent articulation, and the overall stiffness and punch are quite impressive.
The romantic "You Go To My Head" by American jazz singer with a bluesy phrasing, Mary Stallings ("Manhattan Moods" | 1997 | Concord Jazz | 00013431475026), flowed openly yet elegantly, without being overly stark or technical. While the sound doesn't push forward, it feels alive, with the vocal range in particular coming through beautifully clear. Thanks to the overall effortless organization, the entire range, including acoustic instruments, is rendered easily readable—definitely at a higher standard than usual, and the synergy of the company's products really pays off. The details reach the listener calmly, almost with a sense of detachment.
The aforementioned attributes also contribute to the Axxess L1s' ability to portray the scene in "Full Moon in Paris" (Amber Rubarth | "Sessions from the 17th Ward" | 2012 | Chesky Records | 0090368035660) with an effortless, natural organization. The speakers can already outline not just the tone of the instruments but also the harder-to-define sense of "air" around them, creating a plastic and clear image. On a technical level, it’s evident that the stereo image doesn’t collapse even at low volume – the instruments and voice remain suspended in space, firmly in their place, albeit on a smaller scale.
The energetic "The Hand That Feeds" from industrial rock icon Trent Reznor (Nine Inch Nails | "With Teeth" | 2005 | Interscope Records | 4988005388780) came out rhythmically from the L1s, with drive and, above all, an immediate punch. You can feel that the speakers are quick, shaping the tones briskly and precisely, making them piercing and emphatic. The limit of bookshelf speakers is in the amount of "body" or weight, but aggressive music is still listenable, it doesn’t cut, and it carries that compelling pressure and the right spark that it should have.
For 65 thousand CZK (plus a substantial additional cost for the stand), you get a compact, actually quite simple form with the Axxess L1s, though not poorly crafted. What they lack in luxury and opulence in their exterior, they make up for in speed, intensity, and control of sound, which is above average for the category—provided you rely on a setup from the Audio Group Denmark portfolio, because it's clear (or rather, audible) that it’s fine-tuned as a whole, and that's how it ideally works. The L1s are not bad and perform quite well at that price point, but their real magic lies, precisely and mainly, when paired with the Forté 1 (or higher models) – that's where they provide excellent listening enjoyment, marked especially by immediacy and clarity.
MEASUREMENT
The frequency response measurement was conducted at a distance of 1 meter along the axis between the tweeter and midrange driver, in a closed semi-reverberant space of approximately 20 square meters. The room was treated with various acoustic panels, curtains, and some furniture, though no specific acoustic design solutions were used.
The measurements can be considered 100% reliable in the 200 Hz and higher range. In the 10 – 200 Hz range, room acoustics influence the results. The measurement was conducted using Clio Pocket software and a calibrated microphone, with the speakers positioned at the listening position, as shown in the accompanying photos. The measurement was taken along the reference axis with an average sound pressure level of 80 dB / 1 meter.
The software does not measure anechoic response but rather the frequency response, accounting for the energy balance over time. Therefore, it is not the measured theoretical ideal of what the speakers can do, but rather how they behave in specific acoustic conditions.
The first energy of the L1 model is noticeable around 40 Hz, but until about 100 Hz, it is slightly lower, indicating that the L1s likely perform best when placed closer to a wall, or that this placement was likely considered in the design. The spectrum is solidly balanced up to 1 kHz (though the graph is affected by room acoustics, which is not unexpected), but then there’s a dip with the lowest point around 3 kHz. This likely helps prevent the sound from ever being sharp. The tweeter peaks around 15 kHz and then rapidly "fades," as is typical with measurements of this type of driver. Overall, the Axxess L1 doesn’t appear to be finely tuned for perfect neutrality, but they seem to have a more pronounced character, although this didn’t interfere subjectively with listening.
The impedance curve stays above 6 ohms, revealing a tuning frequency of the cabinet between 50 and 60 Hz. There are quite prominent peaks and a rapid shift in electrical phase, which may place demands on the connected amplifier. This also applies to the crossover frequency, which the manufacturer doesn't specify but can be estimated around 2 kHz. Small resonances are visible at 300, 350, and 550 Hz, though they don’t affect the overall frequency response. While the L1s have a relatively high impedance, amplifier selection should not be underestimated.
PROS
- Very enjoyable when paired with the company’s electronics
- Surprisingly "normal" and open presentation
- Can go deeper than their size suggests, yet still quite confident
- Great dynamics
- Speed and punch
CONS
- Pairing with electronics other than the company's does reduce the enthusiasm a bit