Přinášíme překlad recenze dánského All in one zesilovače Axxess Forté 3
The Axxess brand is part of the exceptionally wide portfolio of Audio Group Denmark (a company known for the names Lars Kristensen and Michael Børessen in the industry), and as its name suggests, it offers "affordable" solutions for minimalists and those who want to take the path of simple solutions in the best sense of the word. Under the Axxess name, you'll find not only cables but also smaller and larger speaker systems, smaller and larger power distributors, and finally, the all-in-one Forté amplifier, available in three versions.
The Forté 1, Forté 2, and Forté 3 models do not differ externally or functionally; it’s all about the internal components' sizing. Even the power is identical.
Let’s begin with the rather extravagant exterior. The front panel appears slightly recessed, with about three-quarters from the left taken up by a large display with massive red characters that are incredibly easy to read. There isn't a lot of information, but it’s more than enough for operation. The remaining space is occupied by three vertically oriented buttons with simple pictograms, with a headphone output at the very bottom. Far right, there’s a metal knob with a serrated edge, primarily for volume control.
The chassis is overall simple, with four prominent knobs at the corners of the top plate, exactly where, on the similarly uniform lower surface, you’ll find the feet. The sides feature four engraved X’s, which form the brand’s logo.
The slightly recessed rear area is flanked by speaker terminals on both sides, with the left side housing a power socket with a power switch, an RS232 interface for smart control systems, and a 3.5mm jack for a trigger voltage output to control additional components.
The signal interfaces are not numerous, in line with the "all-in-one" nature of the device. Streaming flows through an Ethernet port, complemented by two USB ports – these can either connect music drives or, if needed, a module for wireless connection. The digital realm is represented by coaxial (or BNC) and optical inputs, along with a USB connection for linking to a computer. There is only one analog line-level input, which is RCA, followed by a pre-out output.
The Forté 3's body has a "non-metallic" feel, with the top and bottom made from a composite of unspecified natural materials, intended to reduce mechanical hysteresis. In this highest iteration, the base is further reinforced with a copper plate. The choice of materials may give the appearance of plastic at first glance, but it’s not so simple, and actually, it seems quite modern and clean.
Regarding the internal construction, Axxess doesn’t speak extensively about the solutions used, but much of the technology comes from the company’s in-house development department. The amplifier is based on Pascal's technology, the UMAC solution, typically found in professional monitors and amplifiers – delivering 100 watts of power into 8 ohms in Class D. The modules feature the use of high-voltage power lines to prevent dynamic compression.
The digital platform is proprietary, derived from the significantly more expensive solutions of the sister brand Aavik. Axxess states that they use high-quality capacitors and notably avoid microprocessors to ensure minimal noise. The D/A converter does not use typical chips, but instead exclusively employs single-bit signal processing, as this supposedly results in the lowest noise. Axxess doesn’t specify supported formats, but whether it was PCM or DSD from local sources or anything from the streaming services Qobuz and TIDAL, the Forté 3 played it all without issue.
The headphone output has its own module, operating in pure Class A, although the power or recommended impedance is not specified.
In general, the design is heavily focused on minimizing both electrical and mechanical "noise." This begins with the resonant switching power supply. The manufacturer uses a very high switching frequency, which promotes speed and, conversely, eliminates noise. Each section (digital, analog, etc.) has its own dedicated power supply with an additional level of noise regulation.
The company heavily relies on "noise-reducing" technologies from its sister brand, Ansuz, specifically Tesla coils. The flagship Forté 3 features 108 active Tesla coils, 216 square active Tesla coils, and a set of four active Tesla coils with zirconium. Additionally, there are 9 circuits designed to eliminate distortion by injecting the right amount of white noise (a solution often used in the professional world), which shows the significant effort put into the design.
If you're curious about what exactly these Tesla coils are, the company claims that they consist of two interwoven coils wound in opposite directions. Both transmit voltage, and if a spike occurs, the voltage passing through in both directions cancels out any potential distortion or noise. The more coils connected in parallel, the higher the efficiency. As for zirconium, it’s said to be the best material for vibration damping.
The amplifier (or more precisely, the all-in-one Forté 3 system) has a width of 37 cm, a depth of 42 cm, and a height of 11 cm. It weighs exactly 9 kilograms, about one kilogram more than the base model (the difference is likely due to the copper plate present).
We had the opportunity to listen to the Forté in several configurations. For example, the Forté 1 was paired with the company's L1 speakers in the distributor's showroom, while the Forté 3 was also used with Børesssen X3 speakers there. In a home setting, we connected the Forté 3 to Fyne Audio F1-5 speakers instead of the Musical Fidelity M8xi, and also to KEF Blade One Meta instead of the Métronome DSC / Norma Revo SC-2 LN / Norma Revo PA 160 MR. The cables, anti-vibration items, power filters, and additional accessories used are listed in the right column -->
From our listening experience, we can say that if you don’t want to spend much time experimenting with what to optimally pair the Forté 3 with, you should consider something from Audio Group Denmark. Even when considering other components and systems, we can say that everything works noticeably better when matched with their own gear, rather than looking for connections elsewhere.
When listening to the bass line in "Mammagamma" (The Alan Parsons Project | "Eye in the Sky" | 1982 | Arista | 788478), we felt the amplifier's agility and its ability to respond quickly to changes in energy input. It manages to control even the large, hungry Blade One Meta speakers quite well (not at their maximum, but good relative to their size). The character is calm, smooth, yet with lightning-fast articulation and clear, refined definition. The composure and discipline are perfect, and the amplifier faithfully reproduces the volume, weight, and force in the right amounts. Additionally, the Forté 3 extracts a wide range of nuances from practically any speaker. Axxess is not overly flashy, yet it’s not dry or harsh either. Everything is balanced, and the sound is notably different from the vast majority of other production
The Forté 3 exhibits very low distortion, along with a completely composed performance in the midrange as well. Anne-Sophie Mutter’s violin in Vivaldi's "Spring, RV 269, op.8" ("The Four Seasons" | 1992 | Deutsche Grammophon | 463 259-2) resonated with admirable agility, yet remained smooth, accurate, and easy to follow. Once again, the amplifier sounds different from typical "hi-fi mass production" – it's hard to describe the difference, but the music is more relaxed, less effortful, yet still entirely refined, uncolored, and tonally authentic. The violin soars with ease in its minimalist play, devoid of any added effects or exaggeration. Everything is clear, structured, and subtly authentic.
The cymbals in "Almost Like Being in Love" (Sonny Rollins | "with The Modern Jazz Quartet" | 1988 | recorded 1953 | Prestige | 00025218111126) sounded precise, yet with an absolutely calm sense of separation, the texture effortless yet realistic and full of detail. The cymbals shimmered without coloration, infused with calm and confidence. Objectively speaking, the resolution is excellent, with a wealth of details, but they are presented in a subtly unassuming manner, in a calm, settled format. It becomes somewhat irrelevant through which speakers you play, as the Forté 3 imposes its style (or perhaps the absence of a more prominent personal characteristic) in every setup.
If we were to comment on the dynamics while listening to "Job" (Laco Deczi & Celula New York | "Jazz na Hradě" | 2007 | recorded 2004 | Multisonic | 31 0651-2), we would mainly say that the amplifier seems to get out of the way. There’s no sense of the music being pushed forward, but it’s not dampened either. The powerful recording can punch physically when needed, swings with great elasticity, and conveys the weight of the large instruments with impressive energy, all without any sense of exaggeration. If anything, the Forté 3 lacks any unnecessary bombast; the music flows, bounces, and nudges at the right moments, while still allowing for quiet passages, with the contrast between them being confidently sovereign. There’s assurance, but not in an expressive or showy way – simply "just" headroom and control of a higher class.
As we’ve already mentioned, Axxess doesn’t impart its own coloration to the music. Yet it still has a slightly specific character – in Radu Lupu’s piano performance of "Piano Sonata No. 16 in A minor, D.845 (Op. 42)" ("Plays Schubert" | 2005 | Decca | 475 7074), there was no apparent hard, unyielding quality, but rather a certain woody softness and a touch of delicacy. Perhaps it could be said that the Forté 3 is the absolute opposite of any rigid analytical quality; the music flows elegantly through it, remaining wonderfully clear at any volume level. This may be an important benchmark – how easily the amplifier maintains the form and intelligibility of the composition, even at very low listening levels, while still having the power for higher ones. It doesn’t try to impress with the massive, robust body of the instrument, force, or anything else – it presents the recording moderately and authentically, and any limits are noticeable but do not detract from the experience.
Another excellent test of how well the Forté 3 controls the passing sound signal is the clarity of the polyphonic recording in "Acrostic" by Emil Viklický ("Homage to Josip Plecnik" | 1994 | Lotos | LT 0036-2 131). The master of this track likely wouldn't win an award for brilliance, yet Axxess’s presentation was among the clearest we’ve encountered. This doesn't imply intensity or technicality – it simply flows, effortlessly, with everything having its place and time. The organization of the musical scene is refined yet seamlessly connected, with a pleasant analog feel. The stereo image isn't overly expansive or cramped; everything feels "appropriate" and doesn’t draw attention to itself.
Perhaps this is the essence – that the Axxess Forté 3 has everything under control across genres, volumes, and setups (although with its Audio Group Denmark counterparts, there's more life and a greater sense of harmony). This is why you can just sit back and enjoy a rhythmic, lively "Hideaway" by Bernie Marsden ("Green & Blues" | 1995 | Castle Music | CMRCD 181) without trying too hard. You might be surprised by the captivating rhythm due to the precise timing, as well as the emphasis on the right notes. It's not a burst of energy from start to finish, but rather honest dynamic contrasts, with no trace of aggressiveness, even though the strings and cymbals still have their piercing quality.
It took us a while to find the right words to describe how the Axxess Forté 3 sounds. The fact that it doesn't have any distinct character of its own, is uncolored, and non-distorting could be summed up as "neutral," but that term can sometimes suggest dullness and lifelessness. However, the Forté 3 is not lifeless – it is simply faithful, truly "high fidelity," and it manages to assert itself this way, even despite the character of the speakers or cables used, which is interesting.
Overall, it's an intriguing all-in-one amplifier that, in its design, lies on the borderline between lifestyle (just turn it on and play) and high-end audio, clearly targeting a younger streaming audience, yet it performs well within a higher price range. It may take some time to get past the surprise of its lack of an immediate wow factor, but the longer you work with the Forté 3, the more you'll realize that it serves as a beautifully paved path to the music, and it doesn't really matter what flows into it or which speakers are used. It always works properly and, in fact, more than adequately.
PROS:
- Very simple operation
- Stability and control with almost any speakers
- Absolutely calm, organized, and controlled sound
- Proprietary control app (although it’s a variation on mConnect)
- The amplifier commands respect for maintaining its calm and confidence even at low volumes
- Interesting design
CONS:
- Limited connectivity
- Sound may lack sparkle outside of the optimal setup, requires some searching for the right pairing