The company AcousticPlan was founded in 1996 by the German music enthusiast Claus Jäckle after fifteen years of experimental research on music reproduction and its complement, i.e. issues of recording and acoustics. This new venture was moved by the thrust to realize very special and unusual ideas. The production of highest quality music components requires today, not only innovative design and professional engineering skills, but also a devotion to craftsmanship and the relentless pursuit of perfection. All AcousticPlan products will always be the manufactured according to the highest standards of masterly German engineering. AcousticPlan’s high end components excell by their visual attraction and acoustic signature. The integration of superior components, e.g. special broadband drivers,signal transformers of our own development or circuits in hybrid technique far-off any mainstream, supports the design. The development and production of AcousticPlan music components involve people with different professional backgrounds ranging from engineering to product design and musical performance. All of them are fascinated by the art of music reproduction and devoted to continue the great tradition of a German engineering.
Why hybrid technique?
The endless quarrel about whether a tube or a transistor will yield superior sound results will never be definitely settled. But much more important than a special device (whether tube or transistor) is their integration in the circuit. Electronic components should never be evaluated as isolated parts. They are elements of a circuit that works as a whole. The pleasant and typical sound of tubes depends on their transfer characteristics. Any circuit design has to account for this. AcousticPlan uses transistors therefore only for those parts of the circuit where their parameters are superior to those of tubes: at MC Phono input (PhonoMaster) and at the power stage just for impedance converting.
Thoughts and opinions:
The highest aim of any electronic engineering is to reproduce the original sound as authentical as possible. A closer look, however, will discover that this aim can only be realized approximately and in an illusionary way. Neither the acoustical conditions of a concert hall nor the position of the listener’s seat can be reproduced acurately. If the recording is done via multi mic arrangement the reintegration of the various tracks doesn’t have much in common with the original concert hall experience.