Strauss Elektroakustik

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

Jürgen Strauss | THE STUDIO, SE MusicLab, Bern.Listening to the source.⁠⁠Before a microphone is placed, the instrument a...
16/06/2026

Jürgen Strauss | THE STUDIO, SE MusicLab, Bern.

Listening to the source.⁠
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Before a microphone is placed, the instrument already has its own tone, dynamics, and relationship with the room.⁠
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At STRAUSS ELEKTROAKUSTIK, understanding that relationship is fundamental. THE STUDIO at SE MusicLab was designed as a variable-acoustic recording environment, allowing the space to be adapted to the instrument, the ensemble, and the musical intent.⁠
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A place for listening first—where the sound of the instrument in the room remains the reference.⁠
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Experience THE STUDIO in Bern, Switzerland.⁠
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strauss-elektroakustik.com⁠
(Link in Bio)⁠
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STRAUSS ELEKTROAKUSTIK⁠
Nothing Added. Nothing Lost.

Introducing the SE MF-20 | Monitoring at the Edge of Possibility.⁠⁠A fully active reference system conceived at the oute...
10/06/2026

Introducing the SE MF-20 | Monitoring at the Edge of Possibility.⁠
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A fully active reference system conceived at the outer edge of acoustic reproduction itself.⁠
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Originally conceived for scientific and psychoacoustic research, the SE MF-20 was developed into our most advanced monitoring system to date — a reference system for the most demanding critical listening environments.⁠
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At its foundation are dual 15-inch custom STRAUSS ELEKTROAKUSTIK LIT (Low Inertia Technology) drivers operating within a compound low-frequency architecture. Combined with physical time alignment, controlled directivity, dedicated active amplification, and a custom 40 cm STRAUSS ELEKTROAKUSTIK exponential horn, the system was developed around a singular objective: preserving coherence at a level of scale where compromise is not an option.⁠
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Building on the advanced platform of the SE MF-2.1, the SE MF-20 expands bandwidth, dynamic capability, and distortion performance through a new fully active architecture.⁠
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Designed to reveal the smallest spatial, tonal, and temporal structures within a recording while maintaining unrestricted full-bandwidth dynamics.⁠
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Nothing added.⁠
Nothing lost.⁠
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More information at the link in bio.⁠
For inquiries, demonstrations, or system consultations, contact us by DM or email.⁠
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Dave Clauss on the SE NF-3⁠“The SE NF-3s are hands down the most immediate, true speakers I’ve ever used. The midrange i...
09/06/2026

Dave Clauss on the SE NF-3⁠

“The SE NF-3s are hands down the most immediate, true speakers I’ve ever used. The midrange is the best in the game — find a better one, I dare you.”⁠

— Dave Clauss
Grammy & Latin Grammy-winning Recording & Mix Engineer
(Shakira, Ella Langley, Carlos Vives, Draco Rosa, Maná)⁠

A longtime STRAUSS ELEKTROAKUSTIK user and ambassador, Dave relies on the NF-3 in his own studio — and regularly brings them into some of the most respected recording environments in the world, including Blackbird Studios.

SE MF-4 | Passive Midfield Monitoring System⁠STRAUSS ELEKTROAKUSTIK USA Showroom, Los Angeles, California⁠Midfield preci...
04/06/2026

SE MF-4 | Passive Midfield Monitoring System
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STRAUSS ELEKTROAKUSTIK USA Showroom, Los Angeles, California
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Midfield precision, scaled from Strauss large-format reference monitoring technology.
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The SE MF-4 features a 12-inch LIT (Low Inertia Technology) woofer derived from the SE MF-2.1 flagship, paired with a precisely time-aligned 1-inch compression driver and constant directivity horn.
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Low mechanical loss, physical time alignment, phase-coherent driver integration, and controlled directivity work together to preserve transient fidelity, spatial precision, midrange continuity, and stable spectral balance in real rooms.
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A passive reference system engineered physically through driver geometry, motor structure, crossover ex*****on, and radiation behavior—allowing the system to behave as a single coherent acoustic source.
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The result is seamless imaging, low distortion, and natural dynamics across the audible range.
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Radiation remains controlled.
Timing remains coherent.
Behavior remains predictable.
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Technical Data:
Frequency Range | 28 Hz – 22 kHz (–6 dB)
Listening Distance | 1.5 m – 2.5 m
Sensitivity | 91 dB / 1 W / 1 m
Impedance | 8 Ω nominal
Power Handling | 100 W RMS
Crossover Frequency | 1200 Hz
Dispersion | 80° horizontal × 60° vertical
Distortion | THD < 0.5% (91 dB / 1 m / 100 Hz – 22 kHz)
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Experience the MF-4, along with other STRAUSS ELEKTROAKUSTIK monitoring systems and electronics, in person at our Los Angeles showroom.
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To schedule a private listening session, send a Direct Message or visit the link in bio.
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STRAUSS ELEKTROAKUSTIK
Nothing Added. Nothing Lost.

Elektroakustik Journal Vol. 3⁠ | Group Delay — Spatial Resolution & Depth⁠⁠Group delay describes how evenly different fr...
03/06/2026

Elektroakustik Journal Vol. 3⁠ | Group Delay — Spatial Resolution & Depth⁠
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Group delay describes how evenly different frequencies move through time.⁠
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It is not defined by when a sound begins, but by whether frequencies remain coherent as sound evolves.⁠
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When group delay varies, the timing relationship between frequencies shifts — and spatial information begins to degrade.⁠
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Depth is encoded in micro-timing.⁠
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Front-to-back placement depends on stable timing relationships across frequencies. When these relationships are preserved, depth remains defined and layers stay separated.⁠
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When they are disturbed:⁠
• Depth collapses⁠
• The image flattens⁠
• Spatial information converges toward a single plane⁠
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This loss is not primarily tonal. It is structural.⁠
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Time alignment establishes coherence at a point.⁠
Group delay preserves coherence across frequency.⁠
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A system can be time-aligned, yet still lose spatial accuracy if group delay varies.⁠
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Group delay is defined by physical system behavior — driver structure, crossover design, and how energy is stored and released through time.⁠
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DSP can adjust signal timing.⁠
It cannot eliminate stored energy or frequency-dependent delay.⁠
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When group delay remains controlled and stable:⁠
• Spatial layers remain distinct⁠
• Imaging retains depth and structure⁠
• Low frequencies integrate naturally⁠
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Group delay is not a secondary parameter.⁠
It is a condition for accurate spatial reproduction.

ETH Zürich — Immersive Design Lab⁠The Immersive Design Lab at ETH Zürich is an interdisciplinary research environment fo...
02/06/2026

ETH Zürich — Immersive Design Lab⁠

The Immersive Design Lab at ETH Zürich is an interdisciplinary research environment for architecture, design, engineering, extended reality, and immersive acoustic simulation. At the center of the facility is a custom STRAUSS ELEKTROAKUSTIK 75-speaker spatial audio system, using a D’Appolito loudspeaker configuration, for advanced research, experimentation, teaching, and the simulation of spatial environments.
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For work of this kind, loudspeakers and acoustic environments cannot introduce uncontrolled variables. Time coherence, stable radiation, and controlled energy distribution are essential so that experiments measure the acoustic phenomenon itself—not artifacts of the playback system.⁠
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Jürgen Strauss / STRAUSS ELEKTROAKUSTIK was selected for the project as an acoustic expert, bringing decades of loudspeaker and room-acoustics expertise to the development of the lab’s acoustic environment.
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Institutions such as ETH Zürich, the Max Planck Institute for Empirical Aesthetics, and Sony Music Studios Tokyo rely on Strauss systems and expertise where acoustic accuracy is not optional — it is essential.⁠
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Planning a studio, research facility, or critical listening environment?⁠
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In addition to our reference monitor and electronics lineup, STRAUSS ELEKTROAKUSTIK designs custom monitoring systems, acoustic environments, and complete listening spaces worldwide. Send us a DM or email for more information.⁠
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SE MUSICLAB STUDIO⁠ Acoustic Design by Jürgen Strauss⁠The SE MUSICLAB STUDIO was designed as a recording environment whe...
01/06/2026

SE MUSICLAB STUDIO⁠

Acoustic Design by Jürgen Strauss
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The SE MUSICLAB STUDIO was designed as a recording environment where voices and acoustic instruments can be captured with exceptional clarity and spatial realism.⁠
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Its room geometry eliminates flutter echo, dominant standing waves, and problematic modal behavior, allowing microphones to capture the natural structure of an instrument without coloration.⁠
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A system of Helmholtz resonators combined with adjustable acoustic elements allows the reverberation time of the room to be varied between approximately 0.5 and 1.2 seconds, depending on the musical context.⁠
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This flexibility allows the acoustic character of the space to be adapted — from controlled and intimate recordings to larger spatial impressions for ensembles and acoustic instruments.⁠
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Low noise levels (typically below 25 dB) and carefully controlled low-frequency behavior from 20 Hz to 300 Hz ensure that even the smallest musical details can be captured without masking or boominess.⁠
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In spaces like the SE MUSICLAB STUDIO, the room itself becomes part of the recording process.⁠
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Planning a studio or acoustic environment? Send us a DM or email.

SE REQ-1SAnalog Monitoring & Room EqualizerReference monitoring does not end at the loudspeaker.The room, placement, amp...
29/05/2026

SE REQ-1S
Analog Monitoring & Room Equalizer

Reference monitoring does not end at the loudspeaker.

The room, placement, amplifier, listening position, and acoustic environment all become part of the system.

The SE REQ-1S was designed for the precise calibration of monitoring systems — tailoring the system to the room and to the client’s desired target curve.

Fully analog.
Dual mono.
18 independently configurable peaking filters.
High and low shelving filters.
Electronically balanced input and output stages.
Noise floor below –120 dB.

No DSP.
No conversion.
No latency.

It allows a properly designed monitoring system to be aligned with extremely fine control while preserving the timing, depth, and coherence of the source.

Once calibrated, the system can remain fixed for long-term stability, repeatability, and confidence.

For studios, mastering rooms, listening environments, and acoustic installations where system alignment is a fundamental part of achieving a true reference.

Available now.

Demonstrations available by appointment in our Los Angeles and Bern showrooms - DM or Email us for more info!

SE PA-250 ⁠Dual Mono Power Amplifier⁠s⁠The SE PA-250 is designed to provide absolute electrical control over large-forma...
28/05/2026

SE PA-250 ⁠
Dual Mono Power Amplifier⁠s
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The SE PA-250 is designed to provide absolute electrical control over large-format reference monitoring systems.⁠
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Built around Strauss HGBT (High Gain Bandwidth Technology) amplification and high-performance bipolar output stages, the SE PA-250 achieves extremely low output impedance and very high damping factors — allowing the amplifier to maintain precise control over loudspeaker motion.⁠
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With 300 W RMS at 8 Ω and substantial current reserves, the SE PA-250 delivers effortless dynamic headroom while preserving micro-detail and transient accuracy.⁠
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In reference monitoring systems, amplifier behavior directly influences driver control, distortion behavior, and spatial stability. The SE PA-250 is engineered to remain transparent and stable across the entire bandwidth of the system.⁠

It is the ideal partner for large-format STRAUSS ELEKTROAKUSTIK monitors such as the SE MF-2.1, but can also be suitable for the SE MF-4 and SE MF-4S when additional peak headroom, greater power reserve, or higher maximum playback level is desired — without changing the tonal character or core sonic quality of the system.
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For private demonstrations, system questions, or help choosing the right SE amplifier for your room, DM or email us.

JÜRGEN STRAUSSFounder · Designer · AcousticianJürgen Strauss founded STRAUSS ELEKTROAKUSTIK GmbH in 2000, bringing toget...
26/05/2026

JÜRGEN STRAUSS
Founder · Designer · Acoustician

Jürgen Strauss founded STRAUSS ELEKTROAKUSTIK GmbH in 2000, bringing together loudspeaker design, analog electronics, architectural acoustics, psychoacoustic research, and critical listening.

Central to his work is the idea that sound reproduction cannot be reduced to any single parameter, but emerges from the interaction of many carefully considered elements.

Today, this work is reflected in installations at institutions such as Sony Music Studios Tokyo, where SE mastering monitors were selected for all mastering suites, and the Max Planck Institute for Empirical Aesthetics in Frankfurt, where he designed the ARTLAB for psychoacoustic research and variable room acoustics.

At ETH Zürich, Strauss has contributed to architectural acoustic research, designed a 3D audio system for acoustic auralization, and lectures on historic and systematic aspects of architectural acoustics.

His ongoing research continues to explore architectural acoustics, music perception, recording history, and the relationship between sound, space, art, science, and technology.

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