We can dance around this, but the Sonus faber Olympica II represents the right answer to an increasingly important question in audio: Can we have style AND substance? The usual answer is to dismiss anything that looks good with a wave of the hand, mumbling something about ‘style over substance’ in the process. The Olympica range makes a strong case for the importance of both.
The wood undergoes a long aging phase before reaching the final stability and being used for the cabinet construction of our high-end loudspeaker as it happens for the musical instruments creation.
The search for the highest sophistication in acoustics, the artistic and aesthetic investigation linked to classicism, the look towards the modern knowledge: these are the main factors that link Olympica with the grandiose work of Andrea Palladio, which has been the inspiration in its creation and evolution.
Sonus Faber seems to make pieces of musical furniture with the sort of timeless, trans-national elegance of a chair designed by Charles and Ray Eames, Arne Jacobsen, or Mies van der Rohe. In most cases, this would be hyperbole on a grand scale. Except that it isn’t; Sonus Faber in general and the Olympica range in particular is an exercise in sublime product design.