And suddenly, there they were: two gloriously deep-crimson loudspeakers from a manufacturer that’s only a few years old – yet already feels like an established heavyweight. Where did they come from? How did they manage this launch? And most importantly – do they sound as good as they look?
The story of Auer Acoustics is hardly that of a typical newcomer. Promising, if tentative, first steps? Not here: founded in 2021, the brand has already appeared at both the Finest Audio Show and HIGH END, with presentations that stand beside giants of the industry. And if that weren’t enough, they crossed the pond this year to exhibit at Axpona, occupying not one but two rooms.
Production of Auer loudspeakers has been going for almost one year now, and each pair receives a week of meticulous handcrafting. At this scale, the company – based in Amerang, near Lake Chiemsee – is running at full capacity. Furthermore, over 60 pairs have already found new owners around the world. So don’t be surprised if your host in Korea proudly shows off a brand-new pair of Auer Acoustics.
That classic story of a talented garage tinkerer, which launched many now-revered manufacturers, couldn’t possibly jump into the race so far ahead. In truth, this young brand is backed by a well-established midsized company that has been turning plastic into packaging and wood into kitchenware for a long time now. Not seeing the connection to hi-fi yet? That’s understandable. Let’s rewind to the very beginning…
Everything in Its Own Time
…and indeed, we do eventually arrive at a talented garage tinkerer. In this case its 15-year-old Robert Auer’s who, just for fun, just finished building his first loudspeaker. But he wasn’t the only one impressed by it. Soon his friends’ listening rooms were home to several of his creations. During his apprenticeship as a cabinetmaker, Auer honed the craftsmanship needed to create beautifully precise enclosures. His musical activities, first folk music (“that’s just how it is in the countryside”) and later jazz, gave him an ear for the sound of unamplified instruments.
Yet the idea of producing industrial plastic components led Auer down a different path. That idea became a company and over the years grew into the successful enterprise it is today.
But he never lost his love for music and sound quality. He never abandoned his dream of building loudspeakers – merely shelving it until the right time. That moment came in 2021, when he stepped back from daily business operations and finally had both the time and mental space to pursue his youthful dream. Except now he had entirely new resources and possibilities at his disposal. This brings us back to the present.
Ordinary Only at First Glance
When the Versura V4 arrived in our listening room, I was rubbing my hands in anticipation. I’d already gotten a taste at the HIGH END and I was distinctly impressed. But one might ask whether a world already full of relatively conventional loudspeakers really needs yet another relatively conventional loudspeaker. However, the key word here is “relatively.”
Auer told me that he wasn’t trying to reinvent the wheel. He simply wanted to build a truly well-made transducer with classic, clear design. Yet the Versura line stands out in several ways. The flagship technical highlight is the cabinet material.
Upon delivery we realized that the V4 is denser than most speakers. We’ve handled far heavier monsters, but at this moderate size, the sheer mass is a surprise. What looks like maybe 40 kilos per speaker actually tips the scales at two and a half times that.
Why? Because all Auer models are made from Panzerholz: a high-density laminated wood composite compressed under extreme pressure and bonded with phenolic resin. Auer believes this to be the ideal loudspeaker material – extremely rigid, naturally well-damped and dimensionally stable over time, far more than solid wood.
Controlled from the Ground Up
For the marketing department, the Panzerholz cabinets are the standout selling point. But in truth they symbolize the entire sonic philosophy behind the Versura, which is imbued in all of the less flashy, technical choices. One quality stood out to me both at the show and during burn-in at the office: an incredibly tight, fast and punchy bass.
I could only speculate at the show, but now I could confirm it: there’s no bass reflex port anywhere, not on the sides or underneath. The Versura is a sealed design, which is unfairly rare these days – many manufacturers should pay attention here!
In the marketing material, there is a focus on tight, controlled bass as the foundation for a vivid yet natural overall sound. Sure, they also tout the low-end extension, but speed and precision take center stage.
Living-Room Friendly, Squared
The sealed design also allows you to integrate the Versura into real-world living spaces. Whether you prefer the term “wife acceptance factor” or simply “seamless room integration,” both usually refer to looks alone. But aesthetics become secondary when a loudspeaker demands at least 185 cm of space from the rear wall to avoid boomy bass.
This is where a sealed design shines: while its rated lower cutoff frequency may look higher on paper, it benefits from boundary reinforcement. Rather than just tolerate help from the wall, it expects it. And sealed systems roll off more gently below cutoff, thus they’re far more forgiving of placement.
In our tests, this was confirmed immediately: I doubt we’ve ever had a speaker that was this easy to dial in for a balanced bass response. Woofers facing inward, speakers slightly closer to the wall than you think, a bit of toe-in: done. Normally there’s one ideal position for bass and another for imaging. The Versura V4 lets you tune for imaging while the bass remains nearly optimal.
Texture, Texture, Texture
On “Way Out Way In” by Yassassin on the album of the same name, the bassist drives her instrument into the lowest register. And the Versura follows effortlessly, rendering the visibly vibrating strings with tactile presence. The rough, gritty tone texture is sharply contoured, bringing a grin to my face that only widens with the bone-dry beat precision.
Likewise, the organ in Johann Gottfried Walther’s Organ Concerto in A Major (Alf Linder, Cantate Domino) fills the room with authority. True, there are speakers that can lay on thicker in the bottom octave – but honestly that’s not necessarily the kind of bass reproduction I wan.
Completely satisfied with the low end, I switch to Japanese indie rockers 88Kasyo Junrei and their latest single “Yaoyoroz,” marveling at how effortlessly the Auer unravels the riff. There seems to be seventeen times more notes than are immediately apparent, and the strings shimmer metallic and nasal.
Finally, in Bic Runga’s “Things Behind the Sun,” the Versura nails the New Zealander’s warm, unmistakable timbre – and the guitar naturally fills the space from the deep resonance of its body up through the shining overtones.
Note that I’ve been describing the character of the music rather than that of the loudspeaker – that’s precisely what I heard. The only real hint at “voicing” in the Auer’s sound, beyond its tight articulate bass, might be a subtle touch of brilliance lift. It adds liveliness without ever crossing into harshness (except, perhaps, on mixes that even ruler-flat studio monitors will render in a somewhat fatiguing way).
But let’s return to the question of how “conventional” this speaker is: the Auer Versura V4 may look normal, be conventionally built, and tuned neutrally, yet it sounds absolutely phenomenal. Why? Because where almost everyone else opts for bass reflex, Auer chooses the “more conventional” sealed route – and in so doing gets it spectacularly right. The bass lays a solid foundation without ever muddying the mids or highs, letting everything above it breathe freely.
We need more speakers like this.
Accompanying Equipment
CD Players: Ayon CD-3sx, Audio Note CD 3.1x | Network Player/Streamer: Lumin P1 | Preamps: Soulnote P-3, Phasemation SA-1500 | Integrated Amps: Mavis M90, Aavik I-580 | Power Amps: Burmester 216, Riviera AFS-32, Soulnote M-3x | Speakers: Acapella La Campanella, Wilson Audio Sasha DAW | Racks: Solidsteel, Finite Elemente, beaudioful | Cables: AudioQuest, HMS, in-akustik, Vovox
Loudspeaker Auer Versura V4
Design: Sealed 4-way floorstanding loudspeaker, passive | Driver complement: 31 cm woofer, 18 cm low-mid, 12 cm midrange, 34 mm beryllium tweeter | Terminals: WBT single-wire (bi-wire optional) | Frequency response (±3 dB): 20 Hz – 40 kHz | Nominal impedance: 8 Ω (min. 6 Ω) | Sensitivity: 90 dB | Recommended amplifier power: 20–200 W | Features: Panzerholz cabinet, side-mounted woofer, three-point base (rear outriggers for stability only) | Finishes: Standard matte black, white, or orange; walnut, oak, or custom high-gloss lacquers (all RAL colors available on request) | Weight: 98 kg (216 lbs) each | Dimensions (W/H/D): 22 / 119 / 46 cm | Warranty: 5 years | Price (pair): approx. €45,000
Auer Acoustics
Am Kroit 25/27
83123 Amerang, Germany
Phone +49 8075 91333-890
info@auer-acoustics.com