Stenheim, the Switzerland-based speaker company that utilizes aluminum cabinets and high-efficiency drivers to create some of the hi-fi industry’s most renowned and musical loudspeakers, launched its new Alumine Two.Five, a passive two-way, floorstanding speaker, at an exclusive media event held at the Power Station recording studio in New York City last Thursday November 30th.
The event saw an impressive turnout, drawing journalists from specialized audio and lifestyle media outlets and blogs.
“The Power Station at BerkleeNYC was the ideal venue for the launch, having witnessed the creation of numerous iconic albums by some of the biggest names in contemporary music such as The Rolling Stones, Bruce Springsteen or Madonna,” said Jean-Pascal Panchard, Stenheim’s CEO.
Mr. Panchard presented the speaker to the gathering, explaining the meticulous design process behind the Alumine Two.Five, that has culminated in this slender and elegant speaker. Jazz saxophonist Jerome Sabbagh and his trio took over for a short, live rendition of some of the numbers to feature on his forthcoming album. Guests then had the opportunity to experience the Alumine Two.Five in action, showcasing its exceptional audio quality with a selection of tracks, including one of Sabbagh’s new album compositions.
The reactions to the new speaker were overwhelmingly positive, with attendees being astounded by the clarity and detail in the recordings they heard. They shared their enthusiasm at the realistic rendition and expansive soundstage produced by the Alumine Two.Five, truly bringing the music to life.
The evening concluded with a tour of the iconic studio and its equipment and a cocktail reception where Mr. Panchard and his colleagues were able to answer more technical questions about the Alumine Two.Five’s genesis.
The Alumine Two.Five builds on the concepts behind Stenheim’s very first speaker, the Alumine Two, and applies them to a discreet, floor-standing product giving greater bass extension and room-filling capability. Its classically elegant design makes it a beautiful addition to any listening space or living room, whilst its high efficiency makes it suitable for a huge range of music systems.
The Alumine Two.Five is on general sale worldwide for $23,500 per pair USD.
What’s Behind the Audiophile Movement From Switzerland
Switzerland is traditionally associated with precision watchmaking, banking, and clean design—but over the past decade, it has also emerged as a quiet powerhouse in high-end audio. Brands like Nagra, Stenheim, CH Precision, Goldmund, Reed, and several others have put Swiss hi-fi firmly on the global map. While these companies differ in their focus—some build electronics, others focus on speakers or turntables—they all reflect a common ethos: obsessive attention to detail, uncompromising engineering, and a commitment to craftsmanship that feels unmistakably Swiss.
What’s behind this movement isn’t just a trend. It’s a reflection of Switzerland’s deep industrial heritage and its ability to merge artisan-level workmanship with world-class engineering. Many of the country’s leading audiophile brands trace their lineage back to industries like medical devices, aerospace, and instrumentation—sectors where tolerances are tight, reliability is critical, and design can’t be left to chance. That precision-first mindset has proven especially compatible with high-end audio.
Nagra, perhaps the most internationally recognized of the group, started in the 1950s as a manufacturer of portable reel-to-reel recorders for broadcast and film. Their reputation for durability and sonic purity made them a staple in professional circles, but the company has since evolved into a high-end audio brand producing DACs, amplifiers, and phono stages. The design language remains minimalist and industrial, and many models still feature the iconic modulometer. Nagra’s transition into home audio has been met with widespread respect, largely because the company’s engineering principles never changed—they just applied them to new categories.
Stenheim, founded by former Goldmund engineers, is a speaker manufacturer known for its ultra-rigid aluminum enclosures and transparent sound. Designed and built in Switzerland, Stenheim speakers are voiced with neutrality and dynamics in mind—traits that appeal to both the analog purist and the modern high-resolution listener. Their Reference and Alumine series have received attention not just for their sound, but for the quality of construction that borders on aerospace-grade.
CH Precision, another rising star, focuses on modular electronics—DACs, preamps, integrated amps, and phono stages—with an emphasis on software flexibility and upgradeability. CH products are born from the world of laboratory instrumentation, where absolute control and ultra-low noise are essential. Their gear is cleanly styled but brutally technical under the hood, aimed at listeners who value purity and precision above all.
What ties these brands together is more than just a Swiss address. It’s a shared philosophy: form must follow function, and engineering must serve the music. Swiss audiophile brands rarely lean on marketing hype or lifestyle positioning. Instead, they lead with build quality, measurable performance, and a sense of permanence. These aren’t “throwaway” products. They’re built to last, to be serviced, and to be part of a long-term system.
In a global industry where many brands outsource or rebrand components, the Swiss audiophile movement stands apart. It’s not about nostalgia or mass appeal—it’s about precision, craftsmanship, and delivering a listening experience that holds up under the closest scrutiny. That’s why Swiss gear continues to earn a place in some of the world’s most discerning listening rooms.
The History of The Power Station Recording Studio in New York City
The Power Station is one of the most iconic recording studios in New York City and an institution in modern music history. Known for its distinctive acoustics, state-of-the-art design, and a client list that spans genres and generations, the studio has played a major role in shaping the sound of popular music since the late 1970s.
The Power Station was founded in 1977 by Tony Bongiovi, a veteran producer and engineer who had previously worked at Motown and with artists like Jimi Hendrix and The Ramones. Bongiovi, along with businessman Bob Walters and a group of investors, converted a former Con Edison power plant at 441 West 53rd Street in Manhattan’s Hell’s Kitchen neighborhood into a multi-room recording complex. The building’s high ceilings and industrial layout provided a unique opportunity to create acoustically vibrant tracking spaces that couldn’t be easily replicated in other studios.
From its earliest days, the Power Station became known for its Room A, a large tracking space with a drum sound that quickly gained legendary status. The natural acoustics of that room, combined with thoughtful design and high-end analog equipment, made it ideal for live ensemble recording. Engineers and producers loved the energy and punch the space imparted to drums and electric guitars, and the studio quickly attracted top-tier talent.
In the late 1970s and into the ’80s, the Power Station was buzzing. Bruce Springsteen recorded much of The Riverthere. David Bowie, Bob Dylan, Paul Simon, Chic, and Madonna all worked in the building. The studio was a creative hub during the height of the analog recording era and offered the rare combination of technical excellence and musical vibe. Bongiovi’s nephew, Jon Bon Jovi, even worked as a runner at the studio in his early days before launching his own music career—eventually recording Bon Jovi’s debut there.
Through the 1980s, the Power Station stayed at the center of mainstream music production. Albums like Dire Straits’ Brothers in Arms, which blended analog tracking with emerging digital technologies, were cut there, helping to bridge the gap between eras.
By the mid-1990s, however, changes in the music industry and the rise of home recording led to financial struggles for large commercial studios. The Power Station was sold and renamed Avatar Studios in 1996, continuing to operate under that name for two decades. Still, the space remained active, hosting orchestral film scores, jazz sessions, and rock albums.
In 2017, the name “Power Station” returned when the Berklee College of Music entered a partnership to preserve the studio’s legacy. Now known as Power Station at BerkleeNYC, the facility continues to serve both commercial clients and educational purposes, keeping its iconic rooms alive for the next generation of artists.
From its beginnings in a decommissioned power plant to its current hybrid role as studio and classroom, the Power Station remains a symbol of New York’s rich musical heritage and the enduring value of great acoustics, great engineering, and a space that inspires performance.
