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Inline Gold Lan Isolator

Inline Gold Lan Isolator

Inline gold lan isolator



The InLine Gold LAN Isolator is an innovative solution for music enthusiasts seeking a more authentic, natural-sounding music experience. By merging advanced technologies with high-quality materials, this isolator significantly enhances the natural sound quality in any network system.

Solution for Network-Related Audio Problems:

This isolator specifically addresses the common issue of network-related disturbances and distortions in audio playback. Through effective isolation and our advanced InLine technology, it significantly improves audio quality by eliminating electrical and magnetic interferences that would otherwise impact the natural listening experience.

InLine Gold LAN Isolator for Natural Sound

Galvanic Isolation: Minimizes electrical disturbances from your network, delivering a more natural audio signal.

Natural Sound Clarity: Enjoy music with enhanced naturalness, allowing you to rediscover the fine details and nuances in your favorite music.

InLine Technology Against Magnetic Distortions: Our innovative technology protects your audio signal from magnetic disturbances, ensuring unparalleled sound fidelity and highlighting natural frequencies.

Optimized for Natural Sound Reproduction: Ideal for a balanced listening experience that accurately reproduces tones in their true sonic color, providing a comprehensive and authentic sound quality.

High-Quality Construction: The solid maple wood housing, combined with a resonance-controlling lacquer, not only makes the isolator an auditory but also a visual experience, emphasizing the natural beauty of music.

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Q5 Plug

Q5, how do they work?

Q5 is a unique combination of electronic circuitry, mains purifier, quantum physics and crystal technology. All those parts in perfect interaction have a significant impact to the mains, which is the base for all the music a good audio system may recreate from the recordings. The Q5 contains some electronics which is designed to transfer the positive aspects of our proprietary quantum physical and crystal technologies to the mains. For this we created a more electronic design with an integrated classical parallel filter. Filters like this are known to have a clear impact onto the sound of an audio system. They may filter out high frequencies which may create audible distortions. On the other hand they always have dielectric losses, which suck out energy which is an important part of the music. If you have a too bright sounding system you may appreciate this as it will smoothen the tone. But if you already have a pretty balanced system you will miss some finesse and fine information. As our goal is not adding another component to compensate faults that have happened somewhere else, we designed a filter with a very high Q which only gives an attenuation of about 3dB at 10MHz. This means also the losses are extremely small, but together with the other parts of the circuitry we may get an excellent access to the mains by our quantum and crystal technologies. The rest of the electronics is designed to impress the mains in a balanced way, means both half waves are treated equally using symmetrical pn junctions for both half waves. Further on we are working with electrically activated crystals which regarding their atomic lattice have a very uniform structure. This regularity together with our quantum physical approach is able to impress the mains in a very positive way. We recommend the use of at least two Q5s in an audio system: One in the powers strip or after the mains conditioner, another one somewhere else in the listening room. We also have customers who are using many more distributed in their whole house and, and reporting about significant positive effects.


This device acts directly on the mains voltage and gives the music more headroom and freedom. Use one in the power strip and another in a free outlet somewhere else in the room.




General Description

Steinmusic E-pads are small self-adhesive elements 8mm by 15mm in size, which have a radical impact on the reproduction of music. E-pads operate at the level of molecular interaction producing profound and measurable changes to both the mechanical and electrical properties of materials. These properties include a material’s spectrum of resonances, torsion force and modulus of elasticity as well as electrical conductivity by reducing electro smog and interference fields. Steinmusic use TÜV certified methods of measurement that clearly prove the performance of E-pads. Their development involved the creative merging of accepted technologies with new and innovative approaches resulting in a new generation component that consistently produces positive and reproducible impact on the sound. In contrast to similar products, the E-pad’s active process is completed and permanently locked in after production. This means exterior influences will not alter their effective properties – even after 20 years we guarantee an efficiency of more than 90% of their original performance. The performance of Steinmusic E-Pads greatly transcends what would be achievable with regular forms of resonance damping. This allows a very broad range of applications since both mechanical and electrical properties are influenced similarly. Wherever they are used music becomes more emotionally engaging with increased clarity and detail providing a clearer window into the musical performance. Being small yet highly effective, E-pads are easy to apply achieving a permanent improvement in sound quality discretely without being a visible distraction in your living environment.


In the following examples we describe proven methods for the use of Steinmusic E-pads. These recommendations should not distract you from your own experiments. The results are always easily audible and you may discover an application that is optimal for your own equipment. Some applications on their own will have a more pronounced impact than others and the inherent excellence of high-end equipment will be extended using a larger amount of E-Pads. For permanent applications, E-pads are simply fixed to the surface of the equipment to be treated. Simply remove the protective foil and bond to the surface with their own self-adhesive backing layer. To experiment first to determine the optimal position of the E-pad’s, do not remove the protective foil, but use a strip of normal double sided tape to temporary fix the E-Pad in place.This method will only result in 30% of the total effect achieved with the E-pad’s own adhesive, but in most cases this will be sufficient to determine the optimal positioning. It is important to keep them away from strong magnetic fields like those from transformers and ensure they operate within a temperature range of -30°C to +80°C. Although their effects are instantly noticeable, Steinmusic E-Pads will reach their full efficiency in the course of a week.

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CD/SACD Players

Adhere the E-Pad onto the loading tray where there recess for placing Mini-CDs is located. Importantly, this keeps the E-Pad on a parallel plane to the disc itself. If you use a top-loading player, please position the E-Pad similarly at an appropriate place with an orientation parallel to the disc. This may be at the bottom of the disc recess or on the top cover.


An amplifier’s rear panel is suitable for fixing one or more E-Pads. This is exactly the place where all inputs and outputs meet. The first position should be one E-Pad close to the mains input but placing others close to either input or output connectors will also yield benefits.


The base of the tone arm is a good position for placing an E-Pad.


At a loudspeaker both electrical and mechanical optimisation are employed. One E-pad at the speaker’s Binding Post terminal area is effective with loudspeakers which have their crossover internally mounted there. It has been proven that one E-pad positioned on the front baffle between the individual speaker-chassis in multi-way speakers works well. If you use horn-speakers it is worth trialling one E-pad at each of the mid and high-frequency horns. Further E-pads mounted on the enclosure help to minimize unwanted resonances. Trial and error is the way to find the correct location.


One E-Pad fixed at each ear cup at the upper side close to the yoke considerably improves the fidelity of reproduction.

Electrical current

Steinmusic E-Pads provide demonstrably and measurably effective results in a wide variety of applications. To describe Steinmusic E-Pad’s mode of operation just in terms of their suppression of radio-interference alone does not fully describe the obtainable results.

Electric meter / electric distribution

One or two E-pads affixed to the external surface of the electrical mains panel is very effective. Further applications are directly at the electric meter, the ground-fault circuit breakers and fuses. Of course, a good place is directly at the power supply socket that is feeding the whole variety of audio equipment, or at the mains plug board where the power supply cable is fed in. With components like CD-players and amplifiers the area where the electrical mains is supplied is a good position for the application of E-pads.

Windows and Glass-doors

Windows do create extremely undesirable reflections which distract from the pleasure of listening to music. One E-pad placed unobtrusively at a corner of the window glass will assist greatly. The same is valid for glassy picture frames, table-tops and mirrors.


Computer screens are to be treated the same way as other areas made of glass concerning their acoustic properties. The positive effects on the acoustics are obvious. Furthermore, one E-pad placed into one corner often causes a quieter more stable picture with higher colour intensity. This is also valid for computer monitors as well as for TV displays of all kinds so experimentation is encouraged. Very obvious improvements in sharpness and intensity of colour can be reached with just one E-pad at the plug of the video-recorder or the HDMI-cable at the monitor or projector.

Steinmusic Harmonizer

There is also a reproducible improvement if you affix one E-pad to the rear panel of the Harmonizer.

Floor heating

Floor heating may produce disturbances that become easily noticeable which can be dealt with by placing E-pad’s at both the inlet and outlet.


Within automobiles placing an E-pad at one corner of the back window has proven optimal whereas the placement at the front window sometimes frees too much energy in the sound. These application recommendations are based on the experiences of different users. We would be glad to receive your feedback with any suggestions that assist in maximising the effect of the Steinmusic E-pads in our goal to improve the listener’s experience.


What may I expect using the E-Pads in my system? Is it a big difference, or just subtle? I would not pronounce the change as subtle. However it not so easy to describe in terms normally used in the HiFi field as they do not change the parameters that you normally work on here. The E-Pads help the music to perform with something like more intensity, and the wife of one of our clients described it that way that it is if you “glue some feeling ” on it. So for me they do something essential to the musical performance. This will add up in a very positive way when you use more of the E-Pads at different locations. To get a clearer idea of what they do please get familiar with the actual state and then try to remove them. Normally you will clearly prefer to have them in use.

e-Pad MAtrix Gold

The E-Pad Matrix-Gold impresses less with its powerful effects, but rather with its sonic finesse. The Matrix E-Pads deliver crystal-clear, fully recognizable detail and undistorted, unfiltered overtones and nuances in a previously unimaginable presence. In particular, they can be used with musical instruments such as guitars, violins, cellos and grand pianos.

Bob Levi on Positive Feedback online about the E-Pads Matrix:
“The increased beauty in all aspects of the reproduction of your audiophile equipment with these top-class optimizations makes a whole order of magnitude. Easy to use and reuse, you will experience more of what you really like and less of what you don’t.

Brilliantly! Pleasurable! Reproducible! Reliable!
…the new Stein Music E-Pads receive my very highest recommendation.”

REVIEW – POsitive Feedback

E-Pads in Action

Here you see Elena Denisova, solo violinist at the New Year concert in Shanghai.
She plays an old excellent sounding Italian violin.
With one of our E-Pads on the footbridge, which significantly further improves the qualities of this excellent instrument. Another impressive application is the use of an E-Pad Matrix Gold on the soundboard of a concert piano. Pianos treated like this have been the choice from some of the top pianists like Daniel Barenboim or Martha Argerich at their concerts in Germany. Meanwhile hundreds of musicians from all over the world are using E-Pads on their instruments to improve their sound.

Maestro Laquer/CD-Plus/CCS

Maestro Laquer/CD-Plus/CCS

Maestro Laquer

“Elevate Your Audio Experience with Maestro Lacquer: Unlocking Natural, Open, and Colorful Sound”

Maestro lacquer is a unique surface treatment with resonance controlling properties. Use Maestro lacquer on speakers, cables and electronics and the sound becomes more natural, open, fine and colorful.

Maestro Lacquer

Maestro lacquer is a natural resin lacquer with very special properties, optimized for coating loudspeaker cones and electronic devices for music reproduction. Mechanical resonances of any body are reflected at its interfaces. If you change the top layer by applying Maestro varnish, it is able to imprint its sound character on the coated part. Please note the fundamental difference to concepts that aim to achieve a better sound by damping: With damping, you can reduce the amplitude of an unwanted resonance, but you also always change the quality of this resonance peak, which thus becomes wider. This in turn makes itself quite unpleasantly noticeable acoustically.

Basic Idea:

How does Maestro lacquer work? Internal resonances of a mechanical part come to its surface, and there will be reflected into the material again. By changing the properties of the surface we may influence the resonances in a big amount. Sound always has a certain character that we detect as nasty or pleasant. Breaking glass for example is nothing really attractive, but everybody will like the sound of a good violin. We tuned Maestro consequently to those resonances which are regarded by the ear as pleasant. One might consider that doing this is far away from the idea of High Fidelity. But in fact the ear integrates those harmonic resonances, and does not regard them as something strange that does not belong to the music. So this kind of resonances is not able to affect the reproduction of music, but gives it a new level of freedom.

Maestro Laquer in practice

Maestro lacquer is a pure natural resin lacquer, with special optimized acoustic properties. It is produced in a complex process from the best raw materials, is non-conductive, fast drying, and easy to apply. Its consistency is such that in most cases you can use it directly as it is. Light moving parts, such as dome tweeters or foil speakers, should be painted only very thinly to avoid unnecessarily increasing the moving mass. In these cases, Maestro lacquer should be diluted 1:1 with mineral spirits, and only one coat applied. More solid parts require a thicker coat of varnish so that the effect of the varnish takes hold optimally. In principle, at least two coats of varnish should be applied here, whereby the first coat must be completely dry before the second is applied. This takes about half an hour at room temperature. Two things happen during curing: 1. the solvent evaporates.2. the coating polymerizes completely. This means that molecular chains are formed, whose structure is ultimately responsible for the resonance properties. The first process is already completed after about 15 minutes. You can put your device back into operation and already have a direct impression of the result. During the next 6 weeks, however, the properties of the coating will be completely transformed. During this time, the sound image will change significantly several times, not always for the better in the short term. After that, the properties stabilize at a very high sound level. In the following we describe how you should proceed in order to achieve the best results with the least possible effort. Painting the cabinets will bring you a good deal further, but due to their large mass, it is correspondingly more time-consuming and expensive. We recommend that you fill the amount of paint you expect to need into the screw cap of a fizzy drink bottle. From there it can be easily processed and diluted with spirit if necessary.

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Multi-way loudspeaker

Here, the cones are painted in the first place. Also those of the midrange and tweeter to achieve a positive overall sound character. The entire diaphragm should be painted from the visible side, including the dust cap (the cover of the voice coil in the center) but without the surround (the moving edge). Diaphragms made of polypropylene or metal should be painted twice thinly. The same applies to coated cardboard cones . On the other hand, woofers and midrange drivers made of open-pore paper are quite thirsty. Here you will need a somewhat larger amount of Maestro varnish. Dome tweeters should be varnished with a mixture of one part varnish and one part spirit. This only once thinly, in order not to increase the diaphragm mass unnecessarily. For this you should use the small brush from the bottle, and be careful to really only apply a thin layer. The bead should also be omitted here. It is the outer curved part of the membrane. On ring radiators like those made by Vifa and Scan Speak, the surround is much wider. It should be painted as well, since it is part of the diaphragm.

Full range loudspeaker

Speaker drivers with very light paper cones and high efficiency, such as Lowther, Fostex, Supravox or are not necessarily always candidates for further coating. If they are, they should be treated like tweeters to avoid unnecessarily increasing the diaphragm mass. Here it is necessary to find a reasonable middle ground between the positive sound characteristics that a coating with Maestro achieves and the “dynamic brake” of a higher diaphragm weight.

Foil loudspeaker and horn driver

In the meantime, foil speakers such as Magneplanar as well as horn drivers have also been coated with outstanding results. Here, too, the coating thickness should be very low.


Another element in a HiFi system that directly involves mechanics is the turntable.varnishing of tonearm, platter and platter mat. Because of its large mass, the platter should be painted thickly and on both sides, while the platter mat and tonearm should be painted in two coats as usual. Extreme care should be taken with the system body to prevent paint from running into the system and gumming up the mechanics. The safest method here is to unscrew the headshell and paint with the needle pointing up. Headshell and connecting cable should be painted as well, without wetting the plug contacts. Painting a system is not witchcraft, but it does require some dexterity. And if you are unsure, it is better to do without the last little things before you destroy something.


Microphone housings also thank you for being painted. Here it looks like the extremely low mass of the actual diaphragm is permanently influenced by the resonance behavior of the housing, which is several dimensions heavier. Painting the diaphragm itself razor-thin is likely to be a hopeless endeavor that we cannot recommend. Electronic devices such as CD players, converters, pre- and power amplifiers, tuners and cassette decks or laser disc players

Please note:

Intervening in complex electronic devices should not be done without a basic knowledge of the internal relationships. Mains voltage can be life-threatening, and even if you have disconnected the mains plug, which is an absolute prerequisite for intervening in a device, capacitors in the device itself may still be charged. Therefore: Start such a project only if you know exactly what you are doing. Any intervention is at your own risk! If you are unsure, better leave this work to a dealer you trust or to us.

How to use Maestro lacquer

For electronic devices, the complete circuit board including all components should be painted. Plug contacts, open potentiometers, switches and all kinds of moving components that can stick together and then no longer function should not be painted. Components that get warm and need to dissipate their heat, as well as their heat sinks, should also not be painted. This also applies to tubes. PCBs in SMD technology are also grateful objects for a coating with Maestro lacquer. But even here there are components that get warm and have to dissipate their heat. These should be left out as far as possible to avoid heat accumulation. With a CD player, it also helps enormously to coat the drive as well. Please be careful not to get any splashes or fumes on the laser optics. You should mask these carefully beforehand. And, of course, make sure that no moving parts of the drive and carriage are glued. Please also try painting a CD on the label side. The effect is extraordinary, and especially very good to demonstrate if you have two identical CDs, one of which is not treated. Here you get the best results with

Contact Clear System

“Elevate Your Audio Experience with Maestro Lacquer: Unlocking Natural, Open, and Colorful Sound”

Steinmusic Contact Clear is a system for cleaning and stabilizing contact transitions. It improves the transmission qualities of audio and video signals to an unimagined degree.

Contact Clear

Steinmusic Contact Clear is a system to clean and stabilize contact points. It improves the transfer characteristics of audio and video signals to a degree previously unimagined.


Clean contacts thoroughly with Cleaner. Dry them with a normal kitchen rag. After the contacts are completely dry, apply a thin coat of Steinmusic Contact Fluid evenly with the brush in the bottle. Steinmusic Contact Fluid should be applied to all contacts in a system, including the plugs on cartridges, all RCA connectors, and speaker terminals. Also the use on power connectors, digital cables, video and antenna cables is highly recommended.

Application and Effects of Steinmusic Contact Fluid in Detail

The problem with all contact surfaces is that the entire surfaces are never in contact with each other. This causes undue resistance, which in turn causes distortion of the signal. If a layer of grime is on the contact surfaces, they may begin to act like semiconductors. That is why a thorough cleaning is necessary. However, cleaning alone does not solve the problem of ill-fitting contact surfaces. This is where Steinmusic Contact Fluid comes into play. It insulates all areas that do not have perfect contact. The result is a more natural sound, or „cleaner“ picture in video systems. Tip: try Steinmusic Contact Clear on the plugs of your computer monitors. The result is immediately visible.

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Steinmusic Contact Fluid remains stable over time, even at temperatures of 300°C. However, plugs should be cleaned and retreated every 12 months. Tube pins should be retreated every ten months.


The cleaner is inflammable. Steinmusic Contact Fluid is inert, but may not be heated above 350°C, as that would cause it to release toxic gases. For this reason, keep it away from tobacco. Never work on units that are turned on.


Steinmusic Contact Clear is also ideally suited for use on tube contacts due to its excellent temperature stability. When handling high voltages, please observe the hazard information of the device manufacturer. Basically, you should only lightly coat the tube pins with Steinmusic Contact Fluid, but do not treat the sockets. In case of doubt, please consult your specialist dealer.


“Elevate Your Audio Experience with Maestro Lacquer: Unlocking Natural, Open, and Colorful Sound”

CD Plus is a special lotion to improve the properties of all disks like CDs, DVDs and Blue Ray disks. It removes residues from form release agents that are used during production, applies an antireflection coating which makes it easier for the laser to read the disk properly  and reduces antistatic.

How to use CD-Plus

Apply CD Plus on the label side of the CD, pressing the dispenser once. Dispense the amount of CD Plus applied to the surface uniformly with a fingertip. Do the same with the other side of the disk, so that both sides are treated. Then wipe away the residual CD Plus with a facial tissue. Facial tissues should be used in this case as they are much softer than most other tissues, and will not scratch the surface. Doing this procedure once with a disk will give a significant improvement as music will be played much more natural, relaxed and expressive due to reduced distortions. Repeating this complete procedure a second time will further improve the performance. The result is long term stable, and we suggest marking the treated disk with a waterproof pen, so that you know they are already treated.