Fly Me to the Moon: Integrated Amplifiers vs Hi-Fi Separates

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Out of this world is how I would describe both of our recent in-store systems. They have been enjoyed not only by the staff, but also by our discerning clientele.

There are many factors to be taken into account when buying Hi-Fi. Space (room size, not outer space) and aesthetics are definitely key ones. For some people, the sound is the be-all and end-all. Any other aspect of the system is secondary. Having a monolithic edifice dominating your field of vision is part of the fun. For others, space optimisation is paramount. Unlike children, the system should be heard and not seen.

image: Out of this world HiFi, setting course for the moon

I’m currently thinking of upgrading my amp, and the inevitable question has reared its head: integrated vs. separates?

Here at Audio T Bristol, we have just changed over the main system in the store, which we do on a regular basis. The previous system was based around five pieces of equipment:

Chord Electronics DAVE DAC and Headphone Amplifier

The recent NASA Artemis space mission, which took four astronauts to the dark side of the Moon and brought them back, had four stages:

  • Launch Abort System

  • Crew Module

  • European Service Module

  • Space Launch System

The current in-store system we are listening to consists of:

image: Hegel D50 DAC

The SpaceX Starship, which is hoped to be used in conjunction with the NASA project, is made up of two stages:

  • Super Heavy Booster

  • Starship Spacecraft

Both Artemis and SpaceX Starship should be taking astronauts into space in the near future, fuel leaks, explosions, etc. excepted.

It’s fair to say that most nascent Hi-Fi enthusiasts started with an integrated amplifier and moved along the upgrade route from there. In my case, I started with the NAD 3020, moved on to the Cyrus One and then the Audiolab 8000S integrated/pre/power amplifier.

A Hi-Fi System that sounds out of this world!

If I wanted to continue down the integrated route, there are plenty of higher-end integrated amplifier options. The Rega Elicit MK5 and the aforementioned Hegel H600 are all excellent integrated amplifiers. The obvious advantages of a one-box amplification system, space saving and eliminating the need for interconnects, make this an appealing path to go down. We’ve tried all of these amplifiers in a variety of systems, and the results are superb when paired with the right source and speakers.

The general consensus has always been that using separate pre-amps and power amps gives better sound quality, as they offer better sonic isolation, a lower noise floor and usually more power. As the pre-amp handles the low-voltage signals, keeping it in a separate case isolates it from the high-current power amp, eliminating interference and unwanted hum.

Given the quality of the mentioned high-end integrated amps, though, are these factors enough to outweigh the convenience of having everything in one box?

The main advantage for me personally of going down the separates route is the flexibility to upgrade gradually without a total reset. Many seasoned Hi-Fi buffs have older equipment that can be repurposed to great effect, with their Hi-Fi budget spent on improving one element at a time.

What’s more, adding a combination such as a pre-amp and DAC or pre-amp and streamer can be a very cost-effective way of improving a system and taking it to a higher level.

At the moment, I’m listening to a WiiM Ultra Music Streamer, DAC and Pre-Amplifier, using my old Audiolab 8000S amp solely as a power amp. The improvement in sound quality over using a streamer and integrated amp is marked. In my case, I’m thinking of upgrading the power amp first, with a view to upgrading the pre-amp at a later date, when the budget allows. Then maybe look at a better streamer. Or DAC. Or pre-amp/streamer, or…

The possibilities are endless. The space and convenience factors can still be taken into account, but advances in what can be squeezed into a smaller box mean that you don’t necessarily have to consider a power amp the size of the SpaceX, towering over the skyline of your listening room, if you want to take the modular approach.

The SpaceX Starship may have fewer stages than Artemis, but it stands at 120 metres in height.

Comparatively, the multiple Artemis stages clock in at a bijou 98 metres.

Both can get astronauts into space, possibly to The Dark Side of the Moon again, and make the ground shake on lift-off.

Just like top-quality Hi-Fi.

Justin - Audio T Bristol

If you have any questions about the Rega AOS, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

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First Listen: The New Michi Prestige X430 and Q430 – A Proper Musical Experience

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There is always a sense of anticipation when Rotel launches something new, but expectations rise considerably when the equipment carries the Michi badge…

Michi represents Rotel at its most ambitious, combining substantial engineering, premium construction and the sort of effortless performance expected from serious high-end Hi-Fi. However, impressive specifications and imposing casework are only part of the story. The most important question is whether the equipment encourages you to forget about the system and become absorbed in the music.

With that in mind, we were particularly keen to spend some time with the new Michi Prestige X430 Integrated Amplifier (£4,499*) and Prestige Q430 CD Player (£3,599*) when they arrived in our Southampton demonstration room.

Rather than treating this as a technical test or working through a collection of carefully selected demonstration tracks, we wanted to use the system as we would at home. That meant making a cup of coffee, choosing a few favourite albums and settling in for a proper afternoon of listening.

Choosing the Rest of the System

To hear what the new Michi pairing could really do, we partnered it with the ATC SCM40 floorstanding loudspeakers (£4,750).

The SCM40s are wonderfully revealing, but they do not exaggerate or artificially enhance what is being played through them. Give them a capable amplifier and a well-recorded album, and they provide a clear, balanced and honest picture of the entire system.

The speakers were connected using Chord Company EpicX speaker cable (£96 per metre), with Black Rhodium Minuet XLR interconnects (£300 for a one-metre pair*) linking the Michi components.

This created a revealing but thoroughly musical system, allowing us to hear the character of the new X430 and Q430 without losing sight of the reason we were there in the first place: to enjoy some music.

Crowded House – Woodface

We began with Woodface by Crowded House, an album filled with beautifully constructed songs, rich vocal harmonies and subtle instrumental details.

From the opening tracks, the Michi combination sounded composed, spacious and completely at ease. Neil Finn’s voice appeared naturally between the speakers, with a convincing sense of presence and none of the artificial sharpness that can sometimes make vocals feel detached from the rest of the recording.

The layered harmonies were particularly impressive. Each voice remained distinct, but the performance still sounded cohesive and emotionally engaging. The system allowed us to hear further into the recording without pulling it apart or making us analyse every individual element.

What stood out most was the depth of the soundstage. The ATC SCM40s seemed to disappear from the room, leaving the music spread naturally across a wide and open space.

It was an excellent start and immediately demonstrated that the Michi pairing was capable of combining detail with genuine warmth and musical flow.

Green Day – 21st Century Breakdown

After the polished harmonies of Crowded House, it was time to give the system something louder, denser and considerably more energetic.

Green Day’s 21st Century Breakdown is packed with heavily layered guitars, powerful drums and busy arrangements. On the wrong system, the album can quickly become congested, with the different parts competing for attention.

The X430 took the recording completely in its stride.

The drums had real weight and impact, while the bass remained tight, fast and controlled. Guitars had plenty of crunch, but the presentation never became harsh or tiring. Even during the busiest sections, Billie Joe Armstrong’s vocals remained clear and easy to follow.

The amplifier also gave the impression that it had plenty of power in reserve. There was no sense of strain, compression or the music becoming smaller as the volume increased. It simply maintained its composure and allowed the energy of the album to come through.

This was our first real indication of just how confidently the X430 could control the SCM40s. It delivered the scale and punch the music required, but without sacrificing refinement.

Guns N’ Roses – Appetite for Destruction

Every listening session benefits from a bit of classic rock, and Appetite for Destruction remains an excellent test of timing, dynamics and outright excitement.

The opening guitar on Welcome to the Jungle arrived with exactly the bite and attitude we wanted. Slash’s guitar sounded raw and energetic, while still retaining the texture and tonal character of the instrument.

Duff McKagan’s bass had impressive weight and definition, providing a powerful foundation without becoming overblown or dominating the rest of the mix. The drums were delivered with speed and impact, giving the album a strong sense of momentum.

The system also revealed smaller details within the recording that can easily become buried beneath the guitars. Background parts, vocal inflections and subtle changes in dynamics were all clearly presented, but they never distracted from the performance as a whole.

This balance between control and excitement became one of the defining characteristics of the Michi system. It could be powerful when the music demanded it, but it never sounded forced or overly aggressive.

Quiet passages retained their texture and atmosphere, while larger moments exploded into life without the system losing its composure.

R.E.M. – Automatic for the People

We finished with R.E.M.’s Automatic for the People, an album many music lovers know extremely well.

Its more spacious and reflective production offered a useful contrast to the previous two records, giving us an opportunity to listen more closely to the tonal balance, vocal presentation and sense of atmosphere created by the Michi electronics.

Michael Stipe’s voice was presented with genuine emotion and presence. It sounded natural and expressive, rather than being pushed forward to create an artificial impression of detail.

On tracks such as Drive and Everybody Hurts, the system produced an expansive and three-dimensional presentation. Instruments occupied their own convincing spaces within the soundstage, while the music retained the intimacy and emotional weight that make the album so enduring.

The Q430 CD player appeared to retrieve an impressive amount of information from the disc, but it did so without making the presentation clinical or overly polished. Fine details were easy to hear, yet the music remained smooth, coherent and involving.

There was an ease to the entire performance that made listening completely effortless. Nothing seemed exaggerated, sharpened or artificially highlighted. It simply sounded natural.

That is perhaps one of the greatest compliments you can give any Hi-Fi system.

More Than an Impressive Demonstration

What impressed us most was not one spectacular trick or a particular detail that grabbed our attention for five minutes.

Instead, it was how complete and well-balanced the system felt.

The Prestige X430 has considerable grip and authority, controlling the ATC SCM40s with confidence across every style of music we played. However, it also possesses the refinement and subtlety needed to handle quieter, more intimate recordings.

The Q430 proved to be an excellent partner. It extracted plenty of detail from familiar CDs while preserving the warmth, rhythm and natural flow of the music. For anyone with a substantial CD collection, it provides a compelling reminder of just how rewarding the format can sound through a properly designed player.

The ATC SCM40s once again demonstrated why they are such a respected loudspeaker. They revealed exactly what the Michi electronics were capable of, but never made the system feel cold or analytical.

The Chord Company EpicX speaker cable and Black Rhodium Minuet balanced interconnects completed the setup, helping the individual components work together as a cohesive system, rather than drawing attention to themselves.

Final Thoughts

After several hours of listening, the greatest compliment I can give the new Michi pairing is that we eventually stopped thinking about the equipment.

We were no longer skipping between tracks in search of impressive demonstration moments. Instead, we found ourselves listening to complete albums, discussing favourite songs and choosing what to play next.

That is always the sign of a genuinely enjoyable system.

The Prestige X430 delivers effortless power, control and scale, while the Q430 is every bit the premium CD player you would expect from Michi. Together, they produce a presentation that is detailed, dynamic and beautifully balanced, without sacrificing the musical enjoyment that keeps you reaching for one more album.

This is not a system that constantly demands your attention by exaggerating certain frequencies or forcing details to the front. It draws you in gradually, allowing you to relax and become absorbed in the recording.

For us, that is what a serious Hi-Fi system should do.

The new Michi Prestige X430 and Q430 are now available to audition at Audio T Southampton. Whether your collection is filled with classic rock, alternative music, acoustic recordings or anything in between, this new Michi combination deserves to be heard.

Bring along a few of your favourite albums, make yourself comfortable and discover what it can do with the music you already know and love.

As this is my final blog, I’d like to thank all the customers I’ve met during my time at Audio T Southampton, as well as everyone who has read and supported my articles.

I’m very grateful for all the conversations, music and memories along the way.

Thanks for reading,

Tiago - Audio T Southampton

If you have any questions about any of the equipment featured in this article, or any other hi-fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Rotel can be found at the following Audio T stores

ATC Loudspeakers can be found at the following Audio T stores

When Good Hi-Fi Goes Bad: Why Does My System Sound Harsh, Boomy, Thin or Dull?

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You’ve carefully chosen your system, lovingly connected everything together and selected one of your favourite albums. The lights are dimmed. The drink of choice is poured. You settle into your chair, press play and prepare to be transported into musical nirvana… Only something isn’t quite right...

The cymbals sound like someone attacking a baking tray with a set of car keys. The bass has all the subtlety of a washing machine falling down a flight of stairs. The vocals have retreated behind the speakers, while the entire performance somehow manages to sound both tiring and thoroughly unexciting.

Your beloved Hi-Fi system is sounding harsh, boomy, thin, dull or perhaps an unwelcome combination of all four.

So, what has gone wrong?

The answer may be the equipment, but before you start replacing boxes, buying new cables or blaming the recording engineer, there are several things worth checking. In many cases, a disappointing system can be dramatically improved through careful positioning, better setup and a little patience.

Who Am I to Tell You Any of This?

Before we go any further, I should probably introduce myself.

I’m Brad Tyler, Head of Marketing here at Audio T, although my relationship with Hi-Fi goes considerably further than writing newsletters, administering our website and working on promotions.

I’ve collected vinyl for most of my life, played in bands throughout my teens and twenties, and have a degree in studio recording and live sound. I originally joined Audio T as a Sales Consultant in our Portsmouth store before eventually moving into marketing.

You may also have seen me presenting some of our YouTube coverage from the Bristol Hi-Fi Show.

In other words, I may now spend much of my working life sitting behind a computer, but I’m still an enthusiastic music listener who has spent far too many hours moving speakers backwards and forwards while wondering why the bass sounded better yesterday.

Before You Start Replacing Everything…

When a system doesn’t sound right, it is easy to assume that something needs upgrading. Perhaps the amplifier lacks power, the speakers are not good enough, or you need a better streamer, cartridge or some enormously expensive cable woven from the hair of a mythical Scandinavian goat.

Possibly.

However, even excellent equipment can sound disappointing when it is poorly positioned, badly matched or placed in an unsuitable room. The system, the room and your listening position all work together.

The good news is that some of the biggest improvements cost nothing. The bad news is that you may have to move some furniture.

Why Does My Hi-Fi Sound Harsh or Too Bright?

A harsh system can be incredibly tiring or fatiguing to listen to.

Vocals may become aggressive, cymbals can sound splashy and distorted, and electric guitars might have an unpleasant edge that makes you instinctively reach for the volume control.

Before long, you may find yourself avoiding certain albums altogether.

Take a Look Around the Room

Hard surfaces such as wooden floors, large windows, glass furniture and bare walls reflect sound. Too many reflections can make a system sound brighter, less focused and more aggressive.

You don’t need to turn your living room into a recording studio. Start with simple changes: add a rug, close the curtains, or use bookshelves, pictures and furniture to help break up reflected sound.

In short, the room should look like somebody lives there, rather than an empty Scandinavian furniture showroom.

Check the Speaker Angle

The angle of your speakers can make a significant difference to the amount of high-frequency energy reaching your ears.

Pointing the speakers towards your listening position is known as toe-in. It can improve focus and stereo imaging, but too much toe-in may also increase the prominence of the treble.

Try turning the speakers slightly outwards so that they point just past your shoulders rather than directly at your head.

Make small, equal adjustments to both speakers and listen again.

Changing the angle by only a few degrees can make the difference between a clear, detailed presentation and the musical equivalent of being shouted at by a cutlery drawer.

Are You Sitting Too Close?

Sitting very close to a large pair of speakers can make it harder for the output from the different drive units to combine properly before reaching your ears.

You may hear the tweeter, midrange and bass driver as separate sources rather than one cohesive loudspeaker.

Try moving your listening position slightly further back, where possible. Alternatively, moving the speakers a little closer together may help them integrate more effectively at a shorter listening distance.

Turn It Down… Just a Little

Playing music loud is great, but if the amplifier or speakers are being pushed too hard, the sound can become strained, compressed and harsh.

Try lowering the volume. If the unpleasant edge disappears, the system may be running out of comfortable headroom for the room and listening level.

That doesn’t necessarily mean you need more power, but it does suggest the amplifier, speakers and room may not be ideally matched.

Why Does My Hi-Fi Sound Boomy?

Boomy bass is one of the most common Hi-Fi complaints.

Instead of distinct notes, you hear a thick, swollen rumble. Bass guitars become difficult to follow, kick drums lose their impact and every recording appears to contain the same long, droning note.

A generous amount of bass can initially sound impressive. However, after several songs it becomes clear that you are not hearing more musical information - You are hearing the room joining in.

And unlike the musicians, the room has not rehearsed.

Move the Speakers Away From the Wall

Placing speakers close to a wall or corner will usually increase the bass, sometimes making it sound slow or boomy. Pulling them too far into the room, however, can leave the system sounding thin.

Move both speakers forwards or backwards a few centimetres at a time, keeping them symmetrical where possible. Use a track with a clear bass line, such as “The Guns of Brixton” by The Clash or Billie Eilish’s “Bad Guy”, and listen after each adjustment.

You are looking for bass that sounds full but controlled, with clear definition between notes.

Once you find the best position, measure it and write it down. Otherwise, the next time somebody moves a speaker while vacuuming, you may spend three weeks trying to rediscover the magic centimetre.

Your Chair Could Be the Problem

The listening position matters just as much as the speakers. Bass varies throughout a room, so sitting directly against the rear wall can make it sound overpowering or uneven.

Try moving your chair forward slightly. You can also play a bass-heavy track and walk around the room to hear how dramatically the low frequencies change from one position to another.

Why Does My Hi-Fi Sound Thin or Lacking in Bass?

A thin system can sound clean and detailed, but it lacks body, warmth and weight.

Vocals appear unnaturally small, drums have little impact and instruments lack the physical presence that helps make recorded music believable.

Before buying larger speakers or an enormous subwoofer capable of rearranging your internal organs, there are several things to check.

Check Your Speaker Connections

One of the first things to investigate is whether the speakers have been connected in phase - The positive amplifier terminal should connect to the positive terminal on the speaker, while the negative terminal should connect to the negative.

Be sure to switch everything off before checking the connections.

If one speaker is connected correctly and the other is reversed, the two speakers will move in opposite directions. Certain frequencies, particularly in the bass, can partially cancel one another at the listening position.

The result is often thin bass, a vague central image and a sound that seems strangely detached from the speakers.

Follow each cable carefully from the amplifier to the speaker. Never assume that the markings are correct if the cables have been re-terminated or assembled at home.

It is a simple mistake, and it happens far more often than you might think.

Revisit the Speaker Position

If the speakers have been pulled a long way into the room, try moving them slightly closer to the rear wall. This can restore some bass weight, although moving them too close may make the sound boomy.

Speaker positioning is a balancing act, so make small adjustments and listen after each one.

Are the Speakers Too Small for the Room?

Compact standmount speakers can produce astonishing bass, but there are limits to what a small cabinet and drive unit can achieve.

If you are trying to fill a large, open-plan room at substantial volume, they may struggle to deliver the scale and weight you want. That doesn’t make them bad speakers; they may simply be unsuitable for the room.

Equally, buying the largest floorstanders you can squeeze through the doorway could replace a thin sound with an uncontrollably boomy one.

This is where a proper demonstration, and ideally a home loan, becomes particularly valuable.

Why Does My Hi-Fi Sound Dull or Lifeless?

A dull system may not sound actively unpleasant, but it can make music feel flat, closed-in and uninvolving.

Check the Speaker Angle and Height

Too little toe-in can reduce focus and make the treble sound subdued. Turn both speakers slightly towards your listening position and listen for a clearer central image.

The tweeters should also sit reasonably close to ear level when you are seated. If standmount speakers are placed on low furniture, much of their high-frequency output may be directed towards your chest rather than your ears.

Suitable stands improve their height, stability and positioning. Where stands are impractical, angled isolation supports may help.

Could the Room Be Too Absorbent?

We often worry about rooms being too reflective, but thick carpets, heavy curtains, large fabric sofas and excessive acoustic treatment can remove too much high-frequency energy.

The aim is not to eliminate every reflection. We are trying to control the room, not punish it for existing.

Check the Source

If the dull sound only affects one input, the source may be responsible.

With a turntable, check the stylus and cartridge alignment. A dirty or worn stylus can reduce clarity and may eventually damage your records.

Recordings, masters and streaming versions can also vary considerably. If one album sounds lifeless but several others sound excellent, the recording may simply be the problem.

Your Free Hi-Fi MOT

Before spending any money, work through these basic checks:

  • Make sure both speakers are connected correctly and in phase.

  • Check that they are the same distance from your listening position.

  • Move them slightly towards or away from the rear wall.

  • Experiment with toe-in.

  • Move your chair away from the rear wall.

  • Check that the speakers are stable and the tweeters are close to ear height.

  • Reduce the volume and listen for signs of strain.

  • Try several familiar recordings and check each source separately.

Most importantly, change only one thing at a time.

If you reposition the speakers, alter the amplifier settings and change the cables simultaneously, you won’t know which adjustment made the difference.

You could improve the sound and then spend the rest of the weekend methodically undoing it.

What About Tone Controls and Room Correction?

Tone controls are sometimes treated as the forbidden fruit of Hi-Fi, but small adjustments can be useful with a difficult room or troublesome recording. Room-correction systems can also produce excellent results.

However, it is usually best to address speaker positioning, listening position and basic setup first, then use equalisation to deal with what remains.

You wouldn’t fix a wonky picture by rebuilding the wall around it. Straighten the picture first.

When Is It Time to Change the Equipment?

If the system still doesn’t sound right after all the moving, measuring and mild swearing, the equipment may not be ideally matched to the room or to each other.

There could also be a fault, such as a damaged drive unit, worn stylus or loose connection.

This is where experienced advice can prevent unnecessary expense. At Audio T, we can help identify whether the problem is caused by setup, positioning, equipment matching or an individual component. Our demonstration rooms and home-loan options also allow you to compare possible solutions properly.

Final Thoughts

If your Hi-Fi sounds harsh, boomy, thin or dull, there may be a simple reason — but finding it is not always straightforward.

Your local Audio T team can help you work out whether the problem is down to speaker positioning, room acoustics, system matching, setup or a component that is no longer performing as it should.

Bring us the details of your system, your room and what you are hearing, and we will offer honest, practical advice on the best next step. That may be a simple adjustment you can make at home, a demonstration in store or a carefully chosen upgrade that genuinely improves your system.

We can also arrange home loans and demonstrations where available, helping you judge any change in the place that matters most: your own listening room.

Contact your local Audio T store and let us help you get your system sounding as good as it should.

Thanks for reading.

Brad Tyler – Head of Marketing at Audio T

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Memoirs of an Analogue Man in a Digital World: Discovering the Innuos Stream1 and Stream3

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Finding My Endgame Network Streamer

This month, Matt from Audio T Cardiff is heading back into the world of network streaming. This time, however, he is playing for keeps.

As regular readers will know, Matt has tried several streaming options over the years without finding one that ticks every box. Turntables remain his first love, but even the most committed analogue enthusiast occasionally has to embrace the digital world.

Has he finally found the missing piece of his seemingly never-ending hi-fi jigsaw puzzle? The brand is Innuos, but which model has he chosen?

Let’s find out…

Back to the World of Streaming

Here I am again, looking at network streamers. This time, as the old saying goes, I’m playing for keeps.

Earlier this year, I took a road trip with my good friend Andy from our Swansea store to Audio T Reading for a training and listening session with the team from Innuos.

During the session, we listened to the Innuos Stream1, Stream3 and, finally, the rather spectacular Nazaré. The name comes from the Portuguese town famous for producing some of the largest waves in the world, which seems appropriate for such an imposing piece of equipment.

We had a fantastic time listening to the different models, but it was the Stream1 that really caught my attention. It delivered a seriously impressive performance while remaining much closer to my budget than the Nazaré, which is slightly out of reach for little old me!

That brings us to the focus of this blog: the Innuos Stream1 and its partnering LPS1 linear power supply.

A Little About Innuos

Innuos was founded in 2009 by Portuguese computer science engineers Nuno Vitorino and Amelia Santos.

The idea began when Nuno started assembling his own music-streaming system from off-the-shelf components and open-source software. He wanted a dedicated device that could store digital music, connect easily to a hi-fi system and be ready to play without needing to boot up a computer or navigate several different applications.

The systems he created proved popular through online marketplaces, revealing a clear gap in the market. What began as a personal project gradually developed into a full-time business for Nuno and Amelia.

Since then, Innuos has built an extensive range of music servers, network players, streamers, network switches, reclockers and linear power supplies. The company has developed its own operating system since 2016 and launched its Sense control app in 2020.

Innuos products are now available around the world, supported by an international team and the company’s manufacturing and research facilities in Faro, Portugal.

Sound quality, ease of use, innovation and attention to detail remain at the heart of what Innuos does.

Innuos Stream1 Features

Before getting into the listening session, let’s take a closer look at what the Stream1 offers.

CX Power Technology

The Stream1 uses Innuos’ CX Regulator module to provide an extremely low-noise power supply to its digital output section.

This isolated signal is powered by a medical-grade filtered external switching power supply, helping the Stream1 deliver a clean and controlled performance.

Flexible Storage Options

An optional M.2 NVMe SSD can be installed, allowing the Stream1 to store and manage your digital music library through the Innuos Sense app.

Factory-fitted storage options include 1TB, 2TB and 4TB capacities. Owners can also install their own compatible storage.

Optional LPS1 Linear Power Supply

The matching LPS1 takes the performance of the Stream1 considerably further.

It features a 150VA toroidal transformer and premium Mundorf capacitors, providing cleaner power and greater clarity. A second Nichicon-regulated DC output can also power compatible accessories, including external DACs and network switches.

Compact Design

The Stream1 uses a compact, half-width case with a substantial 10mm CNC-machined aluminium front panel.

Its design matches the LPS1, allowing the two units to be stacked or positioned side by side. The Stream1 is available exclusively in black.

Powerful Processing

The latest Stream series mainboard uses a 13th-generation Intel quad-core processor and 8GB of industrial-grade DDR5 RAM.

The operating system is stored on a dedicated, power-loss-protected TLC SSD. Innuos also uses Real-Time Kernel technology derived from its ZEN Next-Gen series to provide fast and responsive operation.

Modern Connectivity

The Stream1 includes USB-C connectivity for high-speed storage drives, compatible DACs and charging smart devices.

A USB optical drive can also be connected for ripping CDs directly to the Stream1’s internal storage.

Two 2.5Gb Ethernet connections are provided, including a bridged Streamer output that can supply a network connection to another device.

Customisable Output Modules

One of the Stream1’s most interesting features is its selection of optional output modules. This allows the player to be configured around the requirements of your system.

Standard DAC Board

  • RCA analogue output

  • Optical and coaxial S/PDIF outputs

  • Supports PCM playback up to 24-bit/192kHz



Performance DAC Board

  • Latest-generation AKM DAC

  • High-quality TCXO clocks

  • Supports PCM playback up to 32-bit/768kHz

  • Supports native DSD playback up to DSD512

  • Independent power supplies for the digital and analogue stages

  • Gold-plated RCA connections

PhoenixUSB Board

  • Regenerated and reclocked USB output for compatible Class 2 USB DACs

  • High-precision 3ppb 24MHz OCXO clock

  • Ultra-low-noise LT3045 linear regulators

  • Clean 5V power line for the connected DAC



S/PDIF Board

  • Coaxial, optical and AES digital outputs

  • Supports PCM playback up to 24-bit/192kHz

  • Optimised low-noise power supply

  • High-quality gold-plated connections

The in-house-developed Innuos Sense app handles music playback, library management and system control.

Connecting the Stream1 to My System

As regular readers will know, my ever-growing hi-fi system contains quite a lot of Cyrus equipment, including the excellent Cyrus 40 Amp.

You might therefore expect me to use the ESS DAC built into the Cyrus amplifier. However, I decided to change things around and use the AKM Performance DAC installed in the Stream1.

I connected the Stream1 to the amplifier using my Chord Shawline interconnect, which I know extremely well.

I also listened to the Stream1 both with and without the partnering LPS1 power supply. This allowed me to hear exactly what the LPS1 was bringing to the performance.

The amplifier was warmed up, the coffee was brewed and, naturally, the packet of custard creams came out.

It was time to listen…

The Listening Session

I listened to quite a lot of music during my time with the Stream1, but I narrowed the playlist down to three tracks:

Metallica – Astronomy
Garage Inc. (1998)

The Band Feel – Fly Birdy Fly
Into the Sun EP (2025)

Pearl Jam – Crazy Mary
Vs. 2011 remaster, streamed edition

As David Lee Roth once said, “It’s showtime.”

Metallica – Astronomy

Naturally, I started with Metallica and turned the volume up. Not quite to 11, though. That could become rather uncomfortable once the amplifier starts producing square-wave distortion!

The track fades in quietly with James Hetfield’s heavily processed guitar tone. Even without the LPS1, the Stream1 revealed plenty of fine detail during this opening section.

However, I still felt there was more to uncover.

Adding the LPS1 really brought the Stream1 to life. The presentation became more controlled and authoritative, particularly when Hetfield’s vocals entered and Lars Ulrich’s drums kicked in.

The track developed a much bigger live feel as it built towards Kirk Hammett’s guitar solo. His guitar had greater texture and bite, while the solo carried a sense of raw emotion that I had rarely experienced from a network streamer.

The Stream1 and LPS1 combination did not simply make the track sound more detailed. It made it feel more exciting.

The Band Feel – Fly Birdy Fly

The Band Feel provided a useful contrast to the weight and intensity of Metallica.

The Stream1 handled the lighter and more spacious presentation with ease, allowing the music to flow naturally without sounding forced or overly processed.

However, it was the final track that really grabbed my attention.

Pearl Jam – Crazy Mary

Crazy Mary opens with Eddie Vedder’s vocals, which sounded beautifully controlled and full of emotion.

I could hear the movement of his breath around the microphone. There were also small details surrounding the performance that I had never properly noticed before, including the slight hum from Mike McCready’s Stratocaster pickup.

The Stream1 also created greater separation between McCready and Stone Gossard’s guitars, giving each instrument a clearer position within the recording.

One of the biggest surprises was Jeff Ament’s electric upright bass. I had never fully appreciated that this was the instrument being used on the track until I heard it through the Stream1.

There was considerably more definition as he moved between notes. The rotary speaker effect applied to the bass created something similar to a phaser, but with a more natural, open and organic character.

These small musical details kept pulling me back into the track and strengthened my emotional connection with the performance.

Vedder sings with incredible rawness and emotion, and the rest of the band matches him throughout. The Stream1 brought all of this to light without making the recording sound clinical or dissected.

My Final Thoughts

As regular readers will know, my journey through the world of hi-fi seems almost endless. However, experimenting with different equipment and discovering the right synergy between components is a large part of the fun.

The title of this blog describes me rather well. I am very much an analogue man when it comes to music playback, and turntables will probably always be my first love.

Network streaming can lose some of the tactile experience that makes vinyl so enjoyable. However, with the right streamer and DAC, it can reveal an extraordinary amount of musical information.

You begin to notice the hum of a guitar pickup, the movement of a musician’s fingers and the breath around a vocal microphone. More importantly, the equipment allows these details to contribute to the music rather than distracting from it.

The Innuos Stream1 certainly brought these finer details to life in my system. Adding the LPS1 delivered an even more controlled, open and engaging performance.

Have I finally found my endgame network streamer?

I think I may have.

Of course, you should not simply take my word for it. Pop into Audio T Cardiff and have a listen for yourself. You might be surprised by the hidden details waiting inside your favourite recordings.

Thank you for taking the time to read my blog.

Matt Aaron - Audio T Cardiff

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to contact us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Innuos Stream1 and Stream3 can be found at the following Audio T stores:

Good, Better, Best: What We Learned from Our Recent Turntable Upgrade Event – Part Two

/ Audio T Brighton/

Hello everyone! Welcome to the July blog from Audio T Brighton.

This month, we’re delving a little deeper into our recent turntable events at Audio T Brighton…

Following on from the listening sessions that took us through an upgrade path featuring the Rega Planar 3 with ND3 and ND5 cartridges, the Rega Planar 6 with an ND7, and the Rega Planar 8 with an Ania Pro, we thought it was time to venture into the stratosphere – in turntable terms, at least.

For this session, we compared two very different reference-level systems built around the Linn Klimax LP12 and Rega Naia.

Let’s get into it!

Main System One – Linn Klimax LP12

A system is more than just a turntable, so before describing what we heard, it’s worth looking at the complete record-playing chain.

Dynaudio Contour 20 Black Edition standmount speakers, supported by a REL S/550 subwoofer

The Linn Klimax LP12 was fitted with an Ekstatik moving-coil cartridge, a built-in Linn Urika MC phono stage and the latest Klimax Radikal 3 motor control and power supply.

Naim’s NAC 332 pre-amplifier, partnered with an NPX 300 power supply and NAP 250 power amplifier, provided the amplification. Dynaudio Contour 20 Black Edition standmount speakers, supported by a REL S/550 subwoofer, completed the system.

Main System Two – Rega Naia with Aphelion 2

Our second system was built around the Rega Naia, fitted with the Aphelion 2 moving-coil cartridge and partnered with the Rega Aura phono stage.

Supporting the Naia were the recently introduced Rega Mercury pre-amplifier and Solis power amplifier, driving a pair of ATC SCM19 standmount speakers.

Stratospheric comparisons

To say that the two systems sounded different would be something of an understatement.

That doesn’t mean one was necessarily better than the other. The reactions from our audience demonstrated that personal taste, musical preferences and appearance all come into play when choosing equipment at this level.

What was easier to describe was the very different tonal palette offered by each system.

We began with the Linn and Naim system, playing “Re: Stacks” by Bon Iver from the album For Emma, Forever Ago.

This demonstrated the remarkably wide-open window onto the recording that the system provided. One listener said it was the first time he had heard the song sound like this since attending a Bon Iver concert, describing it as though Bon Iver were in the room.

Playing “Point and Kill” by Little Simz showed off the prodigious bass on the recording and highlighted the benefits of adding a properly integrated subwoofer.

Clarity was through the roof, while Linn’s recent upgrade to the Klimax Radikal 3 helped the LP12 front end deliver dazzling dynamics through the Naim amplification.

Ironically, the Little Simz album is called Sometimes I Might Be Introvert, but there was absolutely nothing introverted about the sound!

After a welcome coffee break and an informative chat about the virtues of the system we had just heard, we moved into our other listening room for the Rega system.

Settling into our comfortable red three-seater sofa, we were presented with a completely different sonic palette.

Tones and textures were brought to the fore, with comments including, “This system is a grower,” and, “I think this may be better for long-term listening.”

The more laid-back presentation felt like something of a relief after the more forceful sound of System One.

“Mars, the Bringer of War” from Holst’s The Planets was reproduced in a calm, layered and nuanced manner, rich in microdynamics and subtle detail. It attracted plenty of positive comments from our listeners.

The system didn’t have quite the same slam or macrodynamic impact as System One, but it was wonderfully musical with classical and acoustic recordings. Several listeners felt it could prove the more comfortable choice over longer listening sessions.

Choices, Choices…

Together with our earlier turntable session, our audience found these demonstrations richly rewarding.

Both systems were excellent in their own right, each offering a rewarding musical experience in its own distinctive way. Neither was universally preferred, which only reinforced how personal choosing a hi-fi system can be.

The obvious solution, then, is to buy both systems, place them in different rooms and use each one for different styles of music!

I’m joking, of course. In reality, either choice should only be made after listening for yourself and making use of the professional advice we can offer at Audio T.

Specifications and prices can tell you plenty, but they cannot tell you which presentation you will personally enjoy living with. That is why a proper demonstration remains such an important part of choosing equipment, particularly at this level.

As usual, we recommend booking an appointment to hear the products and systems you are considering before beginning your next hi-fi journey.

Give us a call or pop into Audio T Brighton, and we’ll be happy to help arrange a demonstration.

Thanks for reading.

Adey, Jake, Kevin and Paul - Audio T Brighton

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Welcome to Our Quadrant: The Quad 3 Integrated Amplifier

/ Audio T Manchester/

If you’ve been following our recent Quad adventures, you may already have read our thoughts on the rather lovely Quad 33/303 combination. The general consensus here at Audio T Manchester was very positive. Both units nodded beautifully to classic Quad design from the 1960s, but with a very clear step forward in sound quality and everyday usability.

Which brings us neatly to today’s blog, where we turn our attention to the Quad 3 integrated amplifier…

We asked chromey to break down the quad 3 , i think he misread the memo

Now, while the 33/303 takes its visual cues from Quad’s 1960s heritage, the Quad 3 reaches even further back into the archives, drawing inspiration from the 1950s. The result is an amplifier that looks unmistakably retro, but one that has no intention of being stuck in the past.

This is classic Quad styling, with modern hi-fi sensibilities. Or, to put it another way: welcome to our Quadrant. We only play music here… with the Quad 3, that is.

Don’t tilt over too far there lad!

Classic Looks, Modern Build

First and foremost, you have to admit that the fit and finish on the Quad 3 is exemplary.

This thing is bolted together beautifully. It feels solid, compact and purposeful, while still having that charming vintage character that makes you want to look at it as much as listen to it.

From the warm orange display to the compact proportions, the Quad 3 manages to stand out in a world where many amplifiers now seem to follow the same basic formula: black rectangle, volume knob, job done.

Not here.

The Quad 3 has personality. It looks considered, distinctive and, dare we say it, very easy on the eyes.

Not Just a Pretty Face

Of course, retro design will only get you so far. Looking lovely is one thing, but an amplifier still needs to earn its place in a modern hi-fi system.

And when we said the Quad 3 is here to compete in the 21st century, we meant it.

Here’s a quick checklist for you:

HDMI eARC? Yes.

USB? Yes.

DSD support? Yes.

Bluetooth with Qualcomm aptX? Yes.

How’s that for a modern feature list? This is a Quad!

Alongside all of that digital convenience, Quad has also remembered the analogue side of things. You get a turntable input, multiple analogue inputs and, very conveniently, a headphone output on the front panel.

So, whether you’re spinning records, connecting a TV, streaming from a phone, plugging in a computer, or simply sitting down with a pair of headphones, the Quad 3 feels like an amplifier designed for real-world listening.

A Proper Listen

So, what best describes the Quad 3 from a sound point of view?

To put ours through its paces, we partnered it with the wonderful Acoustic Energy AE1 40th Anniversary loudspeakers. A fine match, and one that gave the Quad 3 plenty of opportunity to show what it can do.

Vocals are probably its strongest area, with acoustic instruments coming in as a very close runner-up. Jazz, folk, acoustic and singer-songwriter recordings all seem to sit very naturally with this amplifier. There is a sense of ease to the presentation that makes you want to keep listening, rather than constantly analyse what the equipment is doing.

Several reviews have already highlighted the Quad 3’s midrange strength and tonal weight, and it is easy to hear why. There is a richness and body to the sound that gives voices and instruments a pleasing sense of presence.

The Quad 3 sounds mature. Odd as that may sound, I mean it as a compliment.

It is not obsessed with dragging every last microscopic detail out of a recording in a way that can sometimes become tiring. Instead, it focuses on musicality, balance and long-term listenability. It gives you the performance, but without constantly tapping you on the shoulder to remind you how clever it is being.

And honestly, that is very Quad.

The Joy of Musicality

There is a certain confidence to the Quad 3. It does not feel like an amplifier trying too hard to impress within the first thirty seconds of a demonstration. It is not all fireworks and forced excitement.

Instead, it settles into the music.

Vocals have weight. Instruments have texture. Recordings feel composed and believable. There is enough detail to keep things interesting, but not so much emphasis on detail that the music starts to feel dissected.

That word again: musicality.

Sometimes hi-fi products get so caught up in resolution, speed and technical wizardry that they forget the basic point of the exercise, which is to sit down and enjoy music. The Quad 3 does not seem to have forgotten that.

A Clever Little Preamp Too

Another strength of the Quad 3 is that it is not just a neat integrated amplifier. Its preamp section also makes it a very interesting proposition.

With its tilt control, phono stage and ESS-based DAC, the Quad 3 offers a great deal of flexibility in a relatively compact package. The tilt control in particular is a very Quad feature, giving you a simple and useful way to adjust the tonal balance without getting lost in endless menus or overcomplicated settings.

It also means that, even if you later decide to use the Quad 3 with external power amplification, such as Quad’s 303, it still has a very useful role to play at the heart of a system.

That makes it more than just an entry point into the Quad range. It feels like a proper hi-fi component with genuine long-term potential.

Final Thoughts

If you are looking for a modern integrated amplifier with the soul of a classic Quad preamp, the Quad 3 is one of the most compelling and affordable options available today.

It respects Quad’s heritage without being trapped by it. It looks back at what made the brand so distinctive, then adds the features and flexibility expected from modern equipment. The result is an amplifier that feels charming, capable and very easy to live with.

For us, the Quad 3 is not just about nostalgia. Yes, the styling is a big part of the appeal, and yes, it looks fantastic. But the real story is how naturally it plays music. It has that relaxed, mature and involving character that makes you stop thinking about the equipment and start enjoying the record, stream or film in front of you.

Finally, we are not the only Audio T store to have put the Quad 3 through its paces. Our colleagues in Brighton also wrote a blog last year, and it is definitely worth a read if you are interested.

Of course, the best way to understand what the Quad 3 can do is to hear it for yourself. If you would like to arrange a demonstration, pop into Audio T Manchester or get in touch with the team. Bring a favourite record, playlist or a few tracks you know well, and we’ll be happy to show you what this lovely little amplifier can do.

Thanks for reading.

Munir, Thomas and Dave - Audio T Manchester

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Quad can be found at the following Audio T stores

Lyngdorf RoomPerfect: The Room Correction System That Doesn’t Try to Change Your Speakers

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We’ve long admired Lyngdorf’s RoomPerfect for its natural and unobtrusive approach to room correction. We take a closer look at the technology’s origins, how it differs from traditional room correction systems, and why its philosophy of preserving a loudspeaker’s character continues to resonate with music and home cinema enthusiasts alike.

Read More

How to Look After Your Vinyl Records: A Few Simple Habits That Make a Big Difference

/ Audio T Southampton/

Please, Please, PLease do not store your records like this

There are few things in hi-fi quite as satisfying as lowering the stylus onto a favourite record and hearing that first note emerge from the speakers. Whether it’s a treasured first pressing you’ve owned for decades or the latest addition to an ever-growing collection, records have a wonderful way of making us slow down and enjoy music differently.

The good news is that keeping your records in great condition isn’t particularly difficult. The bad news is that many of the clicks, pops and crackles people often blame on vinyl are actually caused by poor handling, dust and storage.

Fortunately, a few simple habits can go a very long way…

The Golden Rule: Never Touch the Playing Surface

This sounds obvious, but it’s surprising how often we see records being handled like dinner plates.

The grooves on a record contain an astonishing amount of information. Unfortunately, they are also very good at collecting oils from fingerprints, dust and anything else your hands may have picked up during the day.

Try to hold records by the outer edge and the label area whenever possible. Your future self will thank you when your favourite album still sounds wonderful years down the line.

Dust Is Not Your Friend

Even records that look clean can have plenty of dust hiding away in the grooves.

One of the easiest upgrades you can make to your vinyl routine is simply using a carbon fibre brush before each play. It only takes a few seconds and can significantly reduce surface noise. For this, I recommend the highly affordable Pro-Ject Brush-IT Premium Record Cleaning Brush.

The perfect record cleaning brush with grounding cable and conductive carbon fibres.

Think of it like cleaning your glasses. You can still see without doing it, but everything is better when you do.

A Clean Record Is a Happy Record

Every now and then, your records will benefit from a more thorough clean.

This is especially true for second-hand purchases. We’ve all found that bargain album in a record shop that looks immaculate, only to get it home and discover it’s carrying half the dust from the previous owner’s living room.

One of the best ways to help prevent dust and dirt build-up is to use good quality inner and outer sleeves. These will also help keep the record and sleeve in better condition over time. From my own experience with own records, I recommend the Tonar 5979/LP Record Outer Sleeves, and the Goldring Exstatic Record Sleeves.

A proper record cleaning solution and suitable cloth can work wonders, while dedicated record cleaning machines can transform older collections. I recommend either the Pro-Ject VC-E2 Record Cleaner, or, for those with high-end systems and larger collections, the Degritter Mk2 Ultrasonic Cleaner.

The first time you hear a favourite album after a deep clean can be a surprisingly rewarding experience.

Give Your Records a Good Home

Storage matters more than many people realise.

Records should always be stored vertically, not stacked on top of one another. Vinyl is remarkably durable, but leave a pile of records sitting horizontally for long enough and gravity will eventually start to take effect.

It’s also worth keeping records away from direct sunlight and excessive heat, as this can warp the vinyl and, in the worst cases, make it unplayable.

A record may be made for music, but it certainly doesn’t enjoy being slowly transformed into a fruit bowl.

There are however means to save warped records, with magical devices such as the Pro-Ject Flatten-It. This device gently and safely restores records to their original shape, ensuring they spin smoothly for the best possible playback experience.


Don’t Forget the Stylus

When discussing record care, it’s easy to focus entirely on the vinyl itself. However, the stylus deserves just as much attention.

A dirty stylus can affect performance, increase distortion and even transfer debris back into the grooves you’ve just cleaned.

A quick inspection and occasional clean with the Pro-Ject Clean-IT Carbon Fibre Stylus Brush can keep everything performing exactly as it should.

After all, if the stylus is the messenger carrying information from the record to your system, it’s worth making sure it’s in good health.

michell cusis s mc cart on a michell gyro se turntable

The Vinyl Ritual

One of the things many of us love about vinyl is that it encourages a little participation.

Streaming is wonderfully convenient, but records invite us to engage with music differently. We choose an album, remove it carefully from its sleeve, clean it, place it on the turntable and sit down to listen.

Record care simply becomes part of that ritual.

And unlike many aspects of hi-fi, it costs very little to get right.

Final Thoughts

The beauty of vinyl is that, when treated properly, it can last for generations.

Many records pressed fifty or even seventy years ago still sound fantastic today, not because they are indestructible, but because somebody took the time to look after them.

A few seconds spent brushing a record, storing it correctly and keeping your stylus clean can pay dividends for years to come.

More importantly, it allows you to focus on what really matters: enjoying the music.

And surely that’s what this hobby is all about.

If you enjoyed this blog and you’re considering upgrading your TV sound and would like to explore some different options, feel free to get in touch with one of our stores or pop in for a demonstration.

Thanks for reading

Tiago, Wayne & Nick - Audio T Southampton

If you have any questions about any of the equipment featured in this article, or any other hi-fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Modest Amp, Large Speakers or Killer Amp, Modest Speakers? The Hi-Fi Balancing Act

/ Audio T Swansea/

One of the more popular questions we’re asked at Audio T Towers is: “What’s the appropriate amplifier and speaker combination for my room?”

Whilst my immediate thought is usually, “It depends,” that’s a trite and unsatisfactory answer to give without a fuller explanation travelling rapidly in its wake. So, here I attempt one…

a pair of Acoustic energy ae509s. you really can’t go wrong, although maybe there’s a ‘righter’?

The Hypothesis

our dem suite hi-fi cleverly captured reflected in an acoustic energy ae500’s shiny front baffle

Larger speakers have the advantage of producing music at scale. To use the old motor racing adage, there’s no replacement for displacement. There is, however, a trade-off, in that the larger cabinet’s surface area can add a colour all of its own, which may or may not be to the listener’s taste.

It usually manifests itself as a blooming; a less crisp sound that can be softer and warmer than its junior sibling in the same range. It will almost certainly produce deeper, more satisfying bass, though. This is a real boon if you enjoy live rock bands, electronica, full concert orchestras, or if you use the system for film, Netflix-and-chill, or sport. I particularly enjoy the sensation of a brim-full Cardiff Principality Stadium roaring as Wales score a flowing rugby try. Others may favour F1 engines howling around Spa.

We should consider room size too. Larger speakers are more efficient than the smaller models in the same range and have the ability to provide more weight to the sound, appearing to fill the space in a more satisfying manner. Our first-floor demonstration room here in Swansea is medium-sized by UK household standards, so it is ideal for the purpose of answering our question.

Method

We used some of our favourite marques: the Rega Elicit MK5 and Aethos amplifiers, alongside Acoustic Energy’s AE500 and AE509 loudspeakers.

Both combinations cost around £4,500*, which may raise an eyebrow when we pair a £1,050 pair of standmount speakers with a £3,460 amplifier. The Aethos doesn’t have a built-in phono stage, so we’re going to use a Heed Questar MM unit with our Rega Planar 3 RS turntable, giving us a £1,550 front end for both systems.

the rega aethos amplifier and rega planar 3 rs turntable. look how the curve of the amplifier’s heatsink matches that of a vinyl album. this blog isn’t just thrown together you know.

our cheeky little hungarian phono stage. £440 in this guise, but upgradable with a posher power supply…

Results

First up: the Rega Aethos and Acoustic Energy AE500.

This is just glorious. An effortless presentation, with instruments and vocals locked rock-solid in place, and a real sense of ease and unflappable control. Female vocals stand out, as they are rendered particularly attractively.

the lovely norah jones. ravi shankar’s daughter don’tcha you know

We opened with my favourite Melody Gardot album, My One and Only Thrill, and revelled in its immersive, smoky atmosphere, before following up with Norah Jones’ Come Away With Me. Ms Jones has rarely sounded quite so come-to-bed enticing. My goodness me!

The rasping blues/gospel vox of Beth Hart on her 2011 collaboration with Joe Bonamassa, Don’t Explain, is depicted with real vigour. All her tumultuous life experience is laid open with disarming honesty. Bonamassa’s guitar picking is rendered with super-clean insight, his technique plain to hear and rock-solid in a three-dimensional space.

the hart & bonamassa album ‘don’t explain’ it’s well worth a go.

Whilst swapping to the Rega Elicit and Acoustic Energy AE509 system, it is amusing how physically heavy the AE509s are and how light the Elicit feels in comparison with the Aethos/AE500 combination. Is this a harbinger?

We’re immediately struck by how much more scale is apparent with the Norah Jones album. Her piano sounds like a very large instrument now. There’s a sense of its physical size and weight, but there is also a subtle shading over her playing. The hammer-on-string strike isn’t quite as clean, and there is a little less texture to the shape of the note. Everything is a little bit softer.

a rega elict amplifier with our rega planar 3 rs turntable

Jones’ voice remains alluring and fluid, but a fine gauze shades her vocals a smidgen.

Playing the Hart and Bonamassa track Chocolate Jesus, the most obvious change is the drum kit, especially the bass drum and the large tom-tom. They’re afforded way more space here and sound realistically large. The runs are more meaty and believable, but the textures are a shade more nebulous.

Bonamassa’s guitar has a greater sense of being an electrically amplified instrument now that we have more of the bottom octave available to us. It sounds more “live”. This is very good stuff.

Hart’s vocals retain their shattering gospel/blues chops, but the definition isn’t quite as crisp. The detail of her mouth sounds is lessened, some of the heartache maybe isn’t quite there any more, and the projection is not as forthright as it once was.

It isn’t mediocre or uninvolving by any stretch of the imagination. It is thoroughly enjoyable, just not quite as dynamic, with that diaphanous gauze now in place.

That drum kit though!

rega’s planar3 rs turntable, a stone-cold bargain. (dust model’s own)

Conclusion

There’s more than one way to make an omelette.

The large amplifier/small speaker combination works beautifully in small to medium-sized spaces, where the control that a heavyweight amplifier brings to the party is very alluring. It gives the music a sense of ease, richness and command that is difficult not to enjoy.

For larger rooms, however, the listener will likely appreciate the greater scale that floorstanding speakers offer. If you want, or need, a larger sense of scale to better suit your room and musical tastes, then the Elicit/AE509 combination could be the very one for you.

If you’ve a good-sized room to fill, say 30m² or larger, then it would be wise to plump for the bigger-speaker Elicit/AE509 rig. It brings more weight, more physicality and a more convincing sense of scale, particularly with music that benefits from proper low-end presence.

If, however, your room is more modest in size and you value poise, control, delicacy and insight, then the Aethos/AE500 pairing is deeply persuasive. It may not move as much air, but what it does with texture, timing and sheer musical involvement is very hard to ignore.

You could always upgrade to the Aethos later…

Thank you for reading. Words by Adrian, images by Nic (mostly 😉)

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to contact us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Neat Momentum JS: A Little Bit of Barnard Castle Magic at Audio T Cheltenham

/ Audio T Cheltenham/

It has been some considerable time since I last blogged about anything from the consistently brilliant Neat Acoustics stable, so what more perfect excuse could there be than a brand-new arrival, all the way from Barnard Castle?




Design Philosophy

Neat will tell you that every loudspeaker begins and ends with listening. It has been this way since 1989, when their very first design, the Petite, established a reputation for delivering a surprisingly large, natural sound from a compact enclosure.

That same philosophy continues to guide them today. Measurements will always inform the process, of course, but the final judgement is always made by ear.

Each design is crafted, tuned and refined until it reveals the full character, emotion and space within real music. The aim is simple: for the loudspeaker to disappear, leaving only the music.

a momentum mountain

A Quiet Presence

Yet while Neat loudspeakers disappear sonically, they remain as objects of quiet presence in the room. Proportions, materials and finishes are considered with the same care as the sound, so that each loudspeaker feels as good to live with as it does to listen to.

And that brings us rather neatly — no pun intended, although I’m leaving it there anyway — to the brand-new Momentum JS.

Precision And Authority

With all that in mind, we present to you the Neat Momentum JS, a compact standmount loudspeaker offering those elusive qualities of focus, agility and refinement.

At the heart of the Momentum JS is Neat’s superb AMT, or Air Motion Transformer, tweeter, delivering remarkable detail, openness and delicacy. The bass-mid driver and very cleverly decoupled sub-baffle help to minimise cabinet resonance and preserve tonal integrity across the frequency range.

Bass duties are handled by Neat’s hallmark isobaric bass loading, used to improve low-end frequency response without increasing cabinet size. The result is a loudspeaker that adds impressive precision and authority without becoming physically enormous, which is always rather useful if you happen to live in something resembling a normal house.

• Dimensions: H 37 x W 22 x D 27cm
• Frequency Response: 25Hz - 45kHz (AIRR, -6dB)
• Impedance: 8 Ohms nominal; 5 Ohms minimum
• Recommended Amplifier Power: 25 - 200 watts

ready to go

A Reference System

We have now had our demonstration pair for about a month and they have already had a lot of use, so they are nicely run in.

For the purposes of this little article, I have been playing them on one of our reference systems, consisting of an Arcam Radia CD5 compact disc player and Radia A25+ amplifier. These were cabled up with my favourite Chord Company Epic X Aray RCA leads and their matching Epic X loudspeaker cable.

Speaker stand duties were supplied by the very lovely Solidsteel SA5 stands. Completing the set-up was a vintage retro Target TT2 system rack, straight out of the 1980s and doing a rather nice job too. I had forgotten how good these things were!

The Best Album Of 2010

Let me know what you think of this one!

For the purposes of this little blog demonstration session, music duties were supplied by many and varied bands and artists, including, but not limited to, George Harrison and the rather great All Things Must Pass, Scritti Politti, Van Morrison, Messiaen’s Turangalîla-Symphonie on Naxos, Eels, and a bit of “Summer Madness” by Kool & The Gang.

Look it up. It’s amazing!

My attention was grabbed the most, though, by a copy of July Flame by Laura Veirs.

This is Laura Veirs’ seventh album, which Colin Meloy of The Decemberists called “the best album of 2010”. It explores the emotion of mid-summer, which feels rather appropriate at the moment. Drenched in wood smoke, sunlight, pollinators, pastoral dales, fireworks and warm nights, her lyrics explore the dichotomy between one’s desire for permanence and security, and the realisation that such things rarely exist.

Nowhere on the album is this inherent tension more crystallised than on the title track.

Trust me they are all good

Composed mostly in the barn behind her house in Portland, Oregon, July Flame is a relatively stripped-down but insanely trippy folk record, highlighting Veirs’ masterful finger-picking guitar and confident vocals.

The album breaks from some of Veirs’ previous full-band efforts, although many of the same players make appearances, including long-time collaborators Karl Blau and Steve Moore. String arrangements feature more heavily here than on some of her other albums; the brilliant improviser Eyvind Kang plays viola on many songs, and legendary arranger Stephen Barber composed hauntingly beautiful string quartet arrangements for three of the tracks.

There are always strange little things buzzing around in the background on this album, which I just adore, and which the Neat Momentum JS portrayed with a wonderfully detailed, open and three-dimensional quality. They really do draw you into the music in that slightly dangerous “just one more track” sort of way.

Pitch Perfect And Super Smooth

vintage target tt2

I think the combination of deep, pitch-perfectly controlled bass allied to that super-smooth AMT tweeter was nothing less than a religious experience.

Yes, I know that sounds a little dramatic, but sometimes these things happen.

The Neat Momentum JS could quite possibly be my favourite loudspeakers in the shop at the moment, and that is regardless of price. They really are that good.

sockets and a port

What struck me most was how complete they sounded. There was no sense of a small loudspeaker trying to pretend to be something much larger, no forced bass, no artificial sparkle, and no sense of the presentation being stretched beyond what the design could naturally do. Instead, they simply sounded balanced, confident and hugely musical.

The bass was tight, tuneful and surprisingly weighty, the midrange was open and expressive, and the treble had that lovely sense of air and texture without ever becoming hard or shouty. They managed to be revealing without being ruthless, detailed without being clinical, and fun without becoming messy.

That is not an easy trick to pull off.

Important Info

The build quality, fit and finish are exemplary too. Beautiful cabinet work, lovely grain, and a sense that a great deal of care has gone into every part of the design.

Around the back, you will find chunky 4mm binding posts/banana sockets, along with a rear-mounted bass port. There are no grilles, and there probably never will be, but this is simply because they sound better that way and Neat are known for not wishing to compromise sound quality.

Personally, I think they look better without grilles anyway.

The Momentum JS is available in Satin White and five rather lush wood options: Natural Oak, American Walnut, Black Oak, and, for a little extra money, Gloss Ebony Flame and Gloss Ruby Flame.

A Conclusion To End With

So, to the summing-up bit that always rather predictably comes along at the end of these blog things.

The Neat Momentum JS is hand-built in England, fine-tuned by musicians, shaped by decades of experience and, I strongly suspect, sure to give years of musical enjoyment.

This is a loudspeaker that manages to feel both beautifully engineered and wonderfully human. It has all the speed, focus and detail you would hope for from a compact high-end standmount, but with a generous, natural musicality that makes you want to keep listening long after you probably should have gone and done something more sensible.

Pop along to our Cheltenham store to see and hear them for yourself.

I bet you like them.

Just so you know, this month’s blog was assisted by…

That’s Nice

Many thanks for reading.

Andy - Audio T Cheltenham

And if any of the equipment mentioned here has sparked your interest, your local Audio T store will be more than happy to help you explore further.

If you’ve enjoyed this, why not read some more of our other blogs, and be sure to follow us on our social media channels below…

Neat Acoustics can be found at the following Audio-T stores

From Celef to ProAc: The Story Behind a Great British Loudspeaker Name

/ Audio T Cardiff/

This month, your favourite Hi-Fi enthusiast and all-round music nerd is back once again. This time, I’m hot on the trail of one of our industry’s oldest, most historic and most beloved loudspeaker brands: ProAc.

In this blog, we’ll take a look at the history behind the company, explore how Celef eventually became ProAc, look at where the brand sits today, and, most importantly, spend some proper listening time with the rather lovely ProAc Response D20R loudspeakers in their stunning Liquid Amber finish.

So, without further ado, kettle on, volume up, and let’s dive into the story of ProAc.

Why ProAc?

Over the past few years, I’ve had the opportunity to hear and enjoy a great many loudspeaker brands, particularly through my work at Audio T Cardiff and my visits to The Bristol Hi-Fi Show.

One thing has always stood out to me: British-manufactured loudspeakers often have a certain character that really appeals to my ears. There is something about the way many of them balance musicality, timing, detail and long-term listenability that just seems to strike a chord with me.

One brand that has consistently impressed me is ProAc. Interestingly, ProAc is actually an abbreviation of “Professional Acoustics”, which is a little-known fact among many Hi-Fi enthusiasts. Although, I have to admit, “ProAc” certainly rolls off the tongue a little easier.

What Led Me to Write This Blog?

At this year’s Bristol Hi-Fi Show, I had the pleasure of meeting David Johnston, our representative from ProAc. We spent some time discussing the current loudspeaker range and listening to the newly released DB1R stand-mounted speakers from the renowned Response series.

PROAC DB1 D BLACK FINISH

I have to say, these compact speakers truly lived up to the phrase “small appearance, large presence”. Despite their modest size, they delivered a remarkably expansive and engaging performance, with a sense of scale that really caught me off guard.

Shortly after the show, we placed an order for a pair of ProAc Response D20R floorstanding loudspeakers. Having these fantastic speakers in the store gave me the perfect opportunity to dive deeper into this historic loudspeaker manufacturer and learn more about what makes ProAc so special.

When the D20R arrived in the beautiful Liquid Amber finish, I knew it was the perfect time to write about both the speakers themselves and the company behind them.

Before we get into how they sound, however, let’s first take a look at the fascinating history of Celef and ProAc.

The Origins of Celef

Celef was very much the brainchild of Stewart Tyler. As a young man, Stewart’s goal was simple but ambitious: to build a compact loudspeaker with deep bass extension, smooth and extended high frequencies, and a clear, uncoloured midrange.

That might sound straightforward enough, but anyone who has spent time around loudspeaker design will know that getting all of those qualities to work together is anything but easy.

Developing convincing bass performance while minimising cabinet colouration proved to be Stewart’s greatest challenge. He chose a two-way design because many three-way loudspeakers of the era suffered from phasing and integration issues. His chosen drive units consisted of an 8-inch plastic-cone bass/midrange driver and a 1¼-inch Melinex dome tweeter with phase correction.

Using an anechoic chamber for measurements, while also relying heavily on his own ears, Stewart developed a sophisticated nine-element crossover network. This dramatically reduced the break-up modes characteristic of the otherwise reliable 8-inch plastic cone driver.



Tackling Cabinet Colouration

To further combat cabinet colouration, Stewart experimented with extensive internal bracing. While this altered the frequency of the resonances, it did not eliminate them.

Eventually, he discovered that attaching bitumen-impregnated fibreboard to the interior cabinet walls effectively shifted these colourations into lower frequencies, where they were far less audible.

The most difficult challenge remained the bass system. A sealed enclosure provided excellent control but sounded somewhat artificial. Traditional reflex loading offered greater efficiency and a more natural character, but it struggled to control bass driver excursion at higher volumes.

After extensive experimentation, Stewart developed a unique solution: loading the reflex port with multiple small tubes, each contributing friction at high volume levels while remaining unobtrusive at lower listening levels.

The result was a revelation. The speakers sounded natural, controlled and remarkably free from colouration, while also delivering impressive bass performance and improved power handling.

Following further listening tests, Stewart eventually replaced the original tweeter with a 1-inch soft-fabric dome unit that offered even greater high-frequency performance.

Finally satisfied, he demonstrated the loudspeakers at the Hi-Fi store where he had purchased much of his own equipment. The staff were so impressed that the manager immediately offered to sell them, provided Stewart could build more.

Three additional pairs were delivered shortly afterwards.

All three sold within a single day.

Celef Audio was born.




From Celef to ProAc

The name “Celef” originated from the drive units used in those first speakers: a Celestion tweeter and a KEF bass driver. The Celef name quickly became synonymous with quality, accuracy and spacious soundstaging at a time when such qualities were rarely found together.

As demand increased, Stewart expanded the family business. His father took responsibility for production, while his mother oversaw quality control. Their dedication to consistency and craftsmanship became a cornerstone of the company’s growing reputation.

However, Stewart wanted to push performance even further. The turning point came in 1979 when he discovered ATC’s advanced bass and midrange drive units. Their performance was extraordinary, but so was their price.

Recognising that these premium loudspeakers represented something beyond the Celef range, Stewart established a new company: ProAc, short for Professional Acoustics.

Designed for both professional studio environments and discerning home listeners, ProAc’s first loudspeaker was the Studio Three, a three-way design that was quickly acclaimed as one of the finest box loudspeakers available.

As they say, the rest is history.


The ProAc Response D20R

Moving into the present day, ProAc has produced some of the most respected domestic loudspeakers in Hi-Fi history, including the legendary Tablet series and the highly regarded Response range.

The model I’m focusing on today is the beautiful ProAc Response D20R in Liquid Amber.

The Response D20R sits in that sweet spot where serious performance, real-world room friendliness and proper musical enjoyment all come together. It is a two-way floorstanding loudspeaker, but as I found out during my listening, it certainly doesn’t sound small or restrained.

proac d20r liquid amber

Specifications

Nominal Impedance:
8 Ohms

Recommended Amplifier Power:
20–180 Watts

Frequency Response:
28Hz–33kHz

Sensitivity:
88.5dB, 1 Watt at 1 metre

Bass/Midrange Driver:
ProAc 165mm glass-fibre weave cone driver, featuring an Excel magnet system and acrylic damping phase plug.

D20D Tweeter Option:
25mm silk-dome tweeter with air cooling and internal damping.

D20R Tweeter Option:
ProAc ribbon tweeter featuring a ribbon lighter than a human hair, rear-chamber damping and Alnico magnet assembly.

Crossover:
Premium components mounted on a dedicated circuit board, with multi-strand oxygen-free copper cabling throughout. The speakers also support bi-wiring and bi-amplification.


The System Used for Listening

Before discussing the speakers in detail, I should explain a few changes I had to make to my usual listening setup.

Some of you may notice from the photographs that this is not my music room at home. Due to the size of the D20R, getting them into my own listening space was not practical. Instead, I set them up in our large demonstration room while preparing for our ‘Built For Better Sound’ event.

Demonstration room at Audio t cardiff

In many ways, this allowed me to create something of a dream Hi-Fi system while still retaining some familiar elements from my own setup.

system setup on the apollo rack

Source

Turntable:
Rega Naia

Cartridge:
Dynavector 20X2A Low Output Moving Coil

Phono Stage

Cyrus 40 PPA
Cyrus 40 PSU

Amplification

Cyrus 40 Amp
Cyrus 40 PSU

Loudspeakers

ProAc Response D20R in Liquid Amber finish

Test Music

Rory Gallagher
Album: Rory Gallagher
50th Anniversary Edition
Track: Laundromat

Clutch
Album: Earth Rocker
2026 Remaster
Track: The Face

Incubus
Album: If Not Now, When?
Track: Thieves


The Listening

Now for my favourite part of any blog: listening to the equipment and, of course, the coffee.

This time, I didn’t make the coffee myself. Instead, it came from our friends just up the road, Mec Coffee. (Yes, I cheated, but their coffee is excellent and well worth trying). But then again, you might already be aware from our very popular Coffee & Vinyl Nights we’ve hosted there in the past.

With the Hi-Fi warmed up and coffee in hand, it was time to begin.

Rory Gallagher – Laundromat

First up on the magnificent Rega Naia was Rory Gallagher’s classic track Laundromat.

rega naia with dynavector 20x2a fitted

This was the track that impressed me most. As many Hi-Fi fans will tell you, when you know a piece of music intimately, you start to notice every little detail. You know where the guitar should sit, how the vocal should feel, where the drums should land, and whether the whole thing is drawing you in or just playing politely in the background.

The D20R brought those details into sharp focus.

Rory’s pick attack on the strings of his famously worn 1961 Fender Stratocaster was rendered beautifully. There was bite, texture and energy, but without it becoming sharp or fatiguing. His vocals sat perfectly centred within the stereo image, locked in place and presented with real presence.

More importantly, these speakers conveyed a genuine sense of scale and depth. As the rhythm section joined in, the performance felt less like a recording being reproduced and more like a live band playing in front of me.

That is something we all strive for in a great Hi-Fi system. Not just detail for detail’s sake, but the ability to make you forget about the equipment and get properly absorbed in the performance.

Clutch – The Face

Moving on to Clutch and The Face, the first thing that struck me was the sheer size of Jean-Paul Gaster’s drum kit.

From the very first snare hit, there was an enormous sense of scale and authority. The D20R did a superb job of giving the drums real weight and impact, but without letting the bass become loose or overblown.

The next moment genuinely caught me by surprise. Neil Fallon’s first vocal line arrived with such presence and realism that it perfectly embodied the classic Hi-Fi phrase: “It sounds like they’re in the room.”

Now, that phrase gets thrown around a lot, but this was one of those moments where it really did apply.

His voice carried tremendous weight and authority, reminding me of seeing Clutch perform live, where Fallon often commands the stage like a charismatic preacher addressing a congregation. The D20R managed to capture that commanding vocal character brilliantly, while still keeping the rest of the band organised and easy to follow.

The track had power, drive and scale, but it also had control. That combination is not always easy to achieve.

icubus lp playing on the rega naia

Incubus – Thieves

The final track was Incubus with Thieves, and the opening keyboard work from DJ Kilmore immediately filled the room, creating a captivating left-to-right sweep between the speakers.

This is where the D20R’s imaging really came into its own. The soundstage stretched well beyond the physical position of the loudspeakers, while still keeping individual instruments and effects clearly placed within the mix.

As Mike Einziger’s guitar entered, I could clearly hear the distinctive character of his 1968 Fender Telecaster Thinline combined with the spacious ambience of his Mesa/Boogie amplification and tape echo effects.

When José Pasillas’ drums joined the performance, everything came together beautifully. The whole presentation felt expansive, open and exceptionally well organised, delivering a wonderfully convincing stereo image.

The D20R did not pull the music apart or over-analyse it. Instead, it allowed each element to breathe while keeping the performance connected and enjoyable. That balance is one of the things I enjoyed most about these speakers.


Final Thoughts

As I mentioned at the beginning of this blog, I have come to know and appreciate ProAc over the years for what the company has contributed to the world of Hi-Fi.

The ProAc Response D20R may well be one of the finest two-way floorstanding loudspeakers I have heard. Its ability to reveal fine musical detail while remaining engaging and natural is deeply impressive.

Much of this performance can be attributed to ProAc’s ribbon tweeter technology, which the company has spent many years refining and integrating seamlessly with its bass/midrange drivers. It gives the D20R a wonderfully open and detailed top end, but without making the speaker sound bright, forced or tiring.

Another standout feature is the speaker’s bottom-firing port design. Not only does it deliver excellent bass performance and control, but it also makes room placement significantly easier than many traditional rear-ported designs. That is a major benefit for real-world listening rooms, where loudspeakers often have to work around furniture, fireplaces, awkward corners and the general realities of domestic life.

The D20R combines musicality, scale, detail and ease of use in a way that few loudspeakers manage. It is revealing enough to show what a great system can do, but it does not lose sight of the reason we all got into this hobby in the first place: enjoying music.

For anyone seeking a premium British loudspeaker that delivers both emotional engagement and serious performance, the ProAc Response D20R deserves serious consideration.

If you would like to hear the ProAc Response D20R for yourself, please feel free to get in touch with us at Audio T Cardiff. We’ll be more than happy to arrange a demonstration, put the kettle on, and help you find out whether these rather special loudspeakers are the right fit for your system.

Thank you for reading.

Matt Aaron - Audio T Cardiff

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to contact us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

ProAc can be found at the following Audio T stores

Rega Planar 6 RS: Is It Worth the Upgrade?

/ Audio T Swindon/

If you've spent any time researching turntables in the £1,000 to £2,500 bracket, chances are you've come across the Rega Planar 6. For many vinyl enthusiasts, it's long been one of the sweet spots in the Rega range, offering a significant step up in performance without venturing into truly high-end territory.

Recently, however, Rega introduced the Planar 6 RS (Rega Special), a model that takes the familiar Planar 6 formula and adds a number of carefully selected upgrades borrowed from higher up the range.

So what exactly are the differences between the two? More importantly, is the RS worth the extra investment? Let's take a closer look…

A brief history

Founded in 1973 by Tony Relph and Roy Gandy, the Rega name comes from the founders' surnames. Their first product was the Planet turntable, followed shortly afterwards by the Planar 2 and Planar 3. These quickly became industry classics and helped establish the company's international reputation.

During the 1980s, Rega expanded beyond turntables into tonearms, cartridges, amplifiers and loudspeakers, evolving into the full hi-fi manufacturer we know today.

Now employee-owned, Rega continues to design and manufacture its products in England. The company exports to more than fifty countries worldwide and has built its reputation on an engineering-led approach that prioritises lightweight, rigid designs, simplicity and exceptional value for money.

The original rega planet Turntable

The Planar 6

The standard Rega Planar 6 was officially launched in 2017 and represented a substantial leap forward from the outgoing RP6.

At its heart was Rega's ultra-lightweight Tancast 8 polyurethane foam core plinth, sandwiched between high-pressure laminate skins. Combined with the external Neo PSU speed controller, the Planar 6 delivered significantly improved accuracy, stability and performance.

Rega Planar 6

I've always had a particular soft spot for the Planar 6. It captures everything that makes Rega turntables so enjoyable to listen to. It's fast, engaging, rhythmic and effortlessly musical. Even today, it remains one of the strongest performers at its price point and continues to represent excellent value for money.

A few years later, Rega introduced the hugely successful Planar 3 RS. This special edition model sat neatly between the standard Planar 3 and Planar 6, offering a collection of carefully chosen upgrades that delivered performance well beyond what the price difference might suggest.

Planar 6

It quickly became one of Rega's best-selling turntables, largely because the cost of adding those upgrades individually would have been considerably higher. Put simply, customers recognised a bargain when they saw one.

Following the success of the Planar 3 RS, it was perhaps inevitable that Rega would apply the same thinking to the Planar 6.

Meet the Planar 6 RS

Planar 6 rs

Finished in a stunning brushed aluminium effect, the Planar 6 RS takes the already impressive Planar 6 platform and incorporates several technologies and components derived from the higher-end Planar 8.

The result is not a completely different turntable, but rather a more refined and capable version of an already excellent design.

Key changes

RB 880 tonearm

Although visually very similar to the RB330 fitted to the standard Planar 6, the RB880 is a significantly more sophisticated tonearm.

Featuring tighter bearing tolerances, improved bearing assemblies and more precise construction throughout, the RB880 allows the cartridge to extract more information from the groove whilst maintaining exceptional tracking ability.

In my view, this is arguably the single biggest contributor to the RS's improved performance.

Nd9 cartridge

The Planar 6 RS comes factory-fitted with Rega's flagship Nd9 moving magnet cartridge.

Hand-built and featuring a boron rod cantilever alongside a Fine Line stylus profile, the Nd9 is capable of retrieving remarkable amounts of detail whilst remaining wonderfully musical and engaging.

Its neodymium magnet system is both exceptionally powerful and extremely lightweight, helping to improve accuracy and responsiveness.

Quite simply, the Nd9 is one of the finest moving magnet cartridges currently available.

Twin Belt Drive

Borrowed directly from the Planar 8, the RS adopts Rega's CNC-machined twin pulley system and twin drive belts.

The benefit is improved speed consistency, greater rotational stability and more precise pitch accuracy, particularly noticeable on sustained piano notes and complex musical passages.

Twin pulley and belt arrangement. Aluminium skin

Enhanced Plinth Construction

Whilst retaining the lightweight Tancast foam core construction that makes the Planar 6 so successful, the RS adds a rigid brushed aluminium laminate skin to the plinth.

This construction was first seen on the highly successful Planar 3 RS and helps further increase rigidity whilst maintaining the low-mass design philosophy that Rega is famous for.

Sound Quality Comparison

For this comparison, I used a system consisting of a Rega Elicit MK5 amplifier and ProAc D20R loudspeakers. The standard Planar 6 was fitted with Rega's Nd7 moving magnet cartridge, allowing for a fair comparison between the two decks.

Using a selection of my regular reference LPs, it quickly became apparent that the differences were far from subtle.

The Planar 6 RS doesn't fundamentally alter the familiar Rega character. The sense of timing, energy and musical engagement remains very much intact. What it does is build upon those strengths.

The first thing I noticed was an increase in overall resolution. Small details that were previously sitting further back in the mix became easier to hear, yet never sounded forced or analytical.

Bass notes carried greater weight and definition, making rhythms feel more grounded and authoritative. The stereo image was noticeably more stable, with instruments occupying more clearly defined positions within the soundstage.

Perhaps most impressive was the reduction in perceived noise floor. The RS presents music against a quieter background, allowing subtle details and dynamic shifts to emerge more naturally.

The result is a turntable that feels more refined, more accomplished and ultimately more convincing, whilst never losing the sense of fun that makes Rega products so enjoyable to listen to.

Which should you choose?

There's no question that both versions are excellent turntables.

The standard Planar 6 remains one of the best turntables available at its price and continues to offer outstanding performance and value.

However, the Planar 6 RS is arguably the more compelling package. The RB880 tonearm, Nd9 cartridge, twin belt drive system and upgraded plinth construction would cost significantly more to replicate later as individual upgrades.

For that reason alone, the RS represents exceptional value.

In many ways, it also fills an interesting gap in the Rega range. If you've always admired the performance of the Planar 8 but prefer the practicality and everyday convenience of a full-sized plinth and fitted dust cover, the Planar 6 RS could be exactly what you're looking for.

Final Thoughts

The beauty of the Rega range is that there are no bad choices. Whether you choose the standard Planar 6 or the new Planar 6 RS, you're investing in a turntable that has been designed with a clear engineering philosophy and built to provide years of musical enjoyment.

That said, after spending time with both, I can certainly see why the RS has generated so much interest. It takes everything I already love about the Planar 6 and pushes it further. More detail, more refinement, greater stability and an even more convincing musical performance.

Of course, the best way to decide is to hear them for yourself.

If you're considering a new turntable, upgrading your existing deck or simply curious about what the latest Rega models can do, we'd be delighted to arrange a demonstration here at Audio T Swindon. Bring along a few of your favourite records, spend some time listening, and discover which model is right for you.

Thanks for reading, and we look forward to welcoming you in-store soon.

Jon and Andy - Audio T Swindon

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to contact us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Good, Better, Best: What We Learned from Our Recent Turntable Upgrade Event

/ Audio T Brighton/

Hello everyone! Welcome to the June blog from Audio T Brighton.

This month, we'll be looking back at one of our recent in-store events, which was built around a simple principle: Good, Better, Best.

Working our way through a carefully chosen selection of turntables, cartridges, phono stages and accessories allowed us to explore where upgrades can make the biggest difference, and whether those differences always justify the additional investment.

Some interesting conclusions were reached during the day, and it was fascinating to hear the reactions of those attending as we worked through the various upgrade options. As is often the case, there was plenty of agreement on some changes and a little healthy debate on others.

With that in mind, we thought we'd share a few of the highlights for those considering upgrades of their own. And without further ado, let's get started.

D-Day for Potential Upgrades - (Saturday 6th June)

Turntable Sessions: Step up Your Sound!

Our handy in-store rega display played the perfect backdrop for the event

As you can see from the photo above, we have a bespoke Rega wall display, with up to four decks mounted on a dedicated Rega wall brackets for each deck. Given that one of the main points of discussion in this blog is to maximise sound quality and pleasure from vinyl record playback, using wall mounting is an excellent way of isolating the turntable from external vibrations, such as footfall or speaker rumblings.

As for the rest of the kit - The Rega Elicit Mk 5 amplifier, Neo PSUs, Fono MM, Fono MC and brand new AOS phono stage were placed on a Quadraspire rack. We opted for the Acoustic Energy AE1 40th Anniversary Edition speakers on SolidSteel stands for this occasion.

Meet the Audience

With permission, I took a picture of the motley crew (not the band!) and started from the beginning, discussing the basics of turntable set-up, stylus care and record maintenance.

One of the things I enjoy most about these events is that everyone arrives with different levels of experience. Some attendees have been enjoying records for decades, while others are only just beginning to explore what better vinyl replay can offer. It makes for some great discussions, and hearing different perspectives on the same piece of music is always fascinating.

Once everyone was settled in, we started our journey through the upgrade path.

Rega Planar 3 with Rega ND3 MM Cartridge

The audience was pleasantly surprised at how clearly the Rega Planar 3/ND3 portrayed the energy of Taxman by The Beatles. Details and dynamics were in abundance, but the word "crude" was mentioned. That perhaps sounds harsher than intended, because in isolation the combination is rather good. It was only when placed alongside the next upgrade that a clearer picture emerged of where improvements could be made. A rough diamond, so to speak!

Rega Planar 3 with Rega ND5 MM Cartridge

I spent some time explaining the differences between the Rega Planar 3/ND3 and Rega Planar 3/ND5. The ND3 cartridge has a bonded elliptical stylus, whereas the ND5 cartridge features a perfect nude diamond elliptical stylus profile.

We played Taxman by The Beatles once again, being careful not to put words into the mouths of our listeners. To the surprise of many, there was a clear preference for the Rega ND5. Listeners commented on greater detail and refinement through the treble, alongside bass that was both more tuneful and controlled.

Interestingly, exactly the same conclusions were reached during the afternoon session, with comments closely matching observations I've heard many times during demonstrations over the years.

Small things matter!

Rega Planar 6 with ND7 MM Cartridge

Things are a little different here, with three things changing at once: a Rega Planar 6, fitted with an ND7 cartridge and powered by Rega's Neo MKII power supply.

Listening to this deck produced noticeably more detail, a larger soundstage and greater control and punch in the bass. The audience commented that the deck and power supply were clearly playing their part, but still felt the ND7 cartridge brought additional finesse to the sound.

Overall, the feeling was one of pleasant surprise at just how good a moving magnet setup could sound.

Rega Planar 8 with Rega Ania Pro MC

So our penultimate turntable/cartridge combination was the Rega Planar 8 fitted with the Rega Ania Pro MC. In order to play records on this deck, we had to introduce either a Fono MC phono stage or the latest AOS moving coil phono stage to discover what the combination was really capable of.

I wrote about both the Rega AOS and AURA phono stages in last month's blog, so if you'd like to read more about them, you can do so here.

Of all the upgrades demonstrated during the day, this produced the most dramatic change in presentation. Interestingly, however, not everyone agreed that every aspect of the change was necessarily for the better.

Clarity, dynamics, detail and instrumental texture all stepped forward significantly, bringing performers much further into the room. The reactions around the room suggested that this particular upgrade had certainly captured people's attention.

Listening to the track Point and Kill from Little Simz's album Sometimes I Might Be Introvert really demonstrated what moving further up the ladder can achieve, with the leading edges of notes carrying greater impact and authority.

Interestingly, some listeners felt that the AOS was almost too revealing at times, preferring the slightly more rounded presentation of the Rega Fono MC in this particular system. This highlights an important point: system building isn't simply a case of buying the most expensive component available. From experience, we've personally found that the Apheta 3 MC cartridge is a more natural partner for a phono stage of the Rega AOS's calibre. It's also a good example of where speaking to an experienced dealer can prove invaluable, helping you navigate the upgrade path and avoid a few unnecessary bumps in the road.

Cleaning the Grit Off Your Records

One of our audience members brought along a first pressing of Pink Floyd's The Wall, which provided the perfect opportunity to look at another upgrade path available to vinyl enthusiasts: record cleaning.

The Degritter Mk 2 has been one of our most successful products in recent years. Whilst certainly not an inexpensive piece of equipment, the before-and-after demonstrations have created many converts, particularly amongst those with larger record collections.

Once again, it didn't disappoint. After listening to Comfortably Numb, the improvement was immediately obvious.

Cymbals shimmered with greater clarity, vocals sounded noticeably cleaner and more intelligible, and background noise was reduced dramatically. The result was a more relaxed and engaging listen, allowing the music itself to come through more clearly.

Interestingly, the audience reached a conclusion that perhaps none of them were expecting. Several felt that a Rega Planar 6/ND7 combined with a Degritter represented a more worthwhile upgrade than moving straight to a Rega Planar 8/Ania Pro.

It was certainly an interesting outcome, and one that neatly reinforces the "source first" philosophy that we continue to advocate.

Final Thoughts

Summing up our upgrade session, I hope it was as enjoyable for our audience as it was for me presenting it. There was plenty of post-session discussion about future upgrades, and everyone seemed to leave having learned something new.

Perhaps the most interesting aspect of the day was that some of the conclusions weren't necessarily what people expected. Whilst moving further up the turntable ladder undoubtedly brought improvements, the demonstrations also highlighted how much difference can be made by seemingly smaller changes, whether that's upgrading a cartridge, adding a better phono stage or simply ensuring your records are as clean as possible.

If there was one lesson to take away from the event, it's that there is no single "right" upgrade path. Every system, room, collection and listener is different. What represents the best value for one person may not be the best choice for another, which is why demonstrations remain such an important part of the buying process.

I hope you, the reader, have gleaned something useful from this account of the day as well.

Of course, these are simply our observations, and the only opinion that truly matters is your own. If you'd like to hear any of the products featured here for yourself, give us a call or drop us a message and we'll be happy to arrange a demonstration.

Thanks for reading.

Adey, Jake, Kevin and Paul - Audio T Brighton

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Sorting the Peaches from the Lemons - How to Buy Great Hi-Fi Without Breaking the Bank

/ Audio T Portsmouth/

Half the battle in choosing the best hi-fi components is in knowing what to look for, especially if our options are limited by our finances. In this months blog, we seek to offer some unbiased buying advice, especially for those on tighter budgets.

Your friendly local Audio T has been the starting point for countless hi-fi journeys over the decades. And for good reason.

At Audio T, honest advice (and remember there’s no such thing as a stupid question) is free and you can try before you buy in one of our comfy demo rooms (coffee and tea included). We even offer Home demonstrations and loans.

Whilst purchasing online has its advantages and convenience, nothing quite replaces hearing a component or system for yourself before making a decision. If you're already familiar with a particular product and know its sound well, then buying online can be straightforward. However, if you're investing in something new, taking the time to listen first can help ensure you choose equipment that suits both your tastes and your expectations.

So, what things should you consider when looking for a great value hi-fi system?

Value for money

Given the current cost of living, price is obviously a major factor for many. But it’s worth remembering that price and value for money can be two very different things.

Whilst we will always try to suggest an audio solution that fits your budget, we also appreciate you may be smitten by a system that costs a little bit more than you were originally looking to spend. So, we understand that many customers may prefer the option of spreading payments, so we offer a range of finance options.

What to do?

Well, if you don’t want to go down the finance route then you might consider staggering your purchases. This is easy if you have existing hi-fi.

So, for example, you could buy the turntable or amp you really like and use them with your existing speakers until you’re ready to buy new speakers. Or buy the turntable and speakers and keep your amp for the time being. You get the picture.

That is one of the advantages of hi-fi separates. It is essentially a modular system, allowing you to upgrade components – speakers, amp, streamer, turntable, CD player, cables etc – when required and/or finances permit.

Advance paris X-CD7

It is usually better to take your time and build the system you really want rather than compromise simply because something is cheap or immediately available.

A hi-fi system works best when its components complement each other, so it's worth choosing products because you enjoy the way they sound together, not just because they fit a budget or happen to be on offer. Listening before you buy can help ensure you're investing in equipment you'll be happy with for years to come.

Rega system one

Sound quality

What floats one person’s boat in terms of sound, may leave another unimpressed. In short, how we like our music to sound is highly personal.

That said, there are certain fundamental characteristics that separate good quality sound reproduction from the poor.

Hopefully this brief guide will help.

Detail – The more detail a system can reveal, the more of the recording you'll hear. You may know there's a second guitar line in the background, but can you hear it clearly? Can you pick out individual voices within a harmony? Good hi-fi helps uncover the subtleties the artist intended you to hear.

Tonality – Tonality is about how natural instruments and voices sound. Does a cymbal shimmer realistically? Does a singer sound rich and expressive, or thin and lifeless? A good hi-fi system should reproduce music in a way that feels authentic and believable.

Soundstage – Most music is mixed in stereo, with instruments and voices placed across an imaginary stage. A capable hi-fi system recreates this sense of space, allowing you to picture performers spread out in front of you rather than everything coming from a single point. The best systems also add a convincing sense of depth and height.

Separation – Separation is the ability to distinguish individual instruments and voices, even during busy passages. A well-designed system allows you to follow different musical lines easily, rather than everything blending together into a wall of sound.

Dynamics – Music isn't meant to be played at one intensity. A good hi-fi system should capture the difference between delicate, quiet moments and powerful crescendos, giving music a greater sense of scale, drama and emotion.

Timing – Timing is often overlooked, but it's fundamental to musical enjoyment. When every note starts and stops exactly when it should, music sounds tight, coherent and engaging. Get the timing right and everything else tends to fall into place.

These are the qualities we look for when assessing hi-fi systems, but there is no single 'correct' way for music to sound. Different systems place different emphasis on these characteristics, which is why some people prefer one presentation over another. The important thing is finding a system that delivers these fundamentals in a way that appeals to you.

arcam cd5

Listening

The importance of auditioning new hi-fi cannot be overstated. Each Audio T store has at least one demonstration room so customers can listen to and compare components before buying.

Our customers tend to bring in their own records or CDs or to stream music that they know well so that they can make informed judgements about the sound of the components or systems they are listening to.

Wiim Amp Ultra

The key to a good demo is keeping things simple. Try to compare only two or three components at a time, otherwise it can become difficult to remember what you heard. If you already have a specific product in mind and simply want to hear it before making a decision, then the process becomes even easier.

It also helps to bring a small selection of music you know well. Perhaps choose an acoustic track to assess tonality, a busy rock or orchestral piece to test separation and dynamics, and a particularly well-recorded track to judge detail and soundstage.

Wiim sound

Even with a carefully planned demo, comparing hi-fi isn't always straightforward. You may find yourself switching back and forth between components, listening to the same section of music repeatedly, only to discover that one component excels in one area while another shines elsewhere.

When that happens, it can help to stop analysing and simply listen to the music. Which system draws you in? Which one makes you want to hear another track?

More often than not, customers choose the system they enjoy listening to the most, and that isn't always the one with the most detail or the widest soundstage. The best hi-fi system is usually the one that makes you want to keep playing music.

Quality hi-fi on a budget

To get you started, here are a few examples of components and systems that offer excellent performance without breaking the bank.

Vinyl – Rega's turntable range starts with the excellent Planar 1 and extends all the way to the flagship Naia. If you're looking for a complete vinyl-based system, the Rega System One is a tempting package that includes a Planar 1 turntable, IO amplifier, Kyte speakers and speaker cable. Audio-Technica and Pro-ject also offer some excellent value turntables.

CD – Denon and Marantz remain go-to brands for affordable CD players, with models such as the Denon DCD-600NE, DCD-900NE and Marantz CD6007 proving consistently popular. Other strong contenders include the Advance Paris X-CD7, Arcam CD5, Pro-Ject CD Box S3 and Rotel CD11.

Streaming – WiiM has made a big impact in recent years with products such as the Mini, Pro and Ultra, offering an affordable route into music streaming. The WiiM Amp Ultra also provides a simple just-add-speakers solution.

If your budget allows, Bluesound offers a worthwhile step up in performance, with the Node Nano, Node Gen 4 and Powernode Edge all delivering excellent sound quality and ease of use.

Ruark r3s

All-in-one systems – While all-in-one systems inevitably offer fewer upgrade options than traditional separates, they can represent excellent value for those seeking simplicity and convenience. Models such as the Advance Paris MyConnect 60, Denon Ceol RCD-N12 and Marantz MCR612 only require a pair of speakers to complete the system. If you'd prefer an all-in-one solution with speakers included, the Ruark R3S is an excellent choice.

Smart speaker options – Smart speakers have come a long way in recent years and can be an excellent choice for those who don't have the space for separates or simply prefer a cleaner, more minimalist look. WiiM is producing some particularly impressive products in this category. Pair a WiiM Sound and a Sound Lite with a WiiM Sub Pro and you have a compact streaming stereo system capable of delivering surprising scale, weight and musical enjoyment.

Conclusion

While specifications, reviews and recommendations can all be useful, nothing tells you more about a piece of hi-fi equipment than listening to it for yourself. After all, the most important question isn't whether a product is good, but whether it delivers the sound you're looking for.

This is just as true if you're putting together a modest first system as it is if you're investing in high-end separates. The aim is always the same: to get the best sound your budget will allow.

That's why we always encourage customers to listen before making a decision whenever possible. At the Portsmouth store, we can demonstrate a wide range of equipment and help you compare different options in a relaxed environment.

If you'd like to discuss your requirements or arrange a listening session, drop us an email at portsmouth@audio-t.co.uk or call us on 02392 663604.

If you’ve enjoyed this, why not read some more of our other blogs, and be sure to follow us on our social media channels below…

Taking the Biscuit - A Very Unscientific Guide to Hi-Fi and Confectionary with Audio T(ea)

/ Audio T Bristol/

The Great Bristol Biscuit Debate

Following a busy run of events here at Audio T Bristol, featuring everything from turntables and streaming systems to loudspeaker demonstrations, I found myself wondering whether I could squeeze one more expense past accounts.

"Hi, it's Justin. Quick question. Can we buy some biscuits for the shop?"

There was a pause.

"Justin, haven't you already spent the monthly biscuit allowance on events?"

Fair point.

It turns out that once you've hosted enough listening sessions, demonstrations and customer evenings, biscuits become a surprisingly complicated subject.

As regular readers will know, I'm rarely one to miss an opportunity for a questionable analogy. Having already compared Hi-Fi to cars, wine, food and various Greek myths, it was perhaps inevitable that I would eventually arrive at biscuits.

After conducting what can only be described as extensive research (and absolutely no procrastination whatsoever), I discovered one of the internet's most comprehensive biscuit resources and began wondering whether Hi-Fi systems could be categorised in exactly the same way.

The results are, admittedly, highly scientific.


What Do Biscuits Have to Do with Hi-Fi?

The whole biscuit debate isn't really about biscuits at all. It's about taste, value and expectation.

If you open the door to biscuits, it rarely begins and ends with a modest Rich Tea. One person's Rich Tea is another person's handcrafted apricot and ginger cookie with Belgian chocolate the size of a side plate.

And here comes the Hi-Fi bit.

High Fidelity does not mean high price. The only real requirement is a love of music and a curiosity to hear more from it. Value is subjective.

If you're starting your Hi-Fi journey, a pair of Ruark MR1 speakers with a Pro-Ject Debut Carbon turntable comes in at around £800. That's a lot of coffees, several decent nights out, or a sizeable chunk towards a summer holiday.

But in smiles per pound, coming home after a hard day's work, or studying late into the evening while listening to music you love through a quality system, is difficult to put a price on.

The journey of discovery is what makes this hobby so rewarding. Hearing a favourite album in a new light, buying a record you've always wanted, or rediscovering music you've owned for years, creates connections to moments in time that stay with you forever.

So, moving away from the dreaded Hi-Fi press Top Trumps approach of scores out of ten, affordability rankings and marketing budgets, here are some of our favourite systems at Audio T Bristol, categorised according to their biscuit equivalent.

Top 3 Trusted Bristol Favourites

(Rich Tea, Nice and Bourbon)

Dependable, satisfying and always welcome.

These are the systems that consistently put smiles on faces. They're accessible, enjoyable and offer excellent value without compromising the musical experience.

Top 3 Trusted Classics

(Digestives, Ginger Nuts and Hobnobs – the Arnold Schwarzenegger of biscuits. Unbreakable and capable of surviving an all-day dunking session.)

Moving up the biscuit ladder, we arrive at the slightly more contentious category. Are these trusted favourites, or are they becoming a little indulgent?

These systems represent a serious step forward in performance while remaining firmly grounded in real-world listening enjoyment.

Top 3 Indulgent Treats

(Leibniz, luxury shortbread and anything sold in a tin with "Finest", "Taste the Difference" or "Exclusively Baked" written on it.)

Now we're entering territory where restraint begins to disappear.

These systems are refined, sophisticated and wonderfully rewarding. They may not be everyday purchases, but they deliver an experience that is genuinely special.

The Crazed Top 3

(Jaffa Cakes, KitKats and Tunnock's. Is it a biscuit? Is it a cake? Is it something else entirely?)

Then there are the systems that refuse to fit neatly into categories.

These are the audio equivalent of discovering Speculoos biscuit spread and immediately wondering whether civilisation has peaked.

Anything from the wonderfully eclectic Audio Note, along with the beautifully individual Harbeth range, comfortably belongs here.

These systems appeal to listeners who value personality, character and individuality just as much as outright performance.

A Final Biscuit Observation

For those wondering, the full biscuit-cake equivalent is probably a Naim 300 Series or 500 Series system complete with multiple power supplies.

There are levels to these things.

So, I hope this has whetted your appetite for a bit of Hi-Fi. Whatever your musical tastes, budget or experience level, we have a family-sized assortment of systems waiting to be discovered here at Audio T Bristol.

Just don't ask about the biscuits.

Thanks for reading.

Paul, Justin & Max - Audio T Bristol

If you have any questions about the Rega AOS, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Rega AOS: The New Benchmark for Moving Coil Vinyl Playback?

/ Audio T Bristol/

What a faux pas.

I started penning this blog back in March, feeling rather pleased with myself. Rega has a habit of choosing names that sound as though they have some deeper meaning behind them, so when I first heard about the AOS, I somehow convinced myself it was actually called the EOS.

That sent me down a rabbit hole of mythology. Eos was the Greek goddess of dawn, rising each morning to bring light and disperse the night. Then there was Eostre, the Germanic goddess associated with spring, renewal and longer days. It all seemed rather fitting for a product that promised to breathe new life into a vinyl system.

Then I looked at the product name again.

It's AOS, not EOS.

So, please ignore my carefully constructed mythology lesson and welcome to this month's blog.

Rega's Spiel

The AOS is a dedicated, no-compromise, fully adjustable moving coil phono stage using a circuit design based heavily on the Rega Aura reference MC phono stage. Comparing the specifications, two of the three stages are shared between the Aura and AOS, albeit with different components.

Housed in a half-width, fully aluminium case, much like its Aria predecessor, the enclosure screens the internal circuitry from stray RFI signals. The AOS is designed to work with a wide range of moving coil cartridges, offering plenty of gain for low-output MCs and excellent loading adjustability, making it the perfect partner for whichever moving coil cartridge you choose.

Unlike the outgoing Aria, the AOS is MC-only, with no moving magnet input. I suspect this means a dedicated MM model may be on the way to complement the new Nd cartridges.

The AOS utilises parallel-connected, low-noise FETs (Field Effect Transistors) configured as a compound pair. The use of FET transistors ensures there is no bias current flowing in the cartridge coil, preventing any disturbance to the delicate magnetic geometry of the cartridge.

Via DIP switches on the rear panel, the MC input allows resistive loading adjustment from 70Ω to 400Ω and capacitive loading from 1,000pF to 4,300pF. Input sensitivity can also be adjusted by 6dB, and there is an automatic standby function when no signal is detected.

The Setup

Turntables

  • Rega Planar 10 with Apheta 3

  • Linn Akurate LP12 (Arko arm, Krystal cartridge, Lingo 4)

Phono Stages

  • Rega AOS

  • Rega Aura

  • Rega Fono MC

Preamplifiers

  • Naim Atom HE

  • Naim NSC 222

  • Rega Mercury

Power Amplifier

  • Rega Solis

Integrated Amplifier

  • Sugden A21SE

Speakers

  • ATC SCM40A

  • ATC SCM100A

Phono stages are tricky things. Along with cartridges, they are among the most difficult components in a Hi-Fi system to evaluate. Determining whether the sound is different is usually straightforward. Determining whether it is genuinely better can be another matter entirely.

Speak to some of the true analogue Hi-Fi crate-digging vinyl aficionados, and they'll happily tell you which turntable, arm, cartridge and phono stage combination works best with a particular pressing.

For most of us mere mortals, however, we simply want to set everything up, enjoy our records and get on with listening to music.

For us at Audio T, the question is slightly different. We need to know how well a component plays with others. Is it flexible enough to work across a range of systems, or is it going to punch you in the face and steal your lunch money? Hence the rather extensive list of equipment used to evaluate the Rega AOS.

The Listening

I think there is a level of class that any vinyl playback system needs to achieve. Old and less-than-perfect pressings are often the best test of this. Fundamentally, the resolving power of a system should never get in the way of the music. Great recordings should sound spectacular, but average recordings should still remain engaging and enjoyable.

Vinyl Used

  • To Kill a Mockingbird – Elmer Bernstein

  • The Stunt Man – Dominic Frontiere

  • Bonny Light Horseman – Bonny Light Horseman

  • Exodus – Bob Marley & The Wailers

  • Blue Note Re

  • Houses of the Holy – Led Zeppelin

  • The Reprise Years – Frank Sinatra

  • We Out Here – Various Artists

  • To Pimp a Butterfly – Kendrick Lamar

Beginning with the Naim Atom HE and ATC SCM 40A active speakers, switching between the Rega AOS, Aura and Fono MC, the biggest jump in performance was between the Fono MC and the AOS.

The AOS brought a noticeable improvement in soundstage depth and scale, allowing recordings to breathe more naturally. What was perhaps more surprising was just how close the Aura remained to the AOS in this setup.

Moving to the Naim NSC 222, some daylight began to appear between the two. Bass texture on Exodus became more apparent through the Aura, while instrument separation and spatial presentation on The Stunt Man soundtrack gained further clarity, width and depth.

Stepping up again to the Rega Mercury and Solis driving the larger ATC speakers, the Aura really began to justify its flagship status. This wasn't necessarily dependent on the turntable itself. If anything, switching between the Planar 10 and the Linn LP12 highlighted the differences even more clearly.

What remained impressive throughout was just how composed and capable the AOS sounded. It never felt out of its depth, never embarrassed itself and consistently delivered a highly engaging performance regardless of the partnering equipment.

The further up the system hierarchy you moved, the more advantages the Aura revealed. Yet at every stage, the AOS remained remarkably competitive.

The Summary

The Rega AOS is surprisingly — or perhaps worryingly — close to the Aura.

Given that it shares two of the three core stages found in Rega's reference phono stage, this should perhaps come as no surprise, even if different component choices have been made to achieve a more accessible price point.

Where the Aura ultimately pulls away is when the rest of the system reaches genuine reference-level territory. In those circumstances, the additional refinement, resolution and authority become increasingly apparent.

However, Rega has once again performed its familiar trick of producing a component that appears to outperform expectations for its price. The sheer enjoyment offered by the AOS should not be underestimated.

Here at Audio T, our staff have experience with a wide range of equipment and can help find the best combination to suit both your system and your budget. As always, listening before buying remains the best advice we can give.

Paul, Justin & Max - Audio T Bristol

If you have any questions about the Rega AOS, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Gallic Bias? Absolutely. Why the Advance Paris X-i50 BT Keeps Winning Us Over

/ Audio T Swansea/

It’s been a year and a half since we first clapped ears on the Advance Paris X-i50 BT, part of the first tranche of the Advance Paris range we began stocking. At the time, the range was almost an Audio T exclusive, and with so many units arriving for evaluation, we didn’t initially dive too deeply into the X-i50 itself…

our hero, the amplifier in question

rega’s little io amplifier. brilliant commander for your 1st proper vinyl-source hifi

the marantz pm6007 amplifier. a safe pair of hands but not dirty enough for grime. who could have guessed?

Since then, however, we've lived with it for 18 months, typically demonstrating it against other noteworthy models in a similar price range, including the Rega iO and Marantz PM6007.

As much as we love both the award-winning iO (especially for anyone putting together a modest first-time vinyl system) and the steadfast PM6007 and its various iterations over the past 26 years (being one of the few amplifiers available at this price point to feature rotary bass and treble controls), we sometimes find that the X-i50 BT offers a sonic quality that some customers simply can't resist...

A Request That Put Things Into Perspective

A recent demo request brought the X-i50 BT sharply back into focus. The brief was for a system capable of delivering a convincing soundstage for Hip-Hop, Grime and Drill, but on a modest budget and in a sizeable kitchen-diner-family-room setup.

Righty-ho.

Although we appreciate all genres of music here at Audio T Swansea, none of us are particularly immersed in Grime or Drill. Happily, I have a partner who is exposed to the musical tastes of people under 30, and her spluttered response to my confusion was:

“You've heard of Chase & Status. I've played you their stuff, and I know you've heard of Stormzy. They're Grime artists.”

“Oh yeah... that Grime. Riiigghht...”

Building the System

My customer specifically wanted a WiiM streamer-based system, having heard they were excellent value for money. He also liked the smart styling of the WiiM Ultra and its genuinely useful touchscreen. And who could argue with that?

brilliant value for money - Acoustic Energy AE109²

He was concerned that, from his own research, a Marantz PM6007 or Denon PMA-600NE might be a little undergunned for the task at hand, so he asked for recommendations. His strict budget allowed for one of our favourite modest floorstanders, the Acoustic Energy AE109² — compact speakers that are normally quite easy to drive.

But these were not normal circumstances.

We needed an amplifier capable of pushing these speakers to deliver great slabs of sound: hard, fast and energetic, while retaining enough clarity to make rapid-fire lyrics intelligible in a large room.

My instant reaction was the Rega Brio Mk7, but this would have pushed our customer's rigid budget too far on this occasion. Advance Paris it is, then.

First Impressions

wiim’s ultra music streamer. it is very pretty and amazing value for money. a bit shouty, if we’re being honest.

I set up the WiiM Ultra, Advance Paris X-i50 BT and AE109² in our first-floor demo suite using our favoured Black Rhodium Intro interconnects and speaker cables, then let the system warm up with Deee-Lite's World Clique.

Black Rhodium Intro Speaker Cable. superb value for money, all but holographic

heavy is the head - Very much worth a listen.

Forty-five minutes later, I cued up Stormzy's 2019 album Heavy Is the Head and let rip.

Whilst the sound was clear and somewhat crisp, something just wasn't sitting right... Things were sounding a little too bright and almost bordering on hard, which was surprising because this is one of the better-mastered Grime and Hip-Hop albums I know. It sounded much more forward than I was familiar with.

For peace of mind, I tried a quick swap to the Bluesound Node streamer we know very well, and immediately it removed much of that hardness in the treble, replacing it with a more natural presentation.

Great.

Unfortunately, £549* for the Node ate too heavily into the available budget and, while this top-end emphasis was clearly a by-product of the signal path as a whole, I needed to bring the WiiM Ultra back into play as the customer's preferred product and find some way of tuning the system to give a more natural sound.

Hmmm...

The High Bias Trick

All was not lost. I still had a couple of cards to play.

Advance Paris amplifiers have a useful trick of their own: a switchable High Bias circuit. Like certain Arcam amplifiers, the X-i50 BT can deliver the first eight watts of its output in Class A before transitioning into Class AB for higher power demands.

that high bias switch is left of the speaker terminals

In practice, this means that so long as you don’t go completely bananas with the volume control, the amp operates largely in pure Class A.

This is particularly useful with speakers that appreciate a bit more current delivery. Sonically, the result is a warmer, fuller and more muscular presentation, balancing the treble with a richer midrange and weightier bass.

With smaller speakers like Acoustic Energy AE100², the High Bias circuit can occasionally overcook things slightly, which is why Advance Paris gives you the option to disengage it. But here, with the AE109², it was exactly what we needed.

With High Bias engaged, the system sounded markedly better, but there was still just a touch too much energy in the treble. I suspected this was a result of the streamer partnering with the wonderfully open and sparkly Black Rhodium cables.

the rather lovely rega brio mk7 - alas, i couldn’t persuade our client of its charms..

My first instinct was to swap the WiiM Ultra for the more affordable WiiM Pro and connect it digitally to a Rega Brio Mk7, taking advantage of Rega’s superior digital circuitry. Slightly more money, but hardly catastrophic.

Sadly, it wasn’t cost that shot down this combination, but the fact my customer had completely fallen for the Ultra’s touchscreen. So that wasn’t an option on this occasion. Well, alrighty then…

The Final Piece of the Puzzle

Chord-C-line rca stereo interconnect

Given that the streamer and amplifier were set to stay, we turned our attention to the cables. Switching to Chord Company C-Line interconnects and C-ScreenX speaker cable brought a welcome sense of balance to the system.

Suddenly, everything clicked into place.

The room could now be filled to satisfying levels without diminishing the impact and energy of the music. What remained was a presentation that was big, fast, exciting, clear and clean.

I’m not claiming to have turned water into wine or multiplied loaves and fishes, but I do think we pulled off a minor miracle in finding the perfect combination of components.


Final Thoughts

And therein lies both the joy and the frustration of hi-fi…

You can assemble a system full of individually excellent components and still somehow end up with a sound that doesn’t quite gel. Equally, with a bit of careful matching, a bit of patience and occasionally a little inspired meddling, you can create something that far exceeds the sum of its parts.

That’s the bit the internet doesn’t tell you.

Buying boxes online based purely on reviews, specs or forum chatter might get you close, but “close” isn’t always enough. Rooms matter. Speaker positioning matters. Cable matching matters. Most importantly of all, synergy matters. One component’s strength can easily become another’s weakness if the combination isn’t carefully considered.

This is why dedicated demo facilities and experienced staff still matter enormously in 2026, perhaps more than ever. We spend all day, every day, trying different combinations of equipment, learning what works brilliantly together and what perhaps looks good on paper but falls apart once music starts flowing.

And this system really hammered that home.

The Advance Paris X-i50 BT proved itself to be far more than just “the French alternative”. It’s powerful, engaging, muscular when needed and surprisingly nuanced once properly partnered. The High Bias mode gives it genuine versatility, and for customers wanting a system with scale, drive and excitement without spending utterly terrifying sums of money, it’s become one of the most convincing amplifiers we’ve got anywhere near this price point.

In short: yes, perhaps there’s a touch of Gallic bias here.

But I stand by it.

If you’d like to hear any of the equipment featured in this blog for yourself — including the Advance Paris X-i50 BT, WiiM streamers or Acoustic Energy loudspeakers — get in touch with your local Audio T store. We’ll happily put together a system that suits both your room and your budget, and more importantly, one that actually makes you want to keep listening long into the night.

Thanks for reading.

Adrian – Audio T Swansea

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Three Levels of Vinyl Excellence: Comparing Rega’s Moving Coil Phono Stages

/ Audio T Swindon/

With a fifty-year history of manufacturing turntables, it should come as little surprise that Rega also make some brilliant phono preamplifiers. Whilst they also produce versions for moving magnet cartridges, this blog is going to concentrate on the moving coil models.

from top to bottom: Fono MC, Aos, Aura

Why Phono Stages Matter

The function of a phono preamplifier is to match the output from a pickup cartridge to the input of a line-level amplifier. It is required to amplify the very low level signals produced by the cartridge and also equalise the sound in accordance with the RIAA record cutting standard. Low-output moving coil and moving magnet cartridges require different types of phono preamplifiers to achieve optimum performance.

Three versions populate the Rega range:


Rega Fono MC

Let’s start with the Fono MC. This paperback-sized product is the essence of simplicity. There is a power switch on the front, whilst at the rear there are loading/gain dip-switch selectors, phono inputs and outputs, a grounding post, and a connection for the external power supply.

Fono MC back panel

The Fono MC uses the Linear Systems low-noise LSK389 FET in an all-discrete input stage, where low noise and linearity are vitally important to get the best from an MC cartridge. Because of the high input impedance of the FET, the loading effects of the amplifier circuit are minuscule and do not affect the performance of the cartridge


Rega AOS

Replacing the now-discontinued Aria, the AOS has a larger half-width case and a much more substantial build. Again, we have only a power switch on the front, with a similar selection of adjustments on the rear.

The AOS MC is a dedicated, no-compromise adjustable moving coil preamplifier using a circuit design based heavily on the award-winning reference MC phono stage, the Aura. Designed to work with a wide range of moving coil cartridges, it has plenty of gain for low-output MCs and extensive load adjustability, making it the perfect partner for whichever moving coil you are using.

Aos back panel

The AOS MC is an all-analogue amplifier with no digital control circuitry. The fully aluminium case screens the internal circuit from stray RFI signals, and Rega have avoided including unnecessary components or circuits that may degrade the signal path.

The AOS MC incorporates many innovative design ideas, including a self-adjusting servo control which compensates for variations in ambient or operating temperature. It utilises low-noise FETs (Field Effect Transistors) configured as a compound pair. The use of FET transistors ensures there is no bias current flowing in the cartridge coil, so as not to upset the delicate magnetic geometry of the cartridge.

The MC input has provision for selecting resistive input loading from 70Ω to 400Ω and capacitive loading from 1000pF to 4300pF. The input sensitivity can also be changed by 6dB via the back panel.

Rega Aura

The flagship phono preamplifier is the Aura. This is a full-width design and is built like a battleship. The controls are now positioned on the front and are ergonomically delightful, whilst the rear connections are of exceptionally high quality.

Aura back panel

The Technical Bit…

The Aura is dedicated to moving coil cartridges and stays clear of compromise. With no superfluous functions to obstruct the signal path or degrade sound quality, the Aura phono preamp incorporates some remarkable and innovative design ideas.

The Rega Aura is a three-stage, fully symmetrical preamplifier. The first stage is a symmetrical complementary Class A amplifier using parallel-connected Linear Systems ultra-low-noise FET transistors configured as a symmetrical compound pair input stage.

The input circuit configuration also alleviates the need for coupling components between the cartridge output and the input stage FET transistors, which would otherwise degrade the sound. The complementary ultra-low-noise FET transistors are carefully graded and matched for optimum performance. This stage drives the passive high-frequency section of the RIAA equalisation stage.

The second stage is a symmetrical Class A differential amplifier with a common base driver stage. This is also used as the active amplifier in the low-frequency section of the RIAA equalisation stage.

The third stage inverts the signal to provide the balanced output alongside the output of the second stage, using the same circuit topology.

The power supply is a symmetrical discrete tracking design using fast diodes and a low-noise voltage reference. Each stage has its own localised power supply and LED-referenced current generators.

To maximise headroom, the Aura has a power supply voltage approximately 60% higher than normally found in such a phono preamplifier. Very high-quality polypropylene capacitors have been used throughout the signal path. One percent tolerance polypropylene capacitors are used in the RIAA EQ stages, whilst audio-grade capacitors are used throughout the rest of the circuit.

Gain, mute, and mono switching are all implemented using high-quality relays.

Earth Grounding

The Aura uses a Class I earth system, where the case metalwork is connected to the mains safety earth by means of the mains lead. The internal signal earth is linked to this earth through a network designed to eliminate the risk of earth/ground loops.

This grounding method provides a safe and efficient discharge path for any static charge generated by the cartridge.

Listening Comparisons

I set up a system consisting of the Rega Planar 8 with Ania Pro cartridge, Rega Aethos amplifier, and Acoustic Energy Corinium loudspeakers, and grabbed a handful of LPs.

Rega Fono MC vs Rega Aos

The sonic differences are less about a complete change to Rega’s in-house sound and more about a refinement of Rega’s established presentation.

The Fono MC is fast, rhythmic, punchy, and highly engaging. It is energetic and immediate, with strong timing and attack.

The newer Aos MC pushes that character further upscale toward the much more expensive Aura, with a lower noise floor, greater refinement, improved soundstaging, and a smoother yet more dynamic presentation.

Rega Aos vs Rega Aura

I had the opportunity to use the flagship Naia/Aphelion 2 turntable combination as well as the Planar 8 for this comparison, and it was with the former that the Aura really started to extend its advantages — perhaps not surprisingly.

The sonic difference between the Rega Aos and the Rega Aura is less about tonal balance and more about scale, authority, and the degree of realism each can extract from a moving coil cartridge.

Both are unmistakably Rega, prioritising speed, timing, low colouration, and propulsion. They sound alive rather than lush.

Compared to older Rega stages like the Fono MC or even the now-discontinued Aria, the Aos feels more mature and composed. Notes emerge from a quieter background, textures are better separated, and there is a greater sense of space around instruments.

However, when you move to the Aura, the presentation changes from excellent to breathtaking.

The first thing you notice with the Aura is the effortlessness. Dynamic swings happen without strain. Large crescendos or dense recordings retain separation and stability even when the music becomes complex. The Aos is dynamic and exciting, but the Aura sounds unconstrained.

Bass is another major distinction. The Aos delivers tight, tuneful low frequencies with very good pitch definition, but the Aura reaches deeper and controls bass with greater authority.

There is more weight behind kick drums, more physical texture in upright bass, and more air moving in the room.

The midrange is also where the Aura earns its flagship status. Vocals and acoustic instruments gain space and body in a way the Aos cannot quite match.

Subtle harmonics feel more complete. Listening to piano, the Aos captures attack and timing beautifully, but the Aura captures the resonance and decay of the instrument with greater realism.

Treble refinement is also notably different. The Aos remains clean and extended, but the Aura retrieves low-level information without sounding analytical. Cymbals, for instance, decay in a way that the Aos simply cannot quite manage.

Soundstaging follows the same pattern. The Aos creates a large and stable stereo image with excellent placement, but the Aura expands the stage in all directions. Recordings feel less like left-right stereo and more like an actual performance in front of you.

The Aura also has a darker, quieter background. Tiny reverberations and decay notes are easier to follow.

The gap is, to some extent, system dependent. In a Planar 6 or Planar 8 setup with cartridges like the Ania Pro or Apheta 2, the Aos is more than capable. It preserves Rega's rhythmic drive while adding refinement and sophistication.

But in a truly revealing front end — changing the Planar 8 for the reference Naia, for example — the Aura becomes unmistakably superior. The Aura remains the statement piece for complete musical realism.

Thanks for reading, and we look forward to welcoming you soon.

Jon and Andy - Audio T Swindon

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to contact us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

*All prices, credit terms and interest rates quoted are correct at the time of going to press but may be subject to change. E&OE

Nytech CDP 132 Review – Vintage Spirit, Modern Performance

/ Audio T Cardiff/

nyetch cdp122 & cdp132

This month, your favourite hi-fi enthusiast and general music nerd is heading back in time a little, revisiting a key component from earlier in his own hi-fi journey while also exploring where things are headed next. As you’ve probably guessed, this latest chapter focuses firmly on vinyl playback…

The component in question is the phono stage — or phono preamp — and specifically my original Nytech CDP 122. But why revisit it when I already own the excellent Cyrus 40PPA? Well, the reason is simple: Nytech has evolved its old faithful design into an all-new sonic offering, the CDP 132 phono preamp.

So sit back, grab a great cup of coffee, and join me for a little sonic time travelling.

Back to the Beginning

Going back almost five years in my hi-fi timeline, some of you may remember the first major changes I made when I properly began my journey into the wild world of hi-fi and what still feels like the ongoing pursuit of my perfect system. (I’m almost there… I think. Or at least I hope so.)

One of the most important components I bought during that period was my trusty Nytech CDP 122, long before I eventually upgraded to the Cyrus 40PPA. I still remember first meeting Phillip Balaam after joining Audio T and quickly being introduced to the world of Nytech Audio. It didn’t take long to realise just how important the company had been within British hi-fi history.

Of course, history alone means very little without sonic ability to back it up, and Nytech has always had a strong reputation for exactly that.

Before diving into the new CDP 132, though, it’s worth taking a brief look back at the company’s origins and how Nytech found its way back into modern hi-fi.

The Story of Nytech

nytech audio cta252xd

Before the days of Nytech itself, there was Nytronics, founded in 1977 by Dave Alner and Paul Hamblin, both formerly of Radford Electronics. Like many talented engineers eventually do, they decided it was time to branch out on their own, creating Nytech and bringing the first Nytech CTA tuner to life.

Not long after, in 1978, Richard Hay joined the company and developed the CTA 252XD integrated amplifier from the original CTA 252 tuner platform. That amplifier became hugely important in shaping Nytech’s future reputation within hi-fi circles.

In fact, our original company, Audio Excellence — founded by our operations director Tony Revelle — stocked the CTA 252XD back in the 1980s.

Richard Hay wasn’t the only key addition to the company either. Phillip Balaam joined as an audio test engineer between 1978 and 1982, helping contribute to Nytech’s development during that period. Nytech also partnered with ARC to develop active systems before eventually relocating to Newtown during the mid-1980s, which led to further developments including Ion Systems amplification alongside the Obelisk and Nexus ranges.

Fast forward many years later and Phil Balaam revived Nytech in 2013, introducing products such as the CP202 and CAP402 pre/power amplification combination.

There are new amplifiers on the horizon too, but today isn’t about pre/power amplification. Today is about one of the most important parts of vinyl playback: the phono preamp.

More specifically, it’s about the evolution from the original CDP 122 to the brand-new CDP 132.

Revisiting an Old Favourite

So why revisit my old phono stage now?

As I mentioned earlier, Nytech recently released the CDP 132, a heavily revised and updated version of the original CDP 122 design. Naturally, that immediately grabbed my attention, especially considering how much of an impact the original CDP 122 had on my own system years ago when I upgraded from the internal phono stage inside my Rega Elex-R integrated amplifier.

The original CDP 122 completely changed how I viewed vinyl playback. It opened up more detail, more texture, and more life from records I thought I already knew inside out.

So when the opportunity came to try the new CDP 132, I jumped at the chance.

As many of you already know, I often describe myself as “the world’s worst tone chaser”, constantly looking for those hidden details and subtle improvements, especially when it comes to vinyl playback. With that in mind, it was time to get both Nytech phono stages into my system and hear exactly what had changed.

System Changes Before Listening

Before getting into the listening impressions themselves, I made a couple of subtle changes to my setup beforehand.

The first thing some of you may notice from the pictures is that, purely for demonstration purposes (wink wink, nudge nudge — we all know I’ll probably end up buying one), I swapped my faithful Dynavector 10X5 high-output cartridge for the low-output Dynavector 20X2A cartridge that I wrote about a few months ago.

cdp132 internal switchable mm/mc

The reason for this change was simple: a good moving coil cartridge really allows a switchable phono stage to show its true colours and capabilities. In this case, I wanted to use a cartridge whose sound I know extremely well.

As we always say in hi-fi, the source matters enormously, and the cartridge plays a huge role in shaping a turntable’s overall character.

The second change was temporarily removing my Cyrus 40PPA from the system. (Sorry Cyrus — you went straight back in afterwards.)

In its place sat the original CDP 122 and the brand-new CDP 132, ready for a proper listening session.

rega p6 & 20xa spinning

The Music

Speaking of listening sessions, these were the records I lined up for the evening:

Deep Purple – “When a Blind Man Cries”
Album: Machine Head
Originally released in 1972, although this particular version comes from the 2024 Dweezil Zappa remix.

Van Halen – “Push Comes to Shove”
Album: Fair Warning (1981)

Alice in Chains – “Sludge Factory”
Album: Alice in Chains (1995)

With my trusty Cyrus 40 amplifier warmed up and coffee brewing, it was time to get started.

Listening Impressions – CDP 122

the listening system

Even though I already know the CDP 122 extremely well, it was genuinely enjoyable reconnecting with its sound again.

Starting with Deep Purple’s When a Blind Man Cries, the CDP 122 delivered an open and spacious presentation, with plenty of air around Ian Gillan’s vocals and excellent detail from Jon Lord’s Hammond B3 organ.

Moving onto the standout track of the evening for me — Van Halen’s Push Comes to Shove — the focus became Eddie Van Halen’s guitar tone. There was fantastic subtle detail surrounding Eddie’s volume pot swells combined with the gain structure from his old 1967 Marshall 100-watt Super Lead head.

The CDP 122 still sounded wonderfully engaging and musical, reminding me exactly why I originally fell for it all those years ago.

Listening Impressions – CDP 132

And now, with the CDP 122 stepping aside, it was time for the new CDP 132.

dynavector 20x2a

Revisiting the same tracks immediately revealed improvements.

Deep Purple’s When a Blind Man Cries sounded more alive and more dimensional, with noticeably greater separation between instruments. This is where Phil Balaam’s perfectionist approach really becomes apparent, carefully refining the presentation without losing the musicality that made the original so enjoyable.

The stereo image felt larger and more precise, and I could better hear what Dweezil Zappa was aiming for in the remix, allowing every instrument its own clearly defined space.

Moving back to Van Halen’s Push Comes to Shove, even more low-level detail emerged from Eddie’s Frankenstrat and Michael Anthony’s bass playing. Small details, such as David Lee Roth’s breathing into the microphone, became easier to pick out naturally within the mix rather than being artificially spotlighted.

Finally came the highlight of the evening for me: Alice in Chains’ Sludge Factory.

Layne Staley’s voice sounded absolutely superb through the CDP 132. There was a rawness and texture to his vocals that made the performance feel incredibly immediate, particularly whenever he pushed into the upper registers.

Final Thoughts

I’ve always felt that the phono preamp is one of the most overlooked parts of a hi-fi system, despite being hugely important to the overall character and quality of vinyl playback.

With the CDP 132, Phil Balaam has created something genuinely impressive. Not only does it sound superb, but it also proves you don’t necessarily need to spend enormous amounts of money to achieve truly engaging analogue performance.

Perhaps even better, it’s proudly designed and built in Wales — in fact, it’s made right above our Cardiff store.

Because of that, we always keep them available for demonstration, so if you’re curious, why not come in and hear one for yourself?

Thank you for taking the time to read my blog.

Matt Aaron - Audio T Cardiff

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to contact us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Nytech Audio can be found at the following Audio T stores

Cyrus can be found at the following Audio T stores

Dynavector can be found at the following Audio T stores

Purple Reign - Exploring Acoustic Energy and their extensive range of quietly brilliant speakers

/ Audio T Portsmouth/

All quality hi-fi manufacturers will go through purple patches, those times when they absolutely nail it with a particular product or range of products to the general acclaim of the hi-fi community…

There are too many examples to list exhaustively here, but to highlight a few hi-fi icons just think of Naim’s Nait series, the Cyrus One, Linn LP12 turntables or the Rega Planar series.

Not every product or range will achieve such iconic status, but when the stars align the hi-fi world understandably pays tribute to its audio darlings.

Yet, it’s important to realise that does not mean that manufacturers sink into mediocrity in between these high points.

To prove that this is very much not the case in this blog I am focussing on British speaker manufacturer, Acoustic Energy.

I’ve written about the genuinely iconic Acoustic Energy AE1 speakers which at their launch in 1987 changed forever perceptions of what a bookshelf could achieve. And the recently launched AE1 40th Anniversary Speakers are a truly worthy successor to the originals.

AE1 4oth anniversary speakers

But, we in hi-fi retail know that Acoustic Energy has quietly been producing many excellent and competitively priced speakers for years, none more so than its current line up of stand mounts and floorstanders.

From the entry level AE100² to the flagship, range topping Corinium, Acoustic Energy speakers are firm favourites with Audio T Portsmouth customers. And for good reason.

Part of their appeal lies in their amazing value for money. Ok, the £6,000* Coriniums (£7,000* with the limited edition British Racing Green finish) are not cheap but for the money you get a good slice of high end sound for a fraction of the typical price of high end speakers.

Another part of the appeal lies in their detailed yet non-fatiguing sound. This is a characteristic that applies across the Acoustic Energy range.

Yes, other speakers may give greater treble extension or bass weight. But as all hi-fi enthusiasts know, one person’s detailed treble is another’s bright speaker, and the big bass that appeals to some is anathema to others.

Acoustic Energy pulls off the nice trick of balancing all of these factors across its speaker range. So let’s take a deeper dive into some of the company’s current speakers.

Elevating entry level

The ever-popular AE100² speakers are such accomplished performers that we have no hesitation recommending them to those looking for a no-nonsense, cost-effective entry into real hi-fi.

They have such a sweet sonic character with an ability to present a pleasing amount of detail and punch that belies their price point. This sort of poise is not often found in sub £300* speakers.

The speakers’ 130mm mid-bass driver is a long throw design which basically means it moves a lot of air allowing it to generate a good amount of bass weight. Yet the AE100² never sound boomy in part thanks to the slot style port on the rear which helps control bass distortion.

The soft dome tweeter is detailed and sweet. And paired with the mid-bass they make for a nice level of clarity in the midrange, all of which lends them a surprising polished sound for a speaker at this price point.

One of hi-fi’s best floorstander bargains have to be the AE109². They are dinky speakers at just 86cm (33 inches) high and yet, using the same long throw driver as the 100s, they are able to achieve greater bass weight thanks to the twin 130mm drivers which handle the lowest frequencies (only one crosses over to midrange) and of course greater cabinet volume.

At £599* the AE109² are as detailed and toe-tappingly entertaining as many floorstanders costing considerably more.

And at £799* the AE120² are another bargain with a 3-way configuration designed to offer full-range sound and lower distortion.

AE300 Series

Acoustic Energy’s 300 series represent a significant step-up in terms of the quality of the drivers and cabinet construction, and yet they sit at price points that many would still call entry level.

Both the AE300² and AE309² deliver a level of refinement well above the 100 series. Bass is fast and tight and the midrange and treble beautifully integrated.

But the pick of the range are, perhaps, the AE320² which in addition to using trickle-down technology from the flagship Corinium, actually have the same driver layout. They have a sophisticated musical presentation reminiscent of the Corinium with a tight bass, clear midrange and sweet tweeter. The AE320² are a lot of speaker for just under £2,000*.

Moving on up

AE509

With the 500 series, Acoustic Energy switches to carbon fibre for the drivers, both the tweeter and mid-bass units, allowing speakers in the range to deliver noticeably enhanced levels of detail with greater speed. The 500 series speakers deliver a tighter, clearer and more open sound than the 300 series.

The AE500 is a peach of a stand mount speaker with an open and smooth, almost liquid-like, presentation of music. It digs deep too with heft in the bass that never feels too much. At just over £1,000* they are an audio bargain.

But it’s the AE509 that are perhaps the sweet spot in the range. These tallish, yet slim floor standers deliver a beautifully polished sound. Bass is tight and tuneful which underpins the fantastically open mids and highs. There is plenty of high frequency detail but it is integrated brilliantly into the overall sound. These speakers are wonderfully balanced.

Stepping up to the range topping AE520 Acoustic Energy really starts to show its high end credentials with a speaker offering a powerful and rich sound. As a 3-way speaker there is detail beyond that achieved by the AE509 and the sound stage is wide and holographic.

At £3,650* they are knocking on the door of high end in terms of price point, but they are more than cable of giving far more expensive speakers a run for their money.

Optimus

Acoustic energy Corinium in british racing green

When Acoustic Energy launched the Corinium speakers two years ago — named after the Roman title for Cirencester, the company’s home town — it marked a clear statement of intent: a brand long respected for its entry and mid-level loudspeakers could also compete at the high end.

And boy did they achieve their goal.

These elegant speakers taper front to back in a design that belies their 40kg weight. The solid aluminium front baffle adds additional heft to the construction although only the new soft dome tweeter is attached to it. The carbon fibre bass and mid range drivers, larger than those in the 500 series, are bolted to the composite cabinet.

The Corinium sound is incredibly poised and, like their shape, elegant. There is a delicacy in the way they handle mids and highs. They are fantastically transparent letting vocals and instruments breathe with plenty of space around them.

Bass reaches impressively low thanks to the larger carbon fibre drivers and new motor system behind the cones. Yet the presentation remains controlled and tuneful rather than overly dominant. The Coriniums use their low-end weight with real deftness.

All of this makes for a hugely insightful speaker with the poise and the clarity to convey the emotion in music rather than just notes and sounds. They sound unforced with wonderfully natural tonality.

They were three years in development and, in our opinion, that was time very well spent.

Final Thoughts

Acoustic Energy prides itself on delivering technically sophisticated speakers built on sound engineering principles.

The bulk of the AE range may not have generated the media excitement that the AE1 40th Anniversary speakers or the Coriniums did at their launch, but the rest of the range, including the AV-focused AE105 Wall Speaker, AE107² Centre Speaker and their range of subwoofers, include some real star performers.

In fact, right now, in our humble opinion, they are making some of the best speakers available at their respective price points.

We have a range of Acoustic Energy speakers on demo in the Portsmouth store so if you’d like to hear them for yourself then drop us an email at portsmout@audio-t.co.uk or call us on 0239 266 3604.

If you’ve enjoyed this, why not read some more of our other blogs, and be sure to follow us on our social media channels below…

 

You can find out more about Acoustic Energy and their award winning speakers in Music at Home+ Winter Edition 2025.

*All prices, credit terms and interest rates quoted are correct at the time of going to press but may be subject to change. E&OE