September 30, 2026

Denon PMA-600NE vs Marantz PM6007: Which Budget Amplifier Gets My Vote?

September 30, 2026/ Audio T Portsmouth/ Portsmouth

For anyone building their first serious hi-fi system, the Denon PMA-600NE and Marantz PM6007 are two amplifiers worth putting on the shortlist. Both deliver 45 watts per channel into 8 ohms, and both are aimed at music lovers looking to step beyond budget mini systems without spending a fortune.

An integrated amplifier combines source selection and the amplification needed to drive your speakers in one box. These two also include digital inputs and a phono stage for a compatible turntable, giving you several ways to build a system around the music you enjoy.

On paper, they seem remarkably similar. In practice, their features and presentation give you a few useful points of difference. So which one deserves a place at the heart of your first stereo system?

At a Glance

Power into 8 ohms: Both amplifiers deliver 45 watts per channel.

Built-in Bluetooth: Available on the Denon PMA-600NE. The Marantz PM6007 has no built-in wireless connectivity.

Digital inputs: Both have two optical inputs and one coaxial input.

Digital audio support: Both accept stereo PCM signals up to 24-bit/192kHz through their wired digital inputs.

Phono input: Both include a moving-magnet phono stage for connecting a compatible turntable.

Subwoofer connection: Both have an output for an active subwoofer.

Design and Build

Both have the familiar layout of a traditional hi-fi amplifier: clearly labelled controls, a proper volume dial and connections for several sources. Select an input, adjust the volume and start listening, without working through a menu on a screen.

The Denon adds built-in Bluetooth for music from a phone or tablet. It also includes Analogue Mode, which switches off power to the digital input circuitry and Bluetooth module when listening to an analogue source. The intention is to reduce interference from unused circuitry.

The Marantz concentrates on wired sources, suiting a system built around a turntable, CD player or separate streamer. Both offer tone controls and a Source Direct option, which bypasses the tone and balance controls when you prefer to leave those adjustments out of the signal path.

Sound Quality

This is where the comparison becomes more personal. Specifications give an indication of an amplifier’s capabilities, but they cannot tell you which presentation you will enjoy most.

Denon PMA-600NE

The Denon delivers a lively, energetic presentation. To my ears, bass has good weight and punch, making rock, electronic music and modern pop sound engaging. The midrange is clean, while the treble has enough detail to keep things interesting without becoming overly bright.

Overall, I would describe its character as warm but slightly forward. A driving bass line or a strong drum beat has plenty of presence, while vocals remain easy to follow. That sense of enthusiasm can be a very appealing quality in a first system.

I also find it relatively forgiving of less polished recordings. That is useful when your collection covers everything from beautifully recorded albums to older favourites that have never sounded particularly pristine. The Denon makes it easy to enjoy a broad selection of music.

Marantz PM6007

The Marantz gets my vote for refinement. I find vocals more natural, instruments more clearly separated and the soundstage more spacious. There is a little more room around individual parts of a recording, making it easier to follow each musician.

Compared with the Denon, the qualities that stand out to me are the more precise stereo imaging, cleaner high frequencies and better-defined bass. On a busy recording, that separation helps the music feel more organised. On something simpler, the voice and the character of the instruments come to the fore.

The difference is not enormous. My preference is for the Marantz’s more composed presentation, particularly when settling down with an album. Your speakers, room and music may lead you to a different conclusion, which is why comparing them with familiar tracks is so useful.

Bluetooth: Denon’s Biggest Advantage

For many first-time buyers, the Denon’s Bluetooth will be a deciding factor. Pair a compatible phone or tablet to play Spotify, YouTube Music, Apple Music or whichever app you use. It is also handy when a visitor wants to put a favourite track on.

The Marantz has no built-in wireless connection. You can add network streaming with a separate streamer, such as one from the WiiM range, using a suitable analogue or digital connection. The same option is available with the Denon.

Bluetooth plays audio sent from your device, while a dedicated network streamer can access supported music services through your home network. Neither amplifier has network streaming built in. A separate streamer can offer more features and the potential for better sound, depending on the source and connection, but it needs to be included in your budget.

Built-In DAC

Both include a DAC, or digital-to-analogue converter, which converts digital signals into analogue audio. Two optical inputs and one coaxial input on each allow you to connect equipment such as a CD transport, streamer or television with a suitable digital output.

Both accept stereo PCM signals up to 24-bit/192kHz through those wired digital inputs. That specification does not apply to Bluetooth. Matching numbers do not guarantee identical sound, as the converter and surrounding circuitry all contribute to the finished design.

My preference is again for the Marantz’s more refined presentation, although I would judge the complete system. If connecting a television, set its digital output to stereo PCM. Neither amplifier decodes Dolby Digital or DTS, and neither has HDMI ARC.

Phono Stage

Both include a moving-magnet, or MM, phono input, allowing a turntable with a compatible cartridge to connect without a separate phono preamplifier. That keeps the system straightforward and leaves more of your budget for the turntable and speakers.

The Denon’s phono presentation is warm and enjoyable, while my preference is for the Marantz’s refinement and detail. If vinyl will be your main source, the PM6007 would be my starting point for a demonstration. The cartridge, turntable setup and speakers will also influence the result.

Check your turntable’s cartridge before connecting it, as a low-output moving-coil cartridge needs additional equipment. If your turntable has a built-in phono stage, you can usually switch it off and use the amplifier’s phono input, or leave it on and connect to a normal line input. Your local Audio T can advise.

Speaker Matching

Both can form the basis of a capable system in a small or medium-sized room with suitably matched speakers. The 45-watt rating does not tell the whole story: speaker sensitivity, impedance, listening distance and your preferred volume all affect the demands on the amplifier.

Ranges worth considering include Wharfedale Diamond, Acoustic Energy, DALI Oberon and Monitor Audio Bronze. These are starting points for a demonstration, as individual models have different requirements and will behave differently in your room.

I would try the Denon with speakers that allow its warmth and punch to come through without making the presentation too forward. With the Marantz, I would look for a combination that makes the most of its clarity and spaciousness. Using the same speakers for both makes their characters easier to compare.

Everyday Use and Room to Grow

The Denon has the advantage if you want music from your phone with minimal additional equipment. Convenience can matter just as much as a small difference in sound quality, particularly if several people will use the system.

The Marantz is equally straightforward once your sources are connected. If you already own a CD player or turntable, the lack of Bluetooth may make little difference. If streaming is your main source, allow for a suitable device from the beginning.

Both have an active subwoofer output, giving you the option to add more bass extension later. You can add sources as your interests develop, too. Separates let you change individual components over time, so think about what you might want to connect next year as well as what you own today.

Which Should You Buy?

Choose the Denon PMA-600NE if:

You regularly play music from your phone or tablet.
You want Bluetooth without buying another component.
You enjoy a warm, punchy and energetic presentation.
You want a straightforward starting point with several connection options.

Choose the Marantz PM6007 if:

You prefer the more refined presentation described here.
Vinyl or CD will be an important part of your listening.
You already own a streamer or plan to add one.
Built-in wireless connectivity is less important to you.

Final Verdict

Both amplifiers offer a convincing introduction to a proper separates system. The Denon PMA-600NE combines an engaging presentation with the convenience of Bluetooth, making it a particularly appealing choice if you want to get started with the equipment you already have. It is an amplifier I would happily recommend putting on your shortlist.

For me, though, the Marantz PM6007 takes the overall win. Its more refined presentation, sense of space and ability to separate the different parts of a recording are the qualities that give it the edge. If I were choosing between these two with sound quality as my main priority, it would be my pick.

That is of course my personal opinion, rather than a definitive answer for every listener. We all enjoy different music and listen in different rooms, and the amplifier that suits my preferences may not be the one you prefer. The Denon’s character and convenience could make it the better choice for your system.

The best way to decide is to hear them for yourself. Contact your local Audio T to arrange a demonstration and compare the Denon PMA-600NE and Marantz PM6007, or any other hi-fi products you would like to explore. Let the team know what equipment you already own and bring along some favourite music, so they can help you find a combination that suits your ears, your room and your budget.

Thanks for reading,

Stephen - Audio T Portsmouth

If you have any questions about the equipment featured here, or any other hi-fi or home cinema enquiries, please get in touch.

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Both Marantz can be found at the following Audio T stores

Denon can be found at the following Audio T stores

September 30, 2026

New Toy Day! Putting the Eversolo DMP-A8 Gen 2 Through Its Paces

September 30, 2026/ Audio T Swansea/ Swansea

We always enjoy new toy day here in Audio T Swansea, and we’ve been looking forward to this particular one for a wee while. With AURALiC no longer in the picture, we’ve been on the lookout for a music streamer higher up in the canopy than our favourite Bluesound NODE ICON, but a little more attainable in price than the offerings from the otherwise excellent Innuos Audio.

Eversolo, under the aegis of parent company Zidoo, has distinguished itself recently by offering products with a very attractive price-to-performance ratio. The Eversolo DMP-A8 Gen 2 sits towards the upper end of this line-up, representing more than an incremental update to the previous streamer/DAC. Our demo unit is a little more special than a standard unit in that it has a glass top panel, so we can admire all the deliciousness contained therein. Nice!

The front panel is almost entirely taken up by a TFT touchscreen. Full control of the unit is possible from here, as well as through the app for tablets and smartphones.

Under the Hood

The A8 combines four distinct functions within a single aerospace-grade aluminium chassis: a network streamer capable of bit-perfect playback, a flagship Japanese DAC, a fully balanced analogue preamplifier featuring an R2R resistor-ladder volume-control network, and digital signal processing, including room acoustic correction. Gosh. Eversolo’s approach places considerable emphasis on keeping noise and interference away from the sensitive analogue circuitry. The design separates digital processing from analogue conversion, with each stage assigned its own job rather than asking a single chip to do everything.

“the trouble with glass ade, is that it will reflect light when you try to photograph it” - nic

The core of the conversion system moves away from the ESS Sabre chips used in the entry-level series, opting instead for an Asahi Kasei Microdevices (AKM) dual-chip architecture featuring Velvet Sound Verita technology.

Which all sounds lovely.

one of the clever bits (no pun intended)

The AK4191EQ digital delta-sigma modulator handles the complex computational tasks associated with digital filtering, noise shaping and signal modulation. Keeping this processing separate from the chip that generates the analogue waveform is intended to reduce interference between the digital and analogue stages. Each component can concentrate on its particular part of the conversion process. Very sensible, if you ask me.

two of the other very clever bits. this time: clocks! (that one was deliberate)

The AK4499EXEQ stereo DAC receives the upstream modulated signal and translates it into an analogue waveform. This separation is designed to deliver low-noise, low-jitter conversion and preserve the fine detail in the recording. We shall see! The system supports PCM up to 768kHz/32-bit and native DSD512 files, including through the USB-B input. Maximum playback resolution depends on the connection and settings, but there should be enough here to keep the geekiest geek very happy.

Analogue Preamplifier and R2R Volume Control

Many competing streamers adjust volume in the digital domain. The Eversolo DMP-A8 Gen 2 instead incorporates an analogue line preamplifier that is fully balanced from input to output, with volume adjustment taking place after digital-to-analogue conversion. This avoids relying on digital attenuation to set the level of its analogue outputs.

Volume adjustment is handled by an R2R resistor-ladder network, with precision resistors switched via miniature mechanical relays. The intention is to provide accurate level control while preserving dynamics and detail across the listening range. Useful when listening at very low volumes late at night. The analogue circuit also provides up to +10dB of gain, giving the Eversolo greater flexibility when matching it to power amplifiers or active speakers. Another plus.

Equipment Connectivity

A near-full suite of digital and analogue sockets graces the rear panel. Optical, coaxial, HDMI ARC/eARC and USB-B digital inputs are present, plus analogue RCA and XLR inputs should you wish to utilise the A8 as a preamplifier.

RCA and XLR analogue outputs cater for those of us with existing preamplifiers and integrated amplifiers, as well as the clearly intended power-amplifier and active-speaker applications. A submenu allows you to toggle between fixed and variable output. The default is variable, for obvious reasons! No headphone socket is provided, however. An enormous amount of effort has been spent on keeping noise to a minimum, after all!

the socketry is high quality and very solid indeed. note the triggers should one own an eversolo power amplifier

Network Connectivity

Alongside those audio inputs, the rear panel offers digital outputs, including AES/EBU for connection to a compatible external DAC. HDMI ARC/eARC takes care of stereo PCM audio from a compatible television. Network connectivity brings something rather more unusual: the Gen 2 introduces an SFP (Small Form-factor Pluggable) network port for fibre optics, allowing an alternative to the traditional copper-based RJ45 Ethernet connection.

the app works well, even if it did cause my bluesound-centric colleagues a moment of pause

By using a compatible optical SFP transceiver and a fibre-optic cable, the electrical connection between the home network and the streamer is broken at that link. Routers, NAS drives and PCs can all introduce electrical noise, particularly through their switching power supplies. An optical network connection provides galvanic isolation at this point, helping to prevent conducted interference from travelling along the network cable into the streamer. The aim is to keep that interference away from the sensitive audio electronics.

(Never let a software engineer tell you digital hardware is unimportant: “…because it’s data, Ade, it’s just zeroes and ones!”)

Eversolo has produced and supports its own app, which has hitherto proven stable and easy to navigate. Pleasingly, when you select a track, album or playlist, the app displays a cheerful “Success!” icon. It’s reassuring to know I’m good at something.

Eversolo EOS

that wee hatch with artistic bokeh in the foreground. cough.

This innovation is the Eversolo Original Sampling-rate Audio Engine, a technology developed to bypass the sample-rate conversion associated with the standard Android audio path. Android playback can otherwise be resampled by the system mixer rather than retaining the recording’s original sample rate. EOS is designed to allow compatible third-party applications, such as Apple Music, TIDAL and our favourite, Qobuz, to deliver audio at its native sample rate, whether that is 44.1kHz, 192kHz or another supported rate. Compatibility depends on the application and playback settings, and bit-perfect playback requires signal-altering processing, such as EQ and room correction, to be disabled.

under the aluminium hatch is the loading bay for your ssd. neat as a wee pin.

Expandable Storage

A removable panel on the underside of the unit gives access to an M.2 NVMe PCIe 3.0 SSD slot. This Gen 2 model supports compatible solid-state drives with capacities of up to 8TB. Fit a drive and the A8 Gen 2 can act as a high-speed local music server, eliminating the need to keep a computer or NAS running constantly to play your stored music. It also takes network file transfers out of the equation when listening to tracks held on the internal drive.

Whilst we’re here, and apropos of nothing at all, I shall mention that the front panel can be configured to display VU meters, or a spectrum analyser, à la the 1970s and ’80s. Such fun!

did i mention the vu meters? it’s got vu meters!

Usage Modes

The operational flexibility of the Eversolo DMP-A8 Gen 2 allows it to serve three main roles within an audio system, depending on the output and settings selected. Source and Preamplifier Mode offers the most integrated approach. The Eversolo connects directly to a power amplifier or a pair of active speakers using, for example, balanced XLR cables. In this scenario, the unit fully utilises its analogue preamplifier section. You control the system’s master volume directly from the Eversolo interface, or via the smartphone app, minimising the number of interconnect cables and chassis components in the living room. Useful if you have limited space available.

Fixed Line Out Mode is probably the configuration most likely to be utilised by traditional Hi-Fi enthusiasts. The A8 Gen 2 can be set to a fixed analogue output level, leaving volume adjustment to your existing preamplifier or integrated amplifier. The device then functions as a streamer and DAC, delivering a nominal signal of 2.1Vrms via RCA or 4.2Vrms via XLR to the connected amplifier. In our case, we used Black Rhodium Operetta XLRs to a Hegel H400 amplifier, Black Rhodium Calypso speaker cables and ATC SCM11 loudspeakers on Solidsteel SS-6B stands, another favourite at Chez Swansea.

Streaming Transport Mode may appeal if you own, or intend to acquire, a high-end DAC in the future. If this scenario is at all on the cards, I would heartily recommend the Eversolo T8 or T10 streaming transports instead of this unit. As it stands, the DAC in here is excellent and will make your other digital sources sing. Speaking of which…

appropriately for the 1970s, the eversolo’s VU meter colour palette includes tobacco brown.

What Does It Sound Like?

Massive Attack – “Teardrop” (from Mezzanine, 16-bit/44.1kHz FLAC)

This familiar track puts the handling of low frequencies and rhythmic stability to the test. The synth bassline, pulsing constantly in the background, feels appropriately earth-shaking. The bass is visceral, remarkably tight and articulate. At the same time, the metallic, percussive ticking that marks the tempo remains crystal clear, floating in the soundstage without being even slightly masked by the energy unleashed by the lower frequencies. Elizabeth Fraser’s voice emerges at the centre of the soundstage with disarming transparency, focused and free of artificial sibilance. Lovely stuff.

Gustav Mahler – Symphony No. 2, “Resurrection” (Boston Symphony Orchestra, Seiji Ozawa, 24-bit/192kHz via Qobuz, with EOS bit-perfect playback)

The complexity of a monumental symphony orchestra combined with a full-scale polyphonic choir is a tough test. The A8 Gen 2 handles Mahler’s score with ease and authority. The virtual soundstage is reconstructed with great precision: the violins are positioned on the left, the cellos in the centre and the double basses set back on the right, while the woodwinds and brass occupy the rear rows, creating layers of sound that are deep and easily discernible to the listener. Impressive.

In fortissimo orchestral passages, where the entire ensemble and the timpani strike in unison, the Eversolo shows no sign of dynamic compression or sonic muddiness. The sound remains clear, airy and transparent. The brass instruments retain their metallic brilliance without ever veering into harshness or shrillness; the choir emerges from behind the orchestra with distinct separation between the individual vocal sections, ensuring an intelligibility of the sung text that is moving in its realism.

Miles Davis – “So What” (from Kind of Blue, Legacy Edition, 24-bit/192kHz FLAC)

To evaluate the reproduction of acoustic wind instruments and the sense of rhythm, we selected this masterpiece. Miles Davis’s trumpet is rendered with extraordinary brilliance and sonic penetration, yet the high-frequency sharp edges that can sometimes make this recording fatiguing on analytical digital sources are skilfully smoothed out. Julian “Cannonball” Adderley’s alto saxophone possesses abundant warmth and physical presence, rich in the detail that allows you to hear the mechanical clicking of the keys. The track’s timing is impeccable: the ride cymbal in Jimmy Cobb’s drumming features a silky, shimmering and incredibly extended metallic decay that floats in the air, defining the rhythm with precision and engaging energy. Just wonderful.

Verdict

Anyone seeking a competent streamer/DAC capable of serving as the heart of a Hi-Fi system, handling both cloud streaming and local libraries, delivering excellent sound quality and offering features such as DSP and room correction will find the Eversolo DMP-A8 Gen 2 to be a fine solution. With CD-quality files, it sounds excellent, and some of the higher-resolution recordings I tried sounded better still. I found myself seeking out higher and higher resolutions to try.

An album I found, Nearness by Lizz Wright, was available on Qobuz as a 24-bit/96kHz FLAC stream. The display showed around 2.65Mb/s, and it sounded incredible. For context, uncompressed CD audio runs at 1.411Mb/s; Higher bit rates alone don’t guarantee better sound, of course, but this particular recording was a treat. Oh, and I haven’t mentioned the evotune room correction or the DSP-based 20-band EQ system, mostly because I haven’t played with them yet. So much to discover.

The DMP-A8 Gen 2 comes highly recommended to any and every music enthusiast. Playing in Demo Suite One all this week, and likely the next…

Thank you for taking the time to read my scribblings. I hope you enjoyed them.

Ade - Audio T Swansea

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…

Eversolo can be found at the following Audio T stores

September 29, 2026

A Day at Chord Company: My Journey to Cable Enlightenment

September 29, 2026/ Audio T Cardiff/ Cardiff

Nick and I took a trip from Audio T Cardiff to Chord Company’s headquarters in Wiltshire. We wanted to see how its cables are made, learn a few things from the people who make them and, naturally, find out what we could hear in the listening room.

Hello again, all you wonderful folk in the beautiful world of hi-fi. It’s me again, here to talk your ears off about something I’ve touched on in a few of my blogs: the cables connecting our systems together. From the source to the amplifier and on to the speakers, every connection has a job to do. I’ve spent plenty of time listening to different cables at home and in the shop, but I’d never seen how they were made. That seemed like a good reason to ask Ian Booth at Chord Company if I could pay them a visit.

When I mentioned the trip to Nick, our Cardiff store manager, he was keen to come along. Nick wanted to refresh his cable knowledge, and I was looking forward to getting behind the scenes and hearing some of the higher ranges in a system we don’t encounter every day. Ian kindly arranged the visit, so off to Wiltshire we went. Before I tell you how we got on, though, I think this story deserves a little trip back in time.

From a dinner-table idea to a cable company

The story begins in 1985. I was still at school and remember seeing Van Halen’s Jump on television, which probably tells you quite a lot about where my musical interests were heading. Over in Salisbury, a conversation over dinner was setting something else in motion. A group of visiting Naim Audio retailers from America had asked the people at Naim UK for a good quality DIN-to-RCA interconnect. Sally Gibb, who was at the table, suggested she could make the cable and maybe start a business. With Naim’s blessing, she set about doing exactly that.

Sally didn’t stop at making a cable. She designed the logo and packaging, tested the early prototypes and helped turn that initial request into a company. The first prototype was called Chrysalis, and an order from the American retailers gave the fledgling business its start. I love stories like that. What began as a practical answer to somebody’s problem became a brand we now know throughout the hi-fi world.

The company has grown well beyond that first interconnect. Alongside its speaker, analogue, digital and mains cables, it makes power distribution and noise reduction products. There’s also English Electric, whose network switch many of you will know from streaming systems. What struck me on our visit was that the interest in music isn’t confined to a design department. We met people across the business who love listening to music, and quite a few who make it themselves. As a guitarist, I felt I was among my own people.

A look around the factory

We arrived with the sun shining and were greeted by Ian, whom we know well from his days working at Audio T. He introduced us to some of the team before taking us through the shipping and export area and into the production rooms. When you see a finished cable in a box, it’s easy to overlook how much work goes into selecting the materials, preparing it, fitting the connectors and checking the result. Walking through the factory put the finished product into a different perspective for both Nick and me.

One of the more unexpected things I learned concerned Taylon, the insulation used in the flagship ChordMusic range. Ian told us about the material’s origins in demanding military applications. You may be wondering what the hell that has to do with a hi-fi cable, and I had much the same thought. The important point for the cable designers is its phase stability, which is why Chord Company chose to use it in some of its most ambitious cables. It was fascinating to hear about the thought that goes into something most of us only ever see disappearing behind a rack.

Then we reached what, for me, was the beating heart of the visit: the area where cables are built. We saw work on everything from more familiar ranges such as ClearwayX through to cables at the very top of the range. I also discovered that the company makes instrument cables. As you can imagine, that caught my attention immediately. I’m just as bad for looking at guitar gear as I am for looking at h

Nick and I get to work

After a lovely lunch with the team, we were taken to a pair of workbenches and introduced to Hayley, who would guide us through building our own cables. This was the part I’d really been looking forward to. Watching somebody work is interesting, but having a soldering iron and crimpers in your own hands gives you a much better idea of the skill involved. It also makes you appreciate how easy the production team makes it look.

I made a pair of EpicX speaker cables and an Epic Digital coaxial cable. Nick made a pair of EpicX ARAY RCA interconnects and a mains cable from the Epic range. Hayley talked us through each stage, from preparing the cable to making the connections and finishing it properly. There’s a satisfying point in the process where it begins to look like the cable you recognise from the shop, although getting there takes more care than you might think.

I used to work as a guitar technician, so I went in feeling reasonably confident about my soldering. I soon realised I still had things to learn. Hayley showed me a few techniques that helped me get a much better result, and I picked up some useful tips while making the speaker cables as well. It was a proper hands-on lesson, rather than simply being allowed to put a connector on the end for a photograph. The nicest part was that Nick and I were able to take home the cables we’d made. At that point I would already have called the day a success, but Ian had something else waiting for us. And yes, there was more coffee.

Into the listening room

Ian and the team had put together a pretty serious streaming system for our listening session. The source was a MOON MiND 2 network player feeding a Chord Electronics DAVE DAC. There was CH Precision amplification driving a pair of Peak Consult Sonora floorstanding speakers. An English Electric network switch was part of the streaming set-up, and a PowerHAUS unit handled mains distribution. In other words, this was a system with plenty of ability to show us what was going on.

With everything warmed up and Nick and I settled in, Ian began with cables from the Epic range, including EpicX ARAY interconnects and EpicX speaker cables. He put on an acoustic track, and my first reaction was that it sounded pretty damn good already. The vocal sat nicely in the centre of the soundstage, the guitar had clear definition and the whole performance was easy to listen to. It’s an important starting point because, if you’re going to change something, you need to know what you were enjoying in the first place.

Ian then changed the speaker cables to EpicXL. Nick and I could both hear a change, although I’d describe this first step as subtle rather than dramatic. There was a little more to the presentation that drew my attention into the recording. That’s one reason I enjoy these sessions: sometimes a change announces itself straight away, while at other times you find yourself listening a bit longer before you can put your finger on what’s different.

Next, Ian moved the system on to Signature cables. This was familiar territory for me, as I’ve written before about trying Signature in my own system. Using another similar acoustic track, I heard a more substantial step. The vocal seemed to have greater presence, and there was more texture in the performance. One little detail that caught my ear was the drummer counting in on the hi-hat. I love moments like that. It’s a tiny part of the recording, but hearing it makes you feel closer to the people playing the music.

Just as I was thinking that things were sounding pretty much perfect, Ian changed the cables again, this time to Sarum T. This was a range I’d not had the chance to hear in a system before, and it made one of the biggest impressions on me during the session. There was more texture to the sound and a much bigger sense of space. Instead of hearing a group of instruments arranged between two speakers, I found it easier to picture the musicians occupying their own places. It had more of that “band in the room” feeling we’re always chasing.

Then, just when I thought Ian might let us catch our breath, he brought out the big guns: the flagship ChordMusic cables. This is the range I’d now love to get my hands on, although that may have to remain a dream for the time being. The presentation opened out further, and I could place what individual band members were doing with greater ease. I could hear the singer taking a breath near the microphone and the odd note from the guitarist that didn’t land quite where it was meant to. Being a guitarist myself, perhaps I notice those things more than most.

Those little imperfections are part of why I love listening to music. As I always say, there’s perfection in imperfection. If a system lets you hear the breath, the movement and the occasional fumbled note as well as the polished parts of a performance, the people making the music feel more human. That was what stayed with me about the listening session, beyond any particular cable change. I wanted to keep playing tracks and discovering what else was tucked away in recordings I thought I knew.

What I brought back to Cardiff

Nick and I learned a great deal that day, both from watching the production team and from having a go ourselves. The listening session gave us another way of understanding the ranges and what we might want to try in a customer’s system. It also reinforced something I’ve said in previous blogs: trust your ears. We can tell you what we heard, but the worthwhile test is to listen with your own equipment and music, then decide whether the change matters to you.

I didn’t wait long to follow my own advice. When I got home, I fitted the EpicX speaker cables I’d made and swapped the digital cable connected to my Cyrus CD player for my new Epic Digital coaxial cable. After spending the day making and listening to cables, there was no chance those were going to sit unopened in a bag. I suspect Nick was just as keen to try his when he got home.

If this has made you curious, I’d encourage you to try some cables for yourself. Chord Company has a cable library, and we can talk you through demonstration and home-loan options at your local Audio T store. Bring along some music you know well, have a listen and see what you notice. That’s much more enjoyable than taking my word for it.

Finally, a really big thank you to Ian Booth for organising our visit, and to Hayley and everyone at Chord Company for giving us so much of their time.

Thank you, too, for taking the time to read my article.

Matt - Audio T Cardiff

If you have any questions about anything covered 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…

Chord Company can be found at the following Audio T stores

September 29, 2026

The lowdown on the wonderful and sometimes weird world of bass

September 29, 2026/ Audio T Southampton/ Southampton

Bass is one of the most debated and misunderstood aspects of audio reproduction. And it’s no wonder, because bass reproduction and our perception of it are more interesting, and stranger, than most of us realise.

It’s probably fair to say that no other aspect of audio reproduction grabs our attention as much as bass. Bass is the foundation of music, providing the rhythm, scale, tonal realism and much of its emotional power.

Bass can have us reaching for adjectives like immense, awesome and killer to describe what we experience. By comparison, the descriptors we apply to the midrange or treble tend to be altogether tamer: words like natural, sweet and open.

It captures the popular imagination in ways that mids and highs don’t. There was a reason why so many (often barely) portable music players from the 1970s and 1980s were called ‘boom boxes’ and featured ‘mega bass boost’.

You don’t have to be a ‘bass head’ to love bass. But how that bass is produced and how it interacts with our rooms and our ears is a complex and far from straightforward matter.

Bass basics

The first thing to note about bass is that the lowest frequencies can contain some of the largest amounts of energy in recorded music.

The energy in a kick drum, double bass, bass guitar, pipe organ or deep electronic note can be far greater than at higher frequencies. You only have to think of how bass can physically hit you in the chest to realise the energy involved.

Large pipe organs produce exceptionally low but high energy frequencies

Because of these large amounts of energy, bass is challenging for hi-fi systems to produce. It places significant demands on our equipment, especially amplifiers and speakers.

The biggest challenge is in producing and, just as importantly, controlling low-frequency sound.

For example, the wavelength, peak to peak, for a 100 Hz sound (typical bass guitar notes) is about 3.4 metres. At 40 Hz (think double bass), it is about 8.6 metres, and if you hit 20 Hz (a pipe organ or sub-bass synth note), it is about 17 metres, or more than 55 feet! By comparison, high-frequency wavelengths can be just a few centimetres long.

Large-diameter drivers are generally better at bass because they can move more air than small cones. But they need enough power and excursion to move the air required at low frequencies.

That’s not to say that a smaller-diameter driver cannot move a lot of air. With a strong motor assembly, a powerful amp and enough excursion or ‘throw’, it can. Some compact subwoofers have surprisingly small-diameter speaker cones.

REL’s T Zero subwoofer is small but still packs a low end punch

The key question with any speaker, especially one with smaller cones, is how loudly it can play very low sounds without noticeable distortion.

Speaker cabinet design also has an impact on bass response, with larger-volume cabinets, which also usually have larger drivers and cones, tending to deliver more bass.

And ports are widely used in many speakers to augment bass reproduction.

A bass-reflex or ported enclosure uses a tuned resonant system to increase acoustic output around a particular frequency range. Other approaches, such as transmission lines, passive radiators and horn loading, use different acoustic principles to control the bass response of the speaker.

A sealed enclosure uses the trapped air inside the cabinet as part of the driver’s mechanical suspension. Its response typically rolls off progressively at low frequencies. Sealed designs tend to give less low bass than ported designs, but their bass response can sound tighter and faster.

like many speakers the dali’s rubicore 2 uses a tuned bass reflect port

There is no universally correct cabinet type. Choose speakers that sound right to you.

Under pressure

All sound is a form of energy travelling in pressure waves. Our ears detect these pressure changes, usually in air, and turn the physical movements inside our ears into minute electrical signals. That is how we hear.

Human hearing tends to sit between 20 Hz and 20 kHz, although this can vary considerably, especially at higher frequencies as we age.

Our hearing evolved primarily around the frequencies that are important for speech and our awareness of our surroundings, like keeping an ear out for predators.

We are less good at hearing very high and very low sounds, such as the infrasound produced by elephants and whales or the ultrasound used by bats.

This relative insensitivity to very low frequencies partly explains why, when we turn the volume down on our hi-fi, we seem to hear the bass disappear. To make low frequencies clearly audible to us, they need to be played at a higher level.

human hearing has not evolved to pick up infrasound produced by animals like elephants

The phrase ‘Fletcher–Munson curve’ is often used to describe the phenomenon whereby the frequencies we hear and the balance we perceive between them depend on sound-pressure level.

At high playback levels, our hearing becomes relatively more sensitive to bass. At lower levels, the bass must be substantially stronger before it is perceived as equally loud.

Too little bass and our music will sound thin. Too much and bass can over-pressurise a room and our ears, creating overpowering and out-of-control bass.

The goal isn’t to hear more bass than the recording contains. The goal is to clearly and accurately hear the bass that is actually there.

Power hungry

Reproducing deep bass at volumes we can appreciate demands considerable electrical power from an amplifier.

Remember, a speaker’s bass driver has to move enough air at low frequencies and do it quickly and accurately enough for the bass to sound tight.

But as frequency falls, achieving sufficient bass output can require increasingly large excursions, all while maintaining speed and accuracy. That requires amplifier power and grip over the speakers. Bass output that lacks amp grip can sound loose and boomy.

A hi-fi system may sound effortless with vocals and cymbals but suddenly struggle if asked to reproduce a synthesised 20 Hz note or organ music. We have all heard systems where the lowest bass notes are pretty much absent.

So, not only must the speakers be up to reproducing low frequencies, but the amplifier driving them must supply the electrical energy necessary to ensure the drivers’ motor assemblies move accurately.

Timing

This is crucial for reproducing well-controlled bass. As mentioned, it is not just about how much a bass driver can move but how it starts and stops during its excursion.

Instruments have an attack, a sustained portion and a decay. If a speaker or amp is slow to capture the attack or allows low-frequency energy to linger after the musical event has ended, notes can blur together.

The effect is particularly noticeable with rhythmically complex music. When bass notes are reproduced with good timing, the listener can follow bass lines and drum patterns more easily. The result is a greater sense of rhythm and musical involvement.

bass is key to following complex rhythms like those created by the late, great neil peart

Perhaps surprisingly, bass quality has a significant effect on our perception of the midrange and treble. When bass is reproduced accurately, the entire frequency range rests on a solid foundation.

Well-controlled bass can make a system sound cleaner and more open. When low-frequency energy is properly reproduced, the rest of the music has space to breathe.

Harmonics

As most of us will know, a bass instrument does not produce just a single frequency or tone. When we hear a bass guitar, synth, double bass or organ, we are actually hearing a collection of low tones and harmonics.

A good hi-fi system should reproduce all of these elements rather than reducing bass to a single ill-defined rumble.

One of the most interesting aspects of bass perception is that the ear does not always need to receive the fundamental frequency, or lowest tone, to perceive the overall pitch of a note.

Effectively, our brains fill in the lowest or fundamental frequency, even if it is not actually produced by our speakers.

Consider a musical note with a fundamental frequency of 30 Hz.

Its harmonic series might contain:

30 Hz — fundamental
60 Hz — second harmonic
90 Hz — third harmonic
120 Hz — fourth harmonic
150 Hz — fifth harmonic

Even if the 30 Hz fundamental is weak or absent in a hi-fi system, we can sometimes infer the missing fundamental or lowest bass note from the harmonic relationships.

This effect even has a name: the missing fundamental phenomenon. It is extremely important to the perception of bass.

A small loudspeaker that cannot reproduce 30 Hz with any significant output can nevertheless produce a convincing impression of a 30 Hz bass note if it reproduces its higher harmonics accurately.

A lot of speaker manufacturers use this to make relatively small and often inexpensive speakers sound surprisingly bassy.

However, it should be remembered that the perception of deep bass is not the same as hearing the accurate reproduction of deep bass.

In the former scenario, the low-frequency pressure waveform is missing, but our brains ‘trick’ us into hearing what it ought to sound like. In the latter scenario, that low-frequency pressure wave is present and we are actually hearing it.

Room acoustics

Bass reproduction is also unusual because our listening rooms have an enormous influence on what we hear.

As we know, low-frequency wavelengths are long, and they interact strongly with room boundaries. Standing waves can create large peaks and dips in response, to the extent that we sometimes hear next to no bass in one part of a listening room but weighty bass just a few feet away.

So, when considering bass response, it is wise to spend some time experimenting with the positions of our speakers and our listening position until we achieve a good bass response.

spending time sorting out speaker placement pays dividends in terms of sound quality

This can involve moving the speakers closer to or further away from rear or side walls, bearing in mind the fact that walls tend to reinforce bass response.

It is worth remembering, however, that speakers do not have to be equal distances from the boundary walls. Rooms are almost never perfectly acoustically symmetrical, and so using a tape measure to position both speakers equidistant from the walls is unlikely to yield the best sound. Better to position speakers using your ears.

Try to lock in one speaker first to get that sounding as you want it to, and then adjust the other until both are locked in and you have a focused sound stage and tight bass. You can also experiment with speaker angles or toe-in, as this can have an impact on the perceived bass response.

If you still have unruly bass, you may need to look at acoustic room treatments such as bass traps. Soft furnishings can help with other reflections, but they are less effective at taming deep bass.

That said, it is usually better to try to get a system sorted first, for instance by choosing the right source, amplification, speakers and cabling to deliver the bass response you like, then spending time setting up the speakers before immediately looking to room treatments.

Bring on the subs

A well-integrated subwoofer is a must in most home cinema systems to give weight and slam to sound effects. But it can also be a fantastic addition to a two-channel system, helping to resolve many bass issues and more besides.

The advantage isn’t simply its ability to reproduce very low notes at pressure levels most speakers cannot match.

While a speaker may nominally be capable of producing sound at 35 Hz, it may only be able to deliver that at such a low volume that we struggle to really hear it, and so it will do little or nothing for the music.

Because a sub provides plentiful low-frequency output, it gives the mids and highs a superb foundation on which to expand and breathe. Introducing a well-integrated sub can improve the mids and highs and likely expand the sound stage.

An added advantage is that subwoofers like those made by REL can be adjusted to deliver more or less bass and to blend in with your speakers.

That said, a poorly integrated subwoofer can over-pressurise a listening room, allowing the bass to swamp the music. A properly set-up sub should make your speakers sound bigger, bassier and more dynamic rather than hog the bass limelight for itself.

The bass paradox

Ultimately, the importance of bass in hi-fi is not about creating the bassiest possible sound. Leave that to the bass heads who show off their car audio systems at SPL (sound pressure level) car meets.

In hi-fi, the role of bass is to help reproduce recordings faithfully.

Excellent bass should make a system sound more natural, not merely more powerful. It should allow a double bass to sound like a double bass, a kick drum to have realistic impact, an organ to convey its enormous scale, and a bass guitar to have a clearly identified space and melody within the performance.

When bass is accurate, controlled and properly integrated with the rest of the system, it becomes almost invisible as a separate feature. Instead, it becomes part of the complete musical picture.

And that is the bass paradox. When the bass is just right, it disappears. We don’t notice it as a separate element within the music. All we hear is our music sounding natural and immersive.

And finally

Don’t forget that no hi-fi system can reproduce bass properly if the music we feed it has been recorded or mixed to have next to no bass.

A recording may contain little energy below 100 Hz because of the studio microphones used, other recording equipment, mixing decisions or mastering. Other recordings may contain oceans of sub-bass.

So bear in mind that, if you are auditioning new equipment (especially speakers or an amp), you should play at least one track with well-recorded, weighty low bass to test the response. The same applies if you are setting up your speakers at home.

Thanks for reading.

Alan – Audio T Southampton

If you have any questions about anything covered 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…

September 28, 2026

Forward! Victory is Near! When Shostakovich Met Arcam’s CD25 and A50 Signature

September 28, 2026/ Audio T Cheltenham/ Cheltenham

I think classical music often gets cruelly overlooked when trying to find great-sounding music that will really show off what your hi-fi system is capable of. So I intend to right that wrong here and now with this month’s blog, which focuses on the staggering work of art that is Symphony No. 8 by Dmitri Shostakovich, with Bernard Haitink conducting the Concertgebouw Orchestra.

The bold russian text translates to “Forward! Victory is Near!”

The Context

Before I talk about the music, I feel a little context regarding the strikingly beautiful cover art is needed… It is a reproduction of part of a 1944 Soviet World War II propaganda poster titled “Forward! Victory is Near!”, designed by artist Nina Vatolina. It features a determined Soviet soldier in a helmet in the foreground, with red flags and Red Army tanks rolling forward in the background.

Written in 1943, Symphony No. 8 was an attempt by Shostakovich to convince people to contemplate the horrors and terrible tragedy of war and yearn, not for victory, but for peace. Criticised at the time for being overly dark and bleak, the piece was thought to dwell too much on the dark and fearful aspects of reality!

The Aftermath

I feel that this symphony is more about the aftermath of war than the actual process of war itself or the dictator in charge at the time. The music is as desolate and brutal as the sense of the advancing, relentless waves of destruction by the Soviet tanks. The stuff of nightmares!

This nightmarish vision is most apparent in the section that we use most for demonstrations here in the shop: Part III, Allegro non troppo. This particular piece is machine-like in its brutality, evoking in the listener a sense of terror and vulnerability. A lone bugle call brings out the human note from amongst all the energy. Huge rushes of orchestral bass slams underpin the crossfire of banshee cries from the brass. All of this seeps out of a soundstage that has no bounds in any direction. This album has been a vital part of our demonstration material here in the Cheltenham shop for years now and is well worth investigating, even if you think that you don’t particularly like classical music. This one may be the album that will change your mind. At times it has the beauty and delicacy of the finest folk music, whilst at other times it has the savage ferocity of the best prog rock, and I love it!

Bang On Cue

To help me prove the point, and bang on cue, here come the brand-new Radia CD25 compact disc player and Radia A50 Signature amplifier from Arcam.

The Radia range has been a great seller for us here in Cheltenham, and we have been looking forward to the addition of these two new models at the top of the range for a while now. I don’t particularly feel that a list of specifications will be entirely helpful here, and anyway, they can be found on the relevant sections of our website quite easily!

Particularly Exciting

The A50 Signature amp is particularly exciting because that signature belongs to one of the hi-fi world’s greatest amplifier design gurus, and one of the people who founded the company fifty years ago when it went under the name of A&R Cambridge. That man is John Dawson… And the Radia A50 Signature marks the company’s 50th anniversary!

John Dawson’s signature sound is all over this little beauty. Those of you who are old enough to remember (or even to have owned) the legendary A60 amplifier from the 1980s will know what I mean, and the Radia A50 Signature made me come over all nostalgic. This new amp reflects that historical continuity while looking firmly forward. John’s involvement in the project was guided by a clear principle: not to revisit past designs, but to ensure that Arcam’s amplifier philosophy remains relevant to how people listen today. His signature on the rear cowl and the internal PCBs is proof of his passion and acknowledges that connection.

Kicking Some Proverbial

Playing the Shostakovich on this combination of CD player and amp was one of those wow moments that don’t come along that often. The sense of space and depth was just huge. It just lets you into the heart of the music with no effort needed on behalf of the listener. It was possible to follow the flow of every single section of the orchestra with an uncanny sense of realistic space and three-dimensionality. This new pairing is definitely going to be kicking some proverbial… I can hear the sound of goalposts being moved as I type. Arcam has designed a brute of an amp that could just become the new reference at the price!

Also good news is that the burgeoning resurgence in the popularity of the compact disc format shows zero sign of slowing down any time soon. And to celebrate this, the all-new Radia CD25 is destined to be at the vanguard of great and affordable CD replay for a sizeable chunk of the future.

The Bit At The End

I am pretty certain that there is no streamer anywhere near the Radia CD25’s price that will compete with it for sound quality, and if you don’t believe me or are even a tiny bit sceptical of that boast, give us a call here in the Cheltenham store or pop in and bring in some of your favourite CDs, and I will show you what I mean! Played together with the A50 Signature amp, the hi-fi world has just become a much better place. And I have not heard the Shostakovich sound this amazing for a long time! Get a listen for yourself and be amazed.

Blog Writing Essentials This Month…

Many thanks for reading.

Andy - Audio T Cheltenham

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…

Arcam can be found at the following Audio T stores

September 18, 2026

Two Turntables, Two Personalities: Rega Planar 2 Nd3 vs Pro-Ject Debut EVO 2

September 18, 2026/ Audio T Swindon/ Swindon

There has never been a better time to get serious about vinyl. Modern turntables have become remarkably sophisticated, yet you don’t have to spend a fortune to enjoy genuinely engaging performance. Two models sitting firmly in that sweet spot are the Rega Planar 2 with the new Nd3 cartridge and the Pro-Ject Debut EVO 2. Both are beautifully engineered, both are designed to extract plenty of music from your records, and both take a slightly different approach to achieving it.

So, who are Rega and Pro-Ject?

Rega was founded in 1973, and its very first product was a turntable. While the company remains particularly well known for its record players, it now produces a complete range of Hi-Fi equipment, including tonearms, cartridges, phono stages, amplifiers, CD players, loudspeakers and more. Rega’s products are designed and assembled at its facility in Essex.

Pro-Ject was founded in Austria in 1991 and, like Rega, began with a turntable. Their turntables are manufactured in Europe, and the company has since developed an extensive range of Hi-Fi electronics and accessories, including amplifiers, phono stages, CD players, streamers and loudspeakers.

Both companies have decades of turntable-building experience behind them, but their approaches to designing one are quite different. That becomes obvious as soon as you place these two decks side by side.

Design and set-up

Up CLose: The Rega Planar 2 with Silkscreen Logo

The Rega has the cleaner lines of the two and exudes a certain understated elegance, while the Pro-Ject has a more solid and slightly chunkier appearance. Neither approach is right or wrong, but they will appeal to different tastes.

Neither deck is difficult to set up, with only a small amount of final assembly required. Setting the tracking weight on the Rega requires the user to know how many turns of the counterweight are needed, although this is explained clearly in the manual. Setting the anti-skating is a doddle, thanks to the marked slider attached to the arm assembly.

The Pro-Ject has a graduated scale attached to the counterweight, making the tracking weight a straightforward matter. Its anti-skating is achieved by hanging a small weight from a fine thread. At my age, this is definitely a reading-glasses job!

The new Debut EVO 2 features the a 8,6‘‘ one piece carbon tonearm design.

Of course, if you would rather not worry about any of this, we will be happy to set either turntable up for you. Both are supplied with moving-magnet cartridges, but neither has a phono stage built in, so you will need an amplifier with a suitable phono input or a separate phono stage.

What do you get for your money?

The Rega Planar 2 has been around for some time, but the addition of the company’s new Nd3 moving-magnet cartridge gives the current version a significant boost.

Rega has concentrated heavily on keeping the Planar 2 light, rigid and mechanically simple. Its RB220 tonearm uses low-friction bearings and a lightweight aluminium arm tube, while a 24V low-noise motor drives the 10mm glass platter through Rega’s Advanced EBLT.

More than ten years in development, the Nd3 uses a powerful neodymium magnet and a bonded elliptical stylus. It is factory-fitted using Rega’s three-point mounting system, which also removes much of the potential guesswork from cartridge alignment. The Planar 2 is available in Gloss White, Gloss Black and Walnut finishes.

The Pro-Ject Debut EVO 2 takes a somewhat different route. It is a substantial-looking turntable with a 1.7kg damped aluminium platter and an 8.6-inch one-piece carbon-fibre tonearm. The heavy platter uses a thermoplastic elastomer damping ring to help control unwanted resonances, while the tonearm is both light and extremely rigid.

Pro-Ject Debut EVO 2 is available in eleven different finishes including satin steel blue

A switch underneath the plinth provides electronic selection between 33 and 45rpm, so there is no need to move the drive belt when changing speed. The cartridge is Pro-Ject’s new Pick it MM EVO, developed in collaboration with Ortofon, and there is a wide selection of plinth finishes available.

In simple terms, the Rega strips the design back to the essentials, whereas the Pro-Ject gives you a heavier construction and a little more day-to-day convenience.

How do they sound?

I gathered a handful of records and a mug of hot tea. It’s a hard job evaluating Hi-Fi, but someone has to do it!

First, the Rega. The Planar 2 is all about musical communication. It has that classic Rega ability to make records sound lively and involving, with a strong sense of rhythm and momentum. The bass is tight and agile, guitars have bite, drums have snap and vocals sit clearly within the soundstage.

It is an energetic presentation, but not a fatiguing one. The Planar 2 has a knack for getting straight to the heart of a recording and encouraging you to play another album. Changing speed involves removing the platter and moving the belt onto a different section of the pulley. It sounds like a faff, but in reality it only takes a few seconds.

The Rega PLanar 2 is available in Black, White, Red and Walnut

The Pro-Ject has a different character. It feels confident and composed, with a greater sense of solidity to the performance. It sounds clean and controlled, the midrange is excellent, and instruments are placed precisely within the soundstage. Its presentation is smooth, but not soft, and there is enough detail and rhythmic ability to keep the music interesting.

The Pro-Ject’s electronic speed control will also be useful if you have a large collection of 45rpm records or regularly move between the two speeds.

If I were to sum them up using musicians as an analogy, the Rega would be Jeff Beck and the Pro-Ject would be John Williams. Both are supremely talented, but their approaches are very different.

So, which one should you choose?

If push comes to shove, I would say the Rega has the edge with rock and pop. Its lively, rhythmically driven presentation gives electric guitars, drums and bass plenty of energy. The Pro-Ject scores particularly highly with jazz and acoustic music, where its composure, spaciousness and excellent midrange come into their own.

That doesn’t mean either turntable is restricted to certain types of music. The Rega can sound wonderfully expressive with an acoustic recording, while the Pro-Ject certainly won’t fall apart when asked to play something heavier. This is simply where I felt each model’s particular strengths were most apparent.

The Rega will appeal if you value simplicity, energy and a direct connection with the music. The Pro-Ject offers a more measured presentation, a substantial build and the convenience of electronic speed selection.

Ultimately, the best choice will come down to your records, the rest of your Hi-Fi system and your personal taste. The only proper way to decide is to hear them for yourself, preferably side by side and with music you know well.

If you would like to compare the Rega Planar 2 with Nd3 and Pro-Ject Debut EVO 2, bring a couple of your favourite records along and we will be happy to arrange a demonstration.

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…

Rega can be found at the following Audio T stores - Pro-Ject turntables can be found at the Swindon store.

Pro-Ject can be found at the following Audio T stores

September 14, 2026

Audio T: Born in 1966. Still Obsessed with Sound.

September 14, 2026/ Audio T Portsmouth/ Brad Tyler

Audio T is celebrating its 60th anniversary this year. Brad Tyler looks back at six decades of change, the people who kept the company going and an industry that has been written off more times than anyone can remember.

Sixty years is a difficult length of time to properly get your head around. In 1966, The Beatles released Revolver, The Beach Boys gave us Pet Sounds, Bob Dylan unveiled Blonde on Blonde and England won the World Cup. Rather more importantly, at least for the purposes of this article, John Bartlett started a small Hi-Fi business from his home.

I cannot claim any first-hand knowledge of those early days. I was still two decades away from making an appearance and only joined Audio T in 2018. However, one of the things I have always loved about the company is that its history has a personality. This is not the story of a carefully planned retail empire created in a boardroom. It is far stranger, more rebellious and considerably more entertaining than that.

So, Where Did Audio T Come From?

John originally called the business Audio Technica, before discovering that a Japanese company had already beaten him to the name. “Technica” was swiftly dropped and Audio T was born.

The business was initially run part-time from John’s home, with equipment advertised in The Gramophone as “ex-demonstration” or “display” stock. In reality, much of it was brand new. At the time, retailers were not permitted to discount new equipment, so this was Audio T’s slightly creative way around the rules. That probably tells you quite a lot about John from the outset.

By 1968, Audio T had grown enough to move into its first proper premises at Dryden Chambers, just behind Oxford Street in London. The building had previously been a Victorian brothel and later appeared in Alfred Hitchcock’s Frenzy. Not many retailers can boast that particular combination on their company CV.

However, there was more to Audio T than unusual premises and a casual disregard for retail conventions. John was determined to find the best and most reliable equipment, often from small manufacturers that were largely unknown at the time. If a product was not good enough, Audio T would say so, regardless of how large or influential the manufacturer might be.

Equipment was independently tested and the results were published. This occasionally caused a few disagreements along the way, including one particularly public falling out, but customers appreciated the honesty.

In 1972, Audio T moved to West Hampstead and became the first British retailer to offer direct-cut vinyl, five-year warranty options and full amplifier test reports. There were also midnight sales and a policy of closing on Mondays, another tradition that has stubbornly survived in our stores to this day. Audio T broke the rules, and people rather liked it.

A Few Familiar Faces

Audio T’s independent, straight-talking approach attracted quite a following over the years, including more than a few familiar faces. Our stores have welcomed everyone from conductor Leopold Stokowski, Elton John, Keith Moon and John McVie of Fleetwood Mac to Johnny Rotten, Noel Gallagher, Bernard Sumner of New Order, Mani of The Stone Roses, Jay Kay of Jamiroquai and Emma Watson.

That would make for a fairly unlikely queue outside a demonstration room.

The full roll call is considerably longer and covers musicians, actors, composers, conductors, sportspeople and television personalities from several generations. Other notable customers have included Andrew Lloyd Webber, Justin Hawkins of The Darkness, Bonnie Tyler, Karl Hyde and Rick Smith of Underworld, Dr Karl Jenkins, Will Young, Russell Watson, Joe Jackson, Kevin Rowland, Colin Blunstone of The Zombies and Mark Potter of Elbow.

They came to Audio T for much the same reason as everyone else: knowledgeable advice, carefully chosen equipment and a shared enthusiasm for great sound. Celebrity or otherwise, the approach was exactly the same. Listen first, offer an honest opinion and find the system that best suits the person sitting in front of you.

Everything Changes. Then Comes Back Again.

The world of Hi-Fi has changed almost beyond recognition since 1966. Audio T has seen vinyl supposedly replaced by cassette, cassette replaced by CD, CD replaced by downloads and downloads challenged by streaming. We have watched home cinema arrive, televisions become enormous, headphones become wireless and whole music collections shrink into something that can be carried around in a pocket.

Curiously, many of the things pronounced dead have refused to stay dead. Vinyl has returned in a way few people would have predicted 20 years ago. Turntables are introducing a new generation to physical music, while plenty of existing listeners are rediscovering collections that had been gathering dust. Even the CD, after years of being told its services were no longer required, is showing signs of renewed interest.

Every few years, someone announces that Hi-Fi itself is finished. People have phones, smart speakers and endless access to music, so why would anyone need a proper system? The answer is quite simple: having access to music and really listening to it are not the same thing.

Streaming has not killed Hi-Fi. If anything, it has made more music available to more people than at any other point in history. The challenge for our industry is showing those people what can happen when that music is played through something better.

Once someone hears a familiar recording properly reproduced, the conversation changes. They notice an instrument, a harmony or a tiny detail they had never heard before. The music feels bigger, more involving and more human. That moment is why this industry keeps going.

Surviving Isn’t the Same as Standing Still

Reaching 60 does not mean Audio T has simply carried on doing exactly the same thing while the world changed around it. The company has expanded, contracted, merged with other respected retailers and adapted to some extremely difficult trading conditions.

In 1990, Audio T joined forces with Oxford retailer Absolute Sound and Video. The three Jeffries Hi-Fi stores followed in 2002, before Audio Excellence and Practical Hi-Fi became part of the business in 2008.

There have been recessions, changing shopping habits, the rise of internet retail and the small matter of a global pandemic. Stores have opened, moved and closed, and many familiar names from the wider Hi-Fi industry have sadly disappeared altogether. Specialist retail is not easy, and it probably never has been.

What has allowed Audio T to persevere is the recognition that our role is about more than putting products into boxes and taking payment. You can find specifications, prices and opinions online within seconds. What the internet cannot easily tell you is how two products will behave together, whether a pair of loudspeakers will suit your room or if spending more money will genuinely give you something worthwhile.

Sometimes the best advice is that you do not need to spend more at all. That is not always the most effective sales technique, but it is a good way to build a relationship that lasts longer than a single purchase.

Sixty Years of Knowledge

No celebration of Audio T would be complete without recognising the people who have worked here over the years. Our staff have built up an extraordinary amount of knowledge, and it has not come from simply memorising specifications.

Some of our staff, past and present, at the bristol hi-fi show

It has been gained through thousands of demonstrations, installations, home visits and conversations. It comes from matching countless combinations of amplifiers, loudspeakers, turntables and source equipment. Occasionally, it comes from making mistakes so that you do not have to.

Many members of the team have spent a substantial part of their working lives with Audio T. They know which products complement one another, which combinations are best avoided and how apparently small changes can completely alter the balance of a system.

More importantly, they understand that there is no single “correct” system for everyone. We all listen differently, live in different homes, enjoy different music and have different priorities. Good advice begins with listening to the customer. The equipment comes afterwards.

Of course, conversations in our stores have a tendency to wander away from the equipment and into discussions about albums, concerts and which version of a recording sounds best. That is not an unfortunate distraction from the job. It is a large part of the reason most of us got into it.

Thank You for Keeping Us Here

The truth is that no independent business reaches its 60th anniversary without loyal customers. Some of you have been visiting Audio T for decades, gradually building and changing your systems as your circumstances, homes and music collections have evolved. Some have introduced children, friends and other family members to us. Others may have discovered Audio T only recently while searching for a first turntable, a better pair of headphones or a way to get music out of a phone and into the room.

Our destination store, just outside of reading, in swallowfield

Every one of those customers is part of this story. Your purchases have obviously kept the business going, but so have your recommendations, reviews, event visits and conversations. Every time someone tells a friend about a good experience in one of our stores, it helps an independent retailer continue doing what it does.

That support is something we should never take for granted. To everyone who has trusted Audio T over the years, thank you. Whether you have bought several generations of equipment from us or have only just walked through the door for the first time, you are always welcome.

Another Anniversary Is Coming

The celebrations do not end with Audio T’s 60th. In 2027, it will be 40 years since the first Bristol Hi-Fi Show took place in 1987. The next event will be the 38th Show and takes place from Friday 26th to Sunday 28th February at the Delta Hotels by Marriott Bristol City Centre.

The Show has changed over the years, just as the industry has, but its purpose remains remarkably similar. It brings manufacturers, retailers, music lovers and curious newcomers together in one building and gives people the opportunity to experience an enormous range of equipment for themselves.

It is also fairly compelling evidence that the Hi-Fi industry still has plenty of life left in it. We will be celebrating those 40 years properly in Bristol next February, and we hope many of you will be there to join us.

What About the Next 60 Years?

I would be lying if I said I knew what Hi-Fi would look like in another 60 years. By then, we may be controlling our systems with our thoughts, listening through invisible loudspeakers or having heated arguments about whether music sounded better before it was beamed directly into our brains.

Whatever happens, I suspect people will still care about music. They will still want to feel something when they listen, and they will still be curious about whether their favourite recordings could sound better.

That is why Audio T is still here. The technology has changed, the formats have come and gone (and come back again) and the company itself has changed, but the reason behind it all has remained remarkably consistent.

Born in 1966. Still obsessed with sound.

Here’s to whatever comes next.

Thanks for reading.

Brad Tyler – Head of Marketing at Audio T

If you have any questions about Hi-Fi or Home Cinema, be sure to contact your local Audio T.

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…

September 02, 2026

How to Choose a Turntable: What You Need to Know Before You Buy

September 02, 2026/ Brad Tyler

Buying a turntable ought to be simple. You choose one you like, put a record on and enjoy the music.

Then you start looking properly…

Belt drive or direct drive? Manual or automatic? Moving magnet or moving coil? Do you need a phono stage? Does it come with a cartridge? And why can two turntables that appear to do exactly the same job have wildly different price tags?

Before long, something that should be one of the most enjoyable ways of listening to music can start feeling unnecessarily complicated.

It really doesn't need to be.

I've been buying and playing records for a large portion of my life, and one thing I've learned along the way is that choosing a turntable isn't about ticking the most boxes or having an expert-level of understanding for every technical term. It's about finding something that works with your system, suits the way you listen and, most importantly, makes you want to keep pulling records off the shelf.

So let's forget the jargon for a moment and start with the things that actually matter.

First rule of vinyl playback - get your fingers off the playing surface!!!

The quick answer: how do you choose the right turntable?

If you're short on time, start with these questions:

What will the turntable be connected to?
Does your amplifier already have a phono stage?
Do you want manual or automatic operation?
Is a cartridge included?
Do you want something simple, or something you can upgrade over time?
Where will the turntable sit?
What records do you actually own?
And perhaps most importantly, how much do you want to spend?

Answer those and you've already narrowed things down considerably. The rest is about finding the turntable that makes you want to keep putting records on and, ultimately, that's the bit that matters.

Start with your existing Hi-Fi system

One of the easiest mistakes to make is looking at a turntable as an isolated purchase. It isn't.

The vinyl replay chain looks something like this:

Record → Stylus and Cartridge → Tonearm → Turntable → Phono Stage → Amplifier → Speakers

Everything affects everything else, but that doesn't mean you need to spend exactly 23.7% of your Hi-Fi budget on a turntable because somebody on a forum said so. There are no magic percentages.

If vinyl is your main source and you've spent the last 30 years amassing several thousand records, it would be perfectly reasonable to put a sizeable chunk of your system budget into playing them properly. If you own 40 LPs but stream music every evening, you might make a different decision.

Personally, my record collection has been growing for longer than I'd care to admit, so vinyl is important to me. But that's my system. Your system should reflect the way you listen.

Do I need a phono stage?

This is probably one of the most common questions we get from people buying a turntable, and it's a sensible one because turntables are slightly awkward little things.

The signal coming from a cartridge is extremely small. Much smaller than the signal coming from a CD player, streamer or DAC. Before your amplifier can do much with it, that signal needs to be amplified and equalised by something called a phono stage.

You may already have one. If your amplifier has an input labelled Phono, there's a good chance it contains a phono stage. You'll just need to establish what type of cartridge it supports, usually Moving Magnet, Moving Coil or sometimes both.

Some turntables have a phono stage built in too, meaning they can connect directly to a normal AUX, Line or analogue input on an amplifier or powered speaker system.

A good real-world example is the difference between the Rega Planar 1 and Rega Planar 1 Plus. Both are designed to make getting into good-quality vinyl replay relatively straightforward, but the standard Planar 1 needs a suitable Moving Magnet phono stage somewhere in the system, whereas the Planar 1 Plus has one built in.

If your amplifier doesn't have a Phono input, that little word Plus suddenly becomes rather important.

And then there are separate phono stages.

Yes, that's another box… Welcome to Hi-Fi!

A separate phono stage gives you much more freedom to choose something that suits your cartridge and upgrade it independently later. So the broad rule is:

Built-in phono stage = simpler.
Separate phono stage = more flexibility.

Neither is automatically better. The important thing is knowing what you actually need before you get your shiny new turntable home and realise you've got nowhere to plug it in.

Belt drive or direct drive?

Ah yes. One of those age-old Hi-Fi debates.

With a belt-drive turntable, the motor turns the platter via a belt. With direct drive, the motor drives the platter directly. Simple enough.

For decades, direct-drive turntables became closely associated with DJ use, while belt drive became the default choice for many specialist Hi-Fi manufacturers. That doesn't mean belt drive is inherently better.

You can see both approaches in the turntables we stock at Audio T. Rega makes extensive use of belt drive, as does Pro-Ject with models such as the Debut EVO 2. At the other end of the argument, the Audio-Technica AT-LP120XUSB uses direct drive.

Modern direct-drive designs can provide superb speed stability, excellent torque and very high performance. Likewise, a well-engineered belt-drive turntable can isolate motor vibration extremely effectively and sound fantastic.

The important word in both examples is well-engineered.

I wouldn't choose a turntable simply because someone tells you belt drive is more "audiophile", nor would I choose direct drive solely because it gets up to speed half a second quicker. Look at the complete design: motor, bearing, platter, tonearm, cartridge, power supply, isolation and setup all matter.

Or better still, listen to the thing.

Manual or automatic?

This one is much easier because it's really about how you like to listen.

With a manual turntable, you generally switch it on, move the arm across the record and lower the stylus yourself. At the end, you lift it back up.

An automatic turntable can do some or all of that for you.

The Dual CS 329, for example, takes care of pretty much the whole process. Press Start and the tonearm moves into position and lowers itself onto the record, then returns at the end of the side and stops the motor.

Compare that with something like a Rega Planar 3, where you're very much part of the process.

Personally, I like the ritual of a manual turntable. Taking the record out of the sleeve, giving it a quick clean, lowering the stylus and hearing those first few seconds before the music starts is part of the appeal.

But I'm not going to tell somebody they're "doing vinyl wrong" because they'd rather press a button. They're not.

If automatic operation makes you more likely to play your records, buy an automatic turntable. If you love being involved in the process, go manual.

There isn't an exam at the end.

Don't overlook the cartridge

The cartridge is one of the smallest parts of the system and one of the most important. The stylus sits in the record groove and physically follows the information cut into it, with those tiny movements then converted into an electrical signal.

When you really think about what is happening, it's slightly ridiculous that it works at all. And yet here we are.

Many turntables come with a cartridge already fitted and aligned. For somebody buying their first proper turntable, this makes life much easier. As you move further up the ladder, you may find turntables supplied without a cartridge, allowing you to choose one that suits the tonearm and system.

The two main types you'll come across are Moving Magnet (MM) and Moving Coil (MC).

Very broadly, Moving Magnet cartridges are generally easier to live with, widely compatible and often have replaceable styli. Moving Coil cartridges can offer higher levels of performance, but they tend to need more careful matching and usually require a compatible phono stage.

We'll cover all of that properly in our dedicated Moving Magnet vs Moving Coil Cartridges guide.

For now, just make sure you know two things: does the turntable come with a cartridge, and can your phono stage work with it?

How important is turntable setup?

Very. Probably more important than many people realise.

I've spent enough time in recording studios to know that vibration has an annoying habit of turning up exactly where you don't want it. A turntable is trying to read incredibly small movements from a groove, while your loudspeakers are doing their very best to fill the room with vibration.

You can see the potential conflict.

Ideally, your turntable should sit on a solid, stable and level surface, away from the loudspeakers. Putting a turntable and speakers together on the same lightweight sideboard might look lovely on Instagram, but acoustically it isn't always the cleverest idea we've ever had.

And yes, we appreciate that not everybody has the luxury of a dedicated listening room with equipment racks, wall shelves and enough floor space to host a small orchestra. Real homes are real homes.

The point is simply to give the turntable the best chance you reasonably can. If you've got suspended floors, awkward furniture or very powerful speakers, isolation can become particularly important.

Sometimes a decent support or wall shelf can achieve more than spending the same amount of money upgrading another component.

How much setup do you want to do yourself?

This is worth thinking about before buying.

Some turntables are deliberately straightforward. You take them out of the box, make a small number of adjustments and you're listening to music fairly quickly.

Others allow you to adjust:

tracking force
anti-skate or bias
cartridge alignment
tonearm height
platter or sub-platter
external power supplies
cartridges
belts
isolation

If you're reading that list and thinking, "Brilliant, I love tinkering", then an upgradeable deck may be exactly what you want.

If you're thinking, "I just want to listen to Rumours", that's fine too. You don't need to turn record playing into an engineering project.

One of the advantages of buying from a specialist is that we can deal with the setup for you. You still get the benefits without spending your Saturday afternoon staring suspiciously at a protractor.

Do you want to upgrade later?

Turntables can be wonderfully upgradeable things.

Depending on the design, you may eventually be able to improve the cartridge, stylus, belt, platter, sub-platter, tonearm, power supply, phono stage or isolation.

How far you can take things varies enormously. A Rega Planar 3, for example, gives you sensible future options around cartridges and power supplies, while something such as the Linn Majik LP12 takes the idea considerably further, with a modular design that can evolve piece by piece over many years.

That can be great fun, but there is a slight danger in Hi-Fi that we spend so much time thinking about what we're going to upgrade next that we forget to enjoy what we've already bought. I've certainly been guilty of it.

An upgrade path is useful. An obligation to keep upgrading isn't.

If you want something that can evolve with your system over the next ten or fifteen years, choose accordingly. If you want to buy a turntable and leave it alone, that's an equally valid approach.

What speeds do you need?

For most people, this is straightforward.

The majority of record collections are made up of 33⅓rpm LPs and 45rpm singles, and practically every conventional Hi-Fi turntable will play both.

The difference is often in how you change speed. Some turntables use an electronic switch, while others require you to move the drive belt manually from one pulley position to another.

Electronic speed change is undoubtedly more convenient. Manual speed change isn't exactly hardship. It takes a few seconds.

Where you do need to pay attention is if you own 78rpm records.

Not every turntable supports 78rpm, although there are models that do. The Audio-Technica AT-LP120XUSB mentioned earlier is one example, while Rega also makes the dedicated Planar 78 specifically for 78rpm records.

12” LP, 7” Single and a 10” Gramophone record

Older shellac records will generally require an appropriate stylus too, so if you've inherited a stack of old 78s from your grandparents, make sure you mention it before buying.

What about Bluetooth and USB?

Turntables have changed.

It's now quite common to find models with Bluetooth, USB outputs or built-in phono stages. Purists may need a cup of tea and a sit down at this point, but there's nothing inherently wrong with these features.

USB can be useful if you want to digitise records. Bluetooth can make vinyl much easier to incorporate into a modern wireless system. A built-in phono stage can simplify the whole setup.

The AT-LP120XUSB is a good example of how these worlds can meet: it's still a fully manual direct-drive turntable with a conventional cartridge and tonearm, but it also has a built-in switchable phono stage and USB output.

The question is whether you need any of those things.

If sound quality is your priority, I'd always start with the fundamentals: is it a good turntable, is the tonearm good, is the cartridge good, and is it well engineered?

Connectivity comes afterwards. There's not much point having seven different ways to connect a turntable if the basic record-playing bit isn't particularly good.

Should I buy a turntable with a built-in phono stage?

For plenty of people, yes. It can make getting into vinyl enormously straightforward.

Turntable into amplifier. Done.

It's particularly useful if you're using active speakers or an amplifier without its own phono input. But if you're building a more ambitious system or think you're likely to experiment with cartridges later, a separate phono stage gives you greater flexibility.

There's no need to get hung up on this. You can build a fantastic system either way.

It comes back to one of the main themes of this whole guide:

Buy for how you're actually going to use it.

Not for how somebody on the internet tells you a "proper" vinyl system should look.

Don't become obsessed with specifications

Specifications are useful. They can tell you about things like speed accuracy, wow and flutter, output level, tracking force and dimensions.

What they can't tell you is whether you'll actually enjoy listening to the turntable.

I studied this stuff. I still don't sit at home admiring a wow-and-flutter figure.

At some point you need to put a record on.

Two turntables costing roughly the same amount can sound quite different. One might feel more rhythmically engaging, while another might sound bigger and more spacious. You might prefer one immediately and somebody else might choose the other.

Neither of you is wrong. That's the joy, and occasional frustration, of Hi-Fi.

Take records you actually know to a demonstration

This might sound obvious, but it's worth saying.

If you're comparing turntables, take music you know. Not an immaculate £50 pressing of something you've never heard before simply because somebody told you it's "audiophile".

Take your records.

I've got records that are beautifully produced. I've also got records I adore that sound like they were recorded in a shed with three microphones and a prayer.

Both matter to me.

If you've listened to an album hundreds of times, you'll immediately hear when something changes. You'll notice the bass, the voice, whether the drummer suddenly sounds like they're actually sitting behind the kit rather than being politely suggested somewhere in the distance.

And you'll know whether you're enjoying it.

That is far more useful than trying to remember a list of Hi-Fi terminology while somebody stands next to you waiting for a verdict.

How much should you spend on a turntable?

The annoying answer is:

It depends.

I know. Helpful. But there's genuinely no universal figure.

Spend enough to achieve the performance you want without completely unbalancing the rest of your system.

If vinyl is your main source, then spending a significant proportion of your budget on record playback can make perfect sense. If vinyl is something you enjoy occasionally alongside streaming and CD, you may want to spread the budget differently.

And don't forget that the turntable itself may not be the whole bill. You could also need:

a cartridge
a phono stage
interconnects
equipment support
record cleaning equipment
replacement styli

There's little point spending every last penny on the turntable and then balancing it on an old IKEA unit next to the subwoofer because you forgot about everything else.

New to vinyl? Don't overthink it

If this is your first proper turntable, there is a temptation to research absolutely everything.

YouTube reviews. Forums. Specifications. Cartridge compliance calculators. Arguments between complete strangers about whether a particular belt sounds better after 37 hours of running in.

Eventually your brain melts.

Start simple. Ask yourself:

What equipment do I already have?
How much do I want to spend?
Do I want manual or automatic?
Do I need a phono stage?
Do I want to upgrade things later?
Where will the turntable sit?

Then listen. You can learn the rest as you go.

That's half the fun.

My advice: buy the turntable that makes you want to play records

After all the technical stuff, this is really where I land.

A turntable isn't there to impress somebody reading your equipment list. It's there to play music.

Some people want a beautifully simple deck they can keep for twenty years. Others enjoy upgrading cartridges, power supplies, phono stages and everything else they can get their hands on.

Some people have thousands of records. Others have just bought their first five. There is room for all of them.

For me, vinyl has always been about the connection with the music. Choosing an album, pulling the record from its sleeve, looking at the artwork, lowering the tonearm and dropping the stylus.

Then inevitably realising you've left your cup of tea on the other side of the room just as the music starts.

That's part of it.

The best turntable isn't automatically the most expensive. It isn't necessarily the one with the longest specification sheet. And it definitely isn't the one somebody on a forum tells you you're supposed to own.

It's the one that works properly with your system and makes you want to get another record off the shelf.

Before you buy…

Does my amplifier have a phono stage?
Check for a Phono input, and whether it supports MM, MC or both.
Does the turntable include a cartridge?
Some do, some don't. Make sure you know what's included in the price.
Where is it going to sit?
Stable, level and ideally away from your speakers.
Do I want manual or automatic?
There's no right answer. Pick the one you'll actually enjoy using.
Can I hear it first?
Preferably. Take a couple of records you know and see what grabs you.

Still not sure which turntable is right for you?

Come and talk to us. That's not a clever marketing line. Turntables are simply much easier to choose when you can see them, hear them and work out how they'll fit into the rest of your system.

You can browse our full range of turntables here, or better still, bring along a couple of records you know well and visit your local Audio T store.

We can help you choose the right turntable, cartridge and phono stage, make sure everything works with the equipment you already own and take care of the setup too.

You don't need to know all the terminology before you walk through the door. That's our job.

Yours is to bring your ears.

Thanks for reading.

Brad Tyler – Head of Marketing at Audio T

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 your local Audio T.

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…

Turntables from varying brands can be found at all Audio T stores:

September 02, 2026

Moving Magnet vs Moving Coil Cartridges: What’s the Difference?

September 02, 2026/ Audio T/ Brad Tyler

If you've spent any time looking at turntables or cartridges, you've probably come across two little abbreviations that seem to crop up everywhere: MM and MC.

Moving Magnet and Moving Coil.

At first glance, it can feel like another one of those Hi-Fi choices where you're somehow expected to know which camp you belong to before anyone lets you through the door.

Thankfully, it isn't.

Both are simply different ways of doing the same fundamental job: taking the incredibly small movements of a stylus as it follows a record groove and turning them into an electrical signal that eventually comes out of your speakers as music.

The differences are in how they do it, how much signal they produce, what equipment they need around them and, ultimately, whether one makes more sense in your system than the other.

And before we go any further, let's get one thing out of the way.

Moving Coil is not automatically better than Moving Magnet.

There. I've said it. Now we can get on with things.

The quick answer: MM or MC?

If you want the abbreviated version, Moving Magnet cartridges generally produce a higher output, are easier to match with phono stages and, in many cases, allow the stylus to be replaced or upgraded separately.

Moving Coil cartridges tend to produce a much lower output and require a compatible MC phono stage, but their lighter moving generator is one of the reasons they have become so closely associated with more ambitious vinyl systems.

There are, naturally, exceptions to pretty much all of that.

Because Hi-Fi wouldn't be Hi-Fi if somebody hadn't found a way of making a simple answer slightly more complicated.

If you're choosing your first cartridge, MM is often the easiest place to start. If you're building a more ambitious vinyl setup and have the turntable, tonearm and phono stage to support it, MC becomes very interesting indeed.

First, what does the cartridge actually do?

It's easy to overlook the cartridge because it's tiny, but there's quite a lot happening down there.

The stylus sits in the record groove and moves as it encounters the information cut into the vinyl. That movement travels through the cantilever and into the cartridge's generator, which converts the mechanical movement into an electrical signal.

A microscopic view of a stylus in the grooves of a record

When you actually stop and think about it, it's still fairly miraculous.

You're dragging a tiny diamond through a plastic groove containing microscopic variations and somehow Mr. Brightside comes out the other end.

Not bad.

The main difference between MM and MC is essentially which part of that generator moves.

How does a Moving Magnet cartridge work?

In a Moving Magnet cartridge, small magnets attached to the cantilever move in relation to fixed coils inside the cartridge body.

As the stylus traces the groove, those magnets move and generate an electrical signal in the coils.

One of the main advantages is output. MM cartridges generally produce a relatively healthy signal, which makes them compatible with the Moving Magnet phono inputs found in a huge number of amplifiers and standalone phono stages.

They're also available at a very broad range of prices and performance levels, which is where I think the phrase "entry-level cartridge" can become a little misleading.

Moving Magnet might be where many people start, but it certainly isn't where the technology stops.

Moving Magnet doesn't mean basic

You only have to look through the cartridges we stock at Audio T to see how varied MM designs can be.

The Audio-Technica VM95 Series is a particularly good example. The same basic cartridge platform can take you from a simple conical stylus through elliptical, nude elliptical, MicroLinear and Shibata options.

That's useful because you don't necessarily have to throw the entire cartridge away every time you want to improve things. In many cases you can simply change the stylus assembly and move further up the range.

Ortofon does something similar with its hugely popular 2M family. Something like the 2M Blue uses a Nude Elliptical stylus, while the 2M Black takes things considerably further with a Nude Shibata profile.

Both are still Moving Magnet cartridges.

Then you've got cartridges such as the Sumiko Amethyst, which uses a line-contact stylus and a more sophisticated generator.

So if anybody tells you MM is only for inexpensive turntables, things have moved on a bit.

How does a Moving Coil cartridge work?

A Moving Coil cartridge turns the principle around.

Instead of moving magnets in relation to fixed coils, tiny coils attached to the cantilever move within a magnetic field.

Those coils can be made extremely small and light, reducing the moving mass at the business end of the cartridge. In a suitably capable system, that can allow the stylus and cantilever assembly to respond exceptionally quickly and accurately to what's happening in the groove.

That's one of the reasons MC designs have become so closely associated with high-performance vinyl replay.

But there is a catch.

Those tiny coils don't generate very much electricity.

A conventional low-output Moving Coil cartridge may produce only a fraction of a millivolt, while a typical MM produces several millivolts.

Which brings us neatly to probably the most important practical difference between the two.

Your phono stage matters

A lot.

If you've already read our How to Choose a Turntable guide, you'll know that a turntable cartridge can't simply be connected to any old amplifier input.

It needs a phono stage, and with MM versus MC the type of phono stage becomes particularly important.

A Moving Magnet phono stage is designed around the relatively strong output of an MM cartridge. A low-output Moving Coil cartridge requires significantly more gain, and better MC phono stages may also allow you to adjust things such as loading to suit the cartridge more precisely.

So if you've spotted an MC cartridge, fallen in love with the idea of it and are hovering over the Buy button, check your phono stage first.

Buying the cartridge and then discovering your amplifier only has an MM input is a slightly irritating way to spend an afternoon.

Some phono stages support both MM and MC. Others are dedicated to one type, so system matching matters just as much here as it does with the turntable itself.

And then there are high-output Moving Coils…

Remember when I said Hi-Fi likes making things complicated?

Some Moving Coil cartridges are designed with a higher output so they can be used with the sort of phono amplification normally associated with Moving Magnet cartridges.

The Dynavector 10X5 MkII is a great example. Its high-output version produces considerably more signal than a conventional low-output MC and is specifically designed to work into an appropriate MM-type phono input.

Hana takes a similar approach with the S Series MKII. The SL MKII is a conventional low-output MC intended for suitable Moving Coil amplification, while the SH MKII is a high-output version designed to work with an appropriate Moving Magnet phono stage.

Same basic cartridge family. Different electrical requirements.

This is why I wouldn't buy any cartridge based purely on the letters printed on the box.

Does MM mean the stylus can always be replaced?

No. It's another one of those generalisations that is mostly useful until it suddenly isn't.

On many Moving Magnet cartridges, the stylus assembly can be removed and replaced without changing the whole cartridge. That's useful because styli wear out, but it also gives manufacturers such as Audio-Technica and Ortofon the opportunity to build very sensible upgrade paths.

Audio-Technica offer one of the easiest upgrades with their At-VM95 series

If you've got an AT-VM95 body, for example, you can move through several different stylus profiles without replacing the generator itself. Likewise, an owner of an Ortofon 2M Bronze can move to a 2M Black stylus without necessarily replacing the complete cartridge.

But not every MM cartridge works that way.

Rega's current Nd range is a useful example. The Rega Nd5 and Nd7 are Moving Magnet designs, but their styli aren't intended to be swapped by the user. Instead they have to be returned to Rega to be rebuilt.

So don't choose MM solely because somebody has told you, "You can always replace the stylus." Usually isn't the same as always.

Moving Magnet or Moving Coil isn't the whole story

This is probably one of the most important points in the whole article.

MM or MC tells you how the cartridge generates its electrical signal. It doesn't tell you everything about the stylus that's actually touching the record.

You'll also encounter stylus descriptions such as conical, elliptical, nude elliptical, Fine Line, MicroLinear, Shibata and other line-contact profiles.

These shapes affect how the stylus contacts and traces the groove, and increasingly sophisticated profiles can retrieve very fine information when they're properly aligned.

That's why an advanced Moving Magnet cartridge such as the Ortofon 2M Black or Rega Nd7 shouldn't be dismissed simply because it isn't Moving Coil.

Equally, an MC cartridge isn't automatically brilliant simply because somebody has fitted tiny coils to it.

You have to look at the complete design: generator, stylus, cantilever, cartridge body, tonearm, phono stage and setup.

There's that whole-system thing again. Hi-Fi does love ruining a beautifully simple answer.

So does Moving Coil sound better?

Sometimes. (Helpful, I know).

A good Moving Coil cartridge in a properly matched system can be wonderful. There's a reason manufacturers put so much effort into reducing moving mass and refining these incredibly small generators.

But simply fitting an MC cartridge doesn't unlock a secret layer of information that's been hiding on every record waiting for you to spend more money.

A well-chosen MM cartridge on the right turntable, feeding a good MM phono stage, can make considerably more sense than buying an expensive MC and then compromising everything around it.

This is something that gets forgotten whenever Hi-Fi gets reduced to hierarchies. More expensive must be better. Moving Coil must beat Moving Magnet. Bigger number wins. It really isn't that simple.

I've heard systems where changing the cartridge has transformed the whole presentation, but I've also heard expensive cartridges fitted to turntables where you can't help thinking the money would have been rather better spent somewhere else.

Balance matters.

Don't forget the tonearm

Cartridge matching goes beyond checking whether your phono stage says MM or MC on the back. The cartridge also needs to work mechanically with the tonearm.

Cartridge weight, compliance, tracking force and the effective mass of the arm can all come into play.

I'm deliberately not going to turn this into a cartridge compliance mathematics lesson. You've got records to listen to and I've got a word count to think about.

The important thing is simply to understand that not every cartridge is automatically an ideal match for every tonearm.

The physical dimensions can matter too. Ortofon, for example, offers its lower-profile 2MR versions for turntables and tonearms where the height of the standard 2M body isn't ideal.

So if you're replacing a cartridge on an existing turntable, it pays to check before assuming anything with two screws in the top will work perfectly.

Cartridge setup isn't the place for "that looks about right”

A cartridge is trying to trace incredibly tiny variations in a record groove, so positioning it several millimetres out and thinking, "Yeah, that'll probably do" isn't really the ideal approach.

Correct setup can involve cartridge alignment, tracking force, anti-skate or bias, tonearm height, azimuth and, with some MC systems, phono-stage gain and loading.

Some cartridges and tonearms make installation beautifully simple. Others make you wonder whether a third hand might have been a useful evolutionary development.

But it matters.

A cartridge that's badly aligned or incorrectly adjusted isn't just unlikely to sound its best. Poor setup can also affect tracking and increase wear.

If you're not comfortable fitting one yourself, there is absolutely no shame in getting somebody else to do it.

I've spent enough of my life fiddling around with turntables to know there are occasions when "I'll let someone with the right tools do that" is an entirely sensible decision.

When would I choose Moving Magnet?

For me, MM makes a great deal of sense if you're buying your first proper cartridge, your amplifier already has a good MM input, you value simplicity, or you'd like an easy stylus upgrade path.

But none of those things mean it has to be a stepping stone to something else.

A cartridge such as the Ortofon 2M Black, Rega Nd7 or Sumiko Amethyst can sit perfectly happily in a serious vinyl system.

You don't eventually have to "graduate" from Moving Magnet. There is no ceremony. No certificate arrives in the post. If you've got an MM cartridge you love, enjoy it.

When would I choose Moving Coil?

MC becomes particularly appealing when the turntable and tonearm are capable enough to justify the investment, you've got appropriate phono amplification, and you're looking to push more performance from an already well-balanced vinyl system.

It doesn't necessarily mean jumping straight into a low-output design either. Products such as the Dynavector 10X5 MkII, Hana SH MKII and Sumiko Songbird High demonstrate that high-output Moving Coils can give you another route, particularly if you've already invested in a good MM phono stage.

Ultimately, though, the deciding factor should still be the same.

Listen.

If you prefer one cartridge to another and it works properly in your system, the badge on the front matters considerably less.

Don't upgrade the cartridge just because you can

Cartridges are tempting upgrades because changing one can produce a very noticeable difference, but before spending the money it's worth looking at the rest of the system.

Is your existing cartridge actually worn? Could you upgrade the stylus instead? Would the turntable itself benefit from attention first? Would a better phono stage make more sense?

And is the turntable sitting on something resembling a trampoline?

There's rarely only one route.

If you're still at the stage of choosing the deck itself, start with our How to Choose a Turntable guide before disappearing too far down the cartridge rabbit hole.

Before you buy…

Is my phono stage MM or MC compatible? A conventional low-output MC needs much more gain than a typical MM cartridge.
Will the cartridge suit my tonearm? Electrical compatibility is only half of the equation.
Can the stylus be replaced or upgraded? Many MM cartridges allow it, but not all do.
Does it need professional setup? A great cartridge badly installed is still a badly installed cartridge.
Have I actually listened to one? Specifications can narrow the choice. Your ears should finish the job.

So, Moving Magnet or Moving Coil?

If you've made it this far hoping I'd finally declare a winner, I'm afraid I'm going to disappoint you.

There isn't one.

Moving Magnet offers enormous choice, straightforward compatibility and potentially superb performance across a huge range of systems.

Moving Coil can take things considerably further in the right setup, but it usually asks more of the turntable, tonearm, phono stage and installation around it.

The best choice is the one that makes sense as part of your system.

Not the one with the more impressive initials.

You can browse our full range of turntable cartridges here, but if you're thinking about replacing or upgrading yours, I'd strongly recommend speaking to your local Audio T store first.

Tell us what turntable and tonearm you're using, what phono stage or amplifier you've got and what you're hoping to improve. We can help narrow down the options, make sure everything is properly matched and take care of fitting and setup where required.

Because whether it's MM or MC, there's really only one thing the cartridge ultimately needs to achieve.

Make you want to turn the record over and play side two.

And as a little side note, if you buy a cartridge from your local Audio T store, we'll fit and set it up on your turntable free of charge. So if the thought of alignment protractors, tracking force and tiny screws fills you with dread, you can happily leave that bit to us.

Thanks for reading.

Brad Tyler – Head of Marketing at Audio T

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 your local Audio T.

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Cartridges and Styli from varying brands can be found at all Audio T stores:

August 28, 2026

Does your Hi-Fi sound better at night?

August 28, 2026/ Portsmouth

Have you ever sat down in the evening, put on one of your favourite albums and thought, “That sounds particularly good tonight”?

Nothing has changed. The amplifier is the same, the speakers haven’t moved and it might be an album you’ve listened to hundreds of times. Yet everything seems a little clearer, the bass sounds better and you’re noticing things in the recording that you don’t remember hearing before.

So, does your Hi-Fi actually sound better at night? Possibly, but there are a few fairly simple reasons why it might seem that way.

Everything Around Your Hi-Fi Is Quieter

During the day, most homes are much noisier than we realise. The heating may be running (although recently it’s more likely to be a fan or AC if you’re lucky enough), the fridge is humming, traffic is passing outside and somebody has probably got a television on in another room. Add in the washing machine, phones going off and people generally getting on with their day, and there is quite a lot competing with your music.

None of these sounds may be particularly loud, but together they create a constant level of background noise. This can cover up some of the quieter details in a recording without you even noticing.

Later in the evening, most of that starts to die down. There is less traffic, fewer appliances running and, if you’re lucky, everybody else has gone to bed. Your system probably isn’t producing any more detail than it did during the day. It is just easier to hear what was already there.

Small things such as a singer taking a breath, the ring of a cymbal or fingers moving along guitar strings become easier to pick out when they aren’t competing with a washing machine attempting to escape from the kitchen.

You’re Probably Listening More Carefully

The other big difference is you.

During the day, music is often something we have playing while doing something else. We might be cooking, answering emails, looking at our phones, doing housework or thinking about the long list of jobs we haven’t got around to yet.

At night, we are far more likely to sit down and properly listen. Once the phone is out of reach and there is nothing else demanding our attention, it becomes much easier to follow the music.

That can make an album you know well sound surprisingly fresh. You might suddenly notice an instrument tucked away in the background or hear more of the space around a singer’s voice. It isn’t necessarily something your system has suddenly found. It may simply be something your brain ignored the last time you listened.

Being more relaxed helps too. Music is usually more enjoyable when you aren’t trying to do six other things at the same time.

What About the Mains Electricity?

This is where things get a little more interesting, because the quality of the mains supply can affect the performance of electrical equipment, including Hi-Fi.

Our homes are full of devices that can introduce electrical noise into the mains, from household appliances and lighting controls to phone chargers, computers and inexpensive power supplies. Some of that noise can find its way into an audio system, potentially affecting things such as clarity, dynamics and the amount of background noise you hear.

The mains supply can also change throughout the day. When homes, offices and businesses are busy, there are far more electrical devices operating and feeding noise back into the supply. Later at night, when many of them have been switched off, the mains may be quieter. This could be one reason why some systems seem to sound cleaner or more open during an evening listening session.

Hi-Fi equipment contains its own power supply and filtering, but that doesn’t mean it is completely unaffected by the quality of the electricity feeding it. This is why specialist mains conditioners and filters from companies such as IsoTek and Chord Company exist. They are designed to reduce unwanted electrical noise and provide connected equipment with a cleaner supply.

How much difference this makes will depend on your home, the equipment you use and the condition of the local mains. It may not be the only reason your system sounds better at night, but it certainly shouldn’t be dismissed. A quieter room, fewer distractions and potentially cleaner mains power could all be playing their part.

Your Room Feels Different at Night

The room itself doesn’t really change when the sun goes down, but it can feel very different.

Sitting in a quieter room with the lights turned down removes a lot of the things that normally distract us. Without so much going on around you, it can be easier to focus on where instruments are placed and how wide or deep the soundstage feels.

The singer may appear to sit more clearly between the speakers, individual instruments become easier to follow and the sound of the room where the music was recorded can be more noticeable. Again, the system may have been doing all of this earlier. You just weren’t in the best situation to hear it.

You may also listen at a lower volume at night, particularly if the rest of the house is asleep. That can change how we hear bass, midrange and treble, so comparing daytime and nighttime listening isn’t always straightforward. If you want to give it a fair go, try to use the same music, seating position and volume setting.

Give It a Try

Choose an album you know really well and listen to it during the day. Rather than leaving it on in the background, sit in your normal listening position and give it your full attention.

Try the same album again later that evening using the same volume setting. Turn off the television, put your phone to one side and lower the lights. You may be surprised by how different it feels, even though nothing in the system has changed.

You could then try making the room as quiet as possible during the day and listening again. If it suddenly sounds just as good, the mains electricity may have been innocent all along.

So, Does Hi-Fi Really Sound Better at Night?

Your amplifier probably doesn’t gain special powers after dark. More often than not, the biggest difference is the quieter room, fewer distractions and the fact that you are actually sitting down and listening properly.

Sometimes we spend so much time thinking about changing amplifiers, speakers, cables and sources that we forget to make time to enjoy the system we already have. A quiet room, a favourite album and an hour without looking at your phone can be a surprisingly effective upgrade.

Of course, if you would like to hear what a new system or component could bring to your music, you can book a demonstration with your local Audio T store. Bring along a few albums you know well and we’ll give you plenty of time to listen and compare.

Sadly, our doors close at 5.30pm, so don’t expect us to dim the lights, fetch the slippers and get cosy with you after dark. You’ll have to recreate that part at home.

Thanks for reading,

Luke - Audio T Portsmouth

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August 28, 2026

How Do I Get This Band I Love Out of My Phone and Into My Room? A First Step into Hi-Fi

August 28, 2026/ Swansea

The Dilemma

It is daunting. It really is. Your folks have got a big TV and a soundbar (great!) and Netflix sounds all right, but music through it is flat and a bit soulless. Even Grandma and Grandad have a soundbar, ostensibly so they can hear what the experts are saying on Antiques Roadshow. You recall Gramps saying with a grin, “It’s these Sunday-night costume dramas. The actors can barely manage a mumble, so we bought a soundbar like your dad.”

Sigh. Not one of those, then.

What’s a young person to do?

Your Bluetooth headphones sound pretty good, but that’s in the privacy of your own skull, which is fine. You suspect the crumblies are quite happy about that too, but it can hardly be described as a visceral experience. Man/Woman/Chainsaw absolutely did not sound like this at Rough Trade last week!

Take Action!

Step one is crossing the threshold of that hi-fi shop you walk past occasionally. You know the one: three blokes lurking among shelves of electronics and displays of big wooden speakers with scary price tags. You’re positive you’ve got an uncle or cousin somewhere who is into all this stuff.

Step two is a deep breath and your opening gambit: “Hi. I really like music and I’ve already got Bluetooth headphones, but I want to play music out loud in my room.”

The Proposition

Step three is absorbing the inevitable dad joke, “You’re in the right place!” Then you let the grinning salesperson ask a few gentle questions: What do you listen to? Where will the system go? How loud can you realistically play it? Do you want the TV connected too? And, importantly, what sort of budget would be comfortable?

That leads us to a sensible place to start: streamed music and a smart speaker such as the WiiM Sound Lite.

You recognise the idea from online reviews, but you’ve never experienced one IRL. It’s a pleasant surprise how nice it sounds, and the app is dead easy to use. You can link two together and that’s called stereo. All you know is that it sounds miles better.

The music seems to come from the space between the speakers. The guitar is on the right, the bass player is on the left and the singer is slap bang in the middle. The drums stretch across the lot. That’s pretty cool. They both need power, though. Hmmm…

the wiim soundsmart smart speaker notice the porthole touchscreen. not just a display, one can access music with it too.

The salesperson points out that WiiM makes a larger smart speaker too, and it does sound a bit better. But ‘Sales’ has noticed you noticing that two speakers are much more satisfying than one, so their instinct is to lead you towards a neat little silver box wired to a slightly larger pair of speakers, all sitting on their own shelf.

the wiim amp streamer/amplifier now we’re cooking

This is a WiiM Amp streaming amplifier connected to a pair of Acoustic Energy AE100² speakers. The Amp uses the same control app as before and the whole rig looks like a miniature version of the system at the far end of the shop. The prices aren’t anywhere near as salty, though. In fact, they’re fine: just a few quid more than the pair of smart speakers would cost.

A couple of taps on the app and this time the music springs out of the speakers and fills the room. The bass guitar now has distinct notes of its own. It has weight, too, and you can feel it in your chest a bit. The singer sounds as though she is right in front of you, while the drum strikes are sharp and fast enough to shake the air. This is more like it!

our favourite inexpensive speakers, the Acoustic energy AE100² - brilliant value

The same little box can play music from Spotify, TIDAL or Qobuz, and there are sockets on the back for a TV and other sources. YouTube, TikTok, The Last of Us and GTA can all get in on the act too. It isn’t a system that only does one job, and it doesn’t require half the room to house it.

“This is where it starts to get interesting,” says ‘Sales’. “It’s a proper little hi-fi and brilliant value for money, but with a little extra effort, we can make it fly. Have a listen to this…”

Sales grabs a couple of compact metal frames with rubber at the corners and pops one under each speaker. “These are IsoAcoustics isolation stands. They help isolate the speakers from the desktop or shelf they’re sitting on. You’ll see the same idea beneath studio monitors used by musicians and producers.”

isoacoustic aperta desktop stands. if you have your speakers on a desk or shelf, you must try these. they are absolutely transformative to the performance.

Sales presses play.

Whoa! How on earth did that happen? Everything sounds meatier but crisper too. The voices are fresh and clean, as is the bass. The lead and rhythm guitars are easier to separate, and so are the ride cymbal, crash and hi-hat. Neat.

they have a tilt function too. so very useful

The WiiM Amp is then swapped for the rather more handsome WiiM Amp Ultra, with its touchscreen display, reassuring weight and very solid-looking sockets on the back. Another tap on the app and the music pours out again, this time sounding effortless and richer, but with more urgency and drama than before. How is it doing that?

The music appears to occupy three dimensions now, which is both curious and impressive, all through the same speakers. In fact, it sounds great. That’s… intriguing.

the wiim amp ultra. with a touchscreen and a healthier amplifier than the standard wiim amp.. when powering modest loudspeakers, it’s a class act; rich and solid.

It’s still perfectly compact and will take up very little real estate back in your room. This is perhaps the biggest surprise of all: hi-fi doesn’t have to mean a wall of boxes, enormous speakers and a degree in electrical engineering. It can be small, straightforward and built around the music service you already use every day.

“We can go further, of course. Much further, in fact, but I don’t want to overload you with information and scare you off.”

Scared? Not any more, you’re not!

The Solution

This is the bit people often misunderstand. You do not need to know the difference between watts, ohms and optical inputs before walking into a hi-fi shop. You only need three things: some music you love, a rough idea of what you would like to spend and an idea of where the system needs to live. The rest can be worked out by listening.

A first hi-fi system does not have to be your final hi-fi system either. A compact streaming amplifier and a pair of speakers make a proper starting point, but they also give you room to experiment later. You might change the speakers, add isolation stands, improve the amplifier or simply leave the whole thing alone and enjoy it. There is no compulsory upgrade conveyor belt.

Specifications can tell you what a product does, but they cannot tell you whether it will make the band you love sound more like the band you heard playing live last week. For that, you need to hear it for yourself, preferably using your own phone, your own music and your own ears.

Cross any Audio T threshold and ask us to play something for you. It really is our pleasure.

Thank you for taking the time to read my scribblings. I hope you enjoyed them.

Ade - Audio T Swansea

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…

WiiM can be found at the following Audio T stores

Acoustic Energy can be found at the following Audio T stores

IsoAcoustics can be found at the following Audio T stores

August 28, 2026

Music for Goosebumps: Delerium’s Spheres and the Art of Deep-Space Hi-Fi

August 28, 2026/ Cheltenham

Inspired by a recent blog from the gents in our Reading branch, featuring a few of the team’s favourite demonstration pieces of music, here goes with the first of an occasional series in which I will attempt to enthuse about a few of my favourite musical things that your hi-fi system will definitely thank you for playing! This may sound a tad self-indulgent (and indeed it is), but bear with me. You might even enjoy the ride!

Monolith

The first object of audio desire is “Spheres” by Delerium. The brainchild of Front Line Assembly guys Bill Leeb and Rhys Fulber, this album is very firmly electronic (fans of classical music only can stop reading now, but the next article in this series will have something very special for you, so see you then).

Released in 1994, “Spheres” first came my way when I was sent it totally free of charge on the proviso that I would write a review of it for a weird electronic music fanzine thing that I was implicated in at the time. I always used to receive these things with some degree of trepidation. What if it was crap and I hated it? What if it turned out to be one of those godawful demo albums, the likes of which had sent me to sleep at many a hi-fi show?

Transmitter

My concern proved to be misplaced. “Spheres” is totally wonderful and I think was cruelly overlooked at the time, when the trendy electronic albums seemed to be “Violator” by Depeche Mode, “Adventures Beyond the Ultraworld” by The Orb, “Blue Lines” by Massive Attack, “Baby” by Yello or “Selected Ambient Works 85–92” by Aphex Twin, all of which are great and, to a certain degree, will provide your hi-fi system with some wonderful sounds.

Wavelength

At the time of its release, “Spheres” was (and still is) both retro and futuristic. Trippy and frighteningly unearthly samples of HAL 9000 from Stanley Kubrick’s “2001: A Space Odyssey” provide the vocal on the first track, “Monolith”.

None of the original album’s six tracks clocks in at less than six and a half minutes, with “Transmitter” and “Wavelength” both coming in at a smidge over thirteen minutes, while the star of the whole album, “Colony”, runs for a modest twelve minutes!

Booklet Artwork: false-colour ultraviolet image of eary stage cell division

Colony

The whole album is an aural assault course to put your loudspeakers through their paces, but in particular I tend to go to “Colony”. This track will test both the bass extension and definition, and your system’s ability to throw out that elusive double whammy of a wide and deep three-dimensional stereo image.

After the spooked-out ambience at the beginning of the track, a definite homage to that Berlin School, Tangerine Dream-style sequencer riffing begins to evolve, but it is taken to a much higher level. When the choral vocal sample (borrowed from Vangelis’ “Hispanola”) is dropped into the mix, the track achieves warp speed and hurls the listener into outer/inner space. The effect should be that, when you close your eyes, you no longer have the faintest clue as to where your speakers have disappeared to!

Booklet Artwork: false-colour satellite rendering of a hurricane

Dark Matter

There is more than a vague nod to Brian Eno here as well, especially in the more ambient passages. The industrial heritage of Front Line Assembly adds that extra layer of dark spookiness that makes this album truly unique… indeed, Delerium themselves never bettered it, with their later efforts becoming a tad more song-orientated.

Booklet Artwork: microscopic cross-section of biological tissue stain

I don’t think that many albums anywhere have the disorientating effect that “Spheres” creates. Your hi-fi system should make it sound at once powerful and majestic, but simultaneously detailed and controlled, as it unravels the dark, twisted waves of euphoria unleashed here.

Booklet Artwork: false -colour contour map of comet nucleus

Cloud Barrier

It would appear that “Spheres” is still easy to buy on CD or double white vinyl (nice), and is easy to stream too. Anyone out there in blogland with an interest in electronic music who also happens to have a great hi-fi system should give it a try.

Try a little Delerium and bask in some creative musical madness. The artwork on the multi-panel CD insert is great too, adding a certain extra aura to this cosmic/industrial/sci-fi power trip. Turn the volume up (if you dare) and see those drive units move!

Essential Blog Writing Supplies: i couldn’t have done it without…

Re-entry

So there you have it: just over an hour of electronic deep-space exploration without once having to leave the armchair, unless “Colony” has already shaken you out of it. If your system can keep the whole thing vast, ominous and properly under control, it is probably doing something right.

If it turns this interstellar epic into a grey fog stranded between the loudspeakers, perhaps a visit to your local Audio T is in order. Bring the album and an open mind. We’ll supply the hi-fi, the volume control and, if required, a safe route back to Earth.

Many thanks for reading.

Andy - Audio T Cheltenham

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August 20, 2026

Rolling a Double Six: Rega Planar 6 RS vs My Planar 6

August 20, 2026/ Cardiff

This month, Audio T Cardiff’s resident Hi-Fi enthusiast and music obsessive heads back into very familiar territory: turntables. Matt is comparing two Rega Planar 6 models, which on the face of it sounds a little like comparing a six with... another six. But there is method behind the madness.

Matt’s own Planar 6 has been at the heart of his system for around five years and has undergone a few carefully chosen tweaks along the way. Now, Rega’s Planar 6 RS has arrived, taking the familiar formula and adding some rather tempting technology from higher up the range. So what happens when Matt puts the new RS up against the turntable he probably knows better than any other? Coffee on, records ready. Let’s find out.

Back to Where It All Started

This month’s blog takes me back in time somewhat on my Hi-Fi journey. All of you wonderful readers out there who have followed my various sonic adventures will know that my own system has grown quite a bit over the last five years, but it had to start somewhere.

One of my first serious purchases was a Rega Planar 6 without a cartridge, after much debate between it and the legendary Planar 3. Fast forward around five years and I’m still using that very same Planar 6, although these days it is fitted with a Dynavector 10X5 high-output moving-coil cartridge, which I added a few years ago.

Then, earlier this year at the Bristol Hi-Fi Show, Rega previewed the new Planar 6 RS. I had the chance to hear it first-hand and have a proper look at what had changed. The RS borrows some very interesting ideas from its bigger brother, the Planar 8, including the RB880 tonearm and twin-belt drive system, while adding Rega’s flagship Nd9 moving-magnet cartridge as one of the factory-fitted options.

Needless to say, it got my attention.

Months later, I’ve finally managed to get my hands on one properly. I initially set it up and listened to it in the shop, but then I had one of those thoughts that usually results in another piece of Hi-Fi coming home with me: why not go one better and listen to it in my own system?

That gave me the perfect excuse to put it alongside my own Planar 6. Before anybody throws a spirit level at me, though, I should point something out. This isn’t a laboratory-controlled A/B test. My Planar 6 has a Dynavector moving-coil cartridge and a couple of other small tweaks, while the RS I’m listening to uses Rega’s Nd9 moving magnet. I’m comparing the two complete turntables as I would actually use them, rather than trying to isolate one individual component.

And, to be honest, that makes it rather more interesting.

Planar 6 vs Planar 6 RS: What Are We Comparing?

Before getting into the listening, it’s worth laying out exactly what separates my own Planar 6 from the new Planar 6 RS.

My Planar 6

Tonearm: RB330 with stainless-steel balance weight
Cartridge: Dynavector 10X5 high-output moving-coil cartridge
Drive system: Single Reference EBLT drive belt
Platter: Dual-layer float-glass platter
Plinth: Tancast 8 foam-core plinth with HPL laminate
Power supply: Custom-matched Neo PSU
Bracing: Double-brace technology
Additional tweaks: Origin Live Cartridge Enabler and Rega 2mm arm spacer

Rega Planar 6 RS

Tonearm: RB880 with custom stainless-steel balance weight
Cartridge: Rega Nd9 moving-magnet cartridge
Drive system: CNC twin-drive pulley with two Reference EBLT belts
Platter: 16mm dual-layer Opti-white float-glass platter
Plinth: Tancast 8 foam-core plinth with HPL and aluminium metal skin
Power supply: Custom-matched Neo Mk2 PSU
Bracing: Double-brace technology
Additional tweaks: Factory standard

On paper, then, the family resemblance is obvious, but there are some fairly serious changes underneath. Most notably, the RS gets the RB880 tonearm normally found on the Planar 8, along with its twin-belt drive arrangement and that rather lovely metallic treatment to the plinth.

From RP6 to Planar 6 RS

Before I dive into the listening session, it’s worth taking a little trip through the history of the Planar 6 because this particular Rega has been evolving for quite some time.

The RP6 first appeared back in September 2011, replacing the P5 and sitting above the RP3 in Rega’s range. It brought with it the RB303 tonearm, double-brace technology, a 16mm dual-layer float-glass platter and the external TT-PSU for electronic speed control. At the time, it represented a serious step forward and laid much of the groundwork for what followed.

Then, in August 2017, the RP6 made way for the Planar 6 we know today. Rega changed the plinth construction dramatically, introducing its ultra-lightweight Tancast 8 polyurethane foam core, while the RB303 gave way to the more refined RB330 tonearm. The TT-PSU was also replaced by the Neo power supply.

That basic Planar 6 philosophy has proved remarkably durable. Rega has continued refining things such as the power supply, drive belt and cartridge options over the years rather than changing things simply for the sake of it.

Which brings us neatly to the Planar 6 RS.

Rather than reinventing the Planar 6, Rega has effectively hot-rodded it. The RB880 tonearm comes down from the Planar 8, the motor drives the sub-platter through a CNC-machined twin pulley and two Reference EBLT belts, and the familiar Tancast 8 plinth gains its rather smart aluminium metal skin.

Some might call that evolution. I call it giving the Planar 6 its sleeves rolled up.

The Records on the Table

Before getting into the big shootout itself, I needed some suitable music. For this session I chose Comin’ Home (Live) by The Magpie Salute from The Magpie Salute (2017), Waitin’ for the Bus by ZZ Top from Tres Hombres (1973), The Spell by Mammoth WVH from The End (2025), and finally Big Empty by Stone Temple Pilots from Purple (1994).

Four very different recordings, but all tracks I know well enough to pick apart what a system is doing. More importantly, they’re all tracks I actually enjoy listening to, which is surely the point of all this.

Coffee on, amplifier warmed up and ready to rock. Literally.

Starting with My Planar 6

Before unleashing the RS, the obvious place to start was with my own slightly modified Planar 6. This is the turntable I’ve lived with for years, so it gives me a very familiar baseline.

When I say modified, I haven’t gone completely mad with it. The biggest difference is the Dynavector 10X5 high-output moving-coil cartridge. Between the cartridge and headshell I’ve also fitted an Origin Live Cartridge Enabler, and to correct the VTA I use a Rega 2mm stainless-steel arm spacer. Beyond that, we’re still very much dealing with a Planar 6.

The dynavector 10x5 on My standard spec planar 6

I can hear some of you already: “Matt, just get on with it and tell us what the thing sounds like!”

Fair enough.

Starting with The Magpie Salute’s Comin’ Home, this is a pretty busy recording. The band had ten members, so during a live performance there is an awful lot happening at once. That makes it a brilliant test of whether a turntable can keep everything organised rather than turning the whole performance into musical soup.

My Planar 6 handles it beautifully. The guitars have their own space and character, the vocals sit firmly in the centre and there is enough separation between everything going on to make the recording feel wonderfully immersive. It has that quality I’ve always loved about this turntable, where rather than sitting there analysing the equipment, I find myself reaching for the volume control instead.

And that, really, is why I still own it.

Enter the Planar 6 RS

Now for the moment I’d been waiting for. Time to take my Planar 6 out and replace it with the rather fantastic-looking Planar 6 RS.

Oh boy, does it look good.

Setting it up, you can immediately see where some of the extra engineering has gone. The metallic finish gives it a more substantial visual presence than the standard Planar 6, while the twin pulley and pair of drive belts make the whole arrangement look rather purposeful beneath the platter.

Then there is the RB880. Although there is an obvious family resemblance to the RB330, this is a much more sophisticated tonearm and one I already know rather well from the time I took a Planar 8 home for another one of my listening adventures.

Sitting on the end of it is Rega’s Nd9, the company’s flagship moving-magnet cartridge. It uses a fine-line nude diamond stylus mounted to a boron cantilever and, while I will confess now that I’m normally very much a moving-coil man, the Nd9 is a seriously accomplished cartridge.

Rega also offers the Planar 6 RS with its Ania moving-coil cartridge, which is a particularly interesting option for somebody with tastes more like mine. More on that shortly.

For now, though, it was time to drop the needle.

Going back to Comin’ Home, the first thing I noticed was a stronger sense of timing and overall composure. The whole RS and Nd9 combination seemed to organise this complicated live recording with impressive confidence. Vocals were firmly centred, individual instruments occupied clearly defined positions and there was a lovely sense of space around the backing vocals.

The presentation was slightly more laid-back than my Dynavector-equipped Planar 6, which I suspect is as much about the different cartridge as the turntable itself, but there was certainly no shortage of information coming through. In fact, the more I listened, the more small details started making themselves known.

Next up was ZZ Top and Waitin’ for the Bus.

There was immediate authority to Billy Gibbons’ Les Paul, the legendary Pearly Gates, with plenty of texture coming through from that unmistakable guitar sound. Dusty Hill’s bass sat beautifully within the soundstage and gave the track plenty of presence without everything becoming too thick or heavy.

Then onto Mammoth WVH and The Spell. I actually got to see Wolfgang and the band perform at Cardiff Castle a couple of months ago and, for me, they put in the performance of the night. Funny how hearing one record can instantly take you back to a particular gig, room or moment in time, but then that is half the reason we all get so obsessed with music in the first place.

Back to the record before I disappear completely down that particular rabbit hole.

Wolfgang’s opening guitar riff arrives with real weight and power through the RS. There is plenty of attack to it, but the turntable keeps a grip on everything when the vocals arrive, placing them cleanly in the centre rather than allowing that enormous guitar sound to overwhelm the rest of the mix.

Finally, I moved onto Stone Temple Pilots and Big Empty, which turned out to be one of the highlights of the whole session.

Scott Weiland’s vocal was beautifully focused, with enough information coming through to give a real impression of how closely he was working the microphone. He was always an incredibly expressive performer. I saw him with Velvet Revolver many years ago and he had a little bit of Bowie about him on stage.

Yes, there I go again. One record and suddenly I’m somewhere else entirely.

Dean DeLeo’s huge opening guitar sound carried beautifully through the track, but what impressed me most was how composed the RS remained as everything built around it. There was detail, scale and space, but also that sense of musical timing that kept dragging me back into the song rather than the equipment.

And ultimately, that is exactly what I want a turntable to do.

My sanctuary. My home setup with planar 6 rs

The Verdict: Six, RS... or Eight?

So, after all of that, where did I end up?

There is no question that the Planar 6 RS is a seriously impressive turntable. The RB880 tonearm, twin-drive arrangement and upgraded plinth take the familiar Planar 6 platform somewhere noticeably more ambitious. It feels less like a completely different model and more like Rega has looked at everything that already works on the Planar 6 and asked, “What happens if we turn this up another notch?”

Then there is the Nd9. It is an excellent moving-magnet cartridge and undoubtedly a major part of the package’s performance. There is plenty of detail, excellent control and a very natural sense of balance to it.

But there is a “but”.

I’m still a moving-coil guy.

That isn’t a criticism of the Nd9, simply a matter of personal taste, and Rega has rather conveniently covered that base by offering the RS with an Ania moving-coil cartridge as well. If I were buying a Planar 6 RS for myself, that would absolutely be the version I would want to spend some serious time with.

So, is the Planar 6 RS worth choosing over the standard Planar 6? For me, yes. If I were buying fresh at this level today, the RS would be very difficult to ignore. You are getting some genuinely meaningful engineering upgrades from higher up Rega’s range while retaining the conventional Planar shape, full dustcover and everyday usability that make the Planar 6 so easy to live with.

Would I sell my own Planar 6 and replace it with one?

That is a slightly different question.

My Planar 6 and I have been through a lot together. I know exactly what it does, I love the Dynavector combination and, if I am finally going to make the jump to another turntable, I think you already know where this is going.

My eyes are still on an 8.

Thank you, as always, for taking the time to read my latest ramblings.

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.

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Rega can be found at the following Audio T stores

August 17, 2026

It’s as Easy as A-T-C: A Closer Look at Britain’s Studio-Bred Loudspeakers

August 17, 2026/ Audio T Brighton/ Brighton

From compact standmount speakers to imposing floorstanders, ATC’s SCM range promises the same studio-inspired accuracy at very different scales. This month, we’re taking a closer look at three models from this celebrated British manufacturer, a long-standing favourite among music lovers searching for accuracy, transparency and impressive levels of detail.

ATC has spent more than five decades refining its loudspeaker designs, with its products used in professional recording studios as well as home hi-fi systems. With roots in studio monitor design dating back to 1974, the company has adapted that engineering expertise to create loudspeakers designed to deliver accuracy, control and detail in the listening room.

So, is ATC for you? Let’s find out

For this blog, we spent time listening to three models from ATC’s passive SCM range: the compact SCM7 standmounts, the considerably larger SCM19 standmounts, and the highly regarded SCM40 floorstanders.

To keep the comparison as consistent as possible, all three speakers were initially partnered with a Rega Aethos integrated amplifier and a Bluesound Node streamer.

The three models share the same underlying ATC design philosophy, but each brings its own character, strengths and requirements.

To provide a broader perspective, I also enlisted two willing volunteers, my good friends Patrick and Jack, who are both relatively new to the hi-fi hobby. A second (or third) pair of ears, without years of preconceived expectations about what a particular brand or speaker should sound like, offered an interesting counterpoint to my own impressions and hopefully helped create a more balanced assessment.

Let’s get into it

For our main comparison track, we chose Born in Winter from Gojira’s album L’Enfant Sauvage.

It was selected for its combination of intricate musicianship and dramatic shifts in intensity. The song moves between relatively sparse passages and moments of dense, high-speed guitar and drum work, making it an excellent test of a loudspeaker’s ability to maintain clarity and instrument separation when things get busy.

Deep vocals are layered alongside emotionally charged screamed passages, challenging the speakers to recreate very different vocal textures without sacrificing detail.

In short, there’s quite a lot going on.

ATC SCM7

The SCM7 represents the starting point of ATC’s passive loudspeaker range.

Rather than simply trying to produce the biggest possible sound from a small enclosure, ATC’s approach with the SCM7 is focused on accuracy and control. Its sealed cabinet and carefully engineered drivers are designed to minimise unwanted colouration and deliver a fast, precise and naturally balanced presentation.

Of course, there are physical limits to what such a compact speaker can do at the bottom end, and that became particularly noticeable with our choice of music.

Small Speaker, Serious Detail

Immediately, two things stood out to me. The drums sounded extremely crisp and clean, but the song as a whole felt slightly hollow.

The reduced bass weight meant there was very little sense of muddiness, with individual instruments remaining impressively clear. The trade-off was that some of the impact and texture lower down the frequency range simply wasn’t there.

What surprised me most was the amount of texture I could hear in the guitar picking. Changes in the force of individual notes became much easier to pick out, including details I hadn’t really noticed before.

Patrick described the SCM7 as:

“Great at differentiating between the different instruments.”

However, he felt the vocals were slightly lacking because the deeper voice didn’t have quite the depth or texture he expected. He also felt some of the weight behind the distorted guitars was missing.

Jack came to a similar conclusion:

“Something’s missing.”

His immediate solution?

Probably a subwoofer.

A Change of Music Changes the Picture

We didn’t want to judge the SCM7 solely on one particularly demanding metal track, so we changed direction and listened to Blacked Out by Alfa Mist and Yussef Dayes.

Interestingly, many of the issues we had noticed with Gojira weren’t nearly as apparent.

The drums remained highly detailed, but the lack of deep bass became much less distracting. Patrick observed that the less dramatic shifts in intensity created an easy-listening sound, while the detailed rim taps of the drums came across as particularly elegant.

It was a useful reminder that a speaker’s suitability can depend heavily on the music you enjoy and what you want from your system.

ATC SCM19

Moving from the SCM7 to the SCM19, the underlying philosophy remains much the same.

The difference is that the larger cabinet and bass driver give the SCM19 considerably greater weight, scale and dynamic impact without abandoning the clarity and control that impressed us with the smaller model.

Although still not a low-end-focused speaker, there is enough energy to give clarity and body around the 60hz mark, with additional headroom allowing the speaker to remain composed as volume increases.

The Difference Was Immediate

For me, the jump from SCM7 to the SCM19 was night and day. The music suddenly became much more engaging. The extra body transformed the track, while the overall presentation felt much larger and more convincing.

Unexpectedly, one of the biggest improvements came from the vocals. They sounded more real and raw, with far more of the emotion of the performance coming through.

Lower notes were also much better defined. The kick drum could now thump its way through the chaotic wall of guitars without becoming lost in the mix.

Jack mostly agreed.

He felt that the more prominent bass gave the guitar greater involvement within the song and described the overall presentation as more sophisticated.

As a guitarist himself, he made one particularly interesting observation. Listening through the SCM19s, he became far more aware of the different layers used to create the guitar tone and felt he could almost begin identifying the individual effects involved.

That’s a pretty good demonstration of the extra detail the SCM19 were uncovering.

Jack also felt the instruments were more evenly balanced than with the SCM7, with the vocals becoming part of the performance rather than sounding as though they were sitting on top of it.

Interestingly, Patrick came away with a slightly different opinion.

Although he agreed that the SCM19 handled the distortion of the guitars significantly better, they actually made him appreciate the SCM7 even more, particularly when considering the smaller speaker’s lower price point.

Already, we weren’t all agreeing.

And that’s half the fun.

ATC SCM40

The SCM40 takes ATC’s renowned three-way approach and brings it into a larger floorstanding design.

Importantly, it introduces ATC’s famous 75mm soft-dome midrange driver, dedicated to handling the crucial middle frequencies where so much of the character of vocals and instruments lives.

With each driver working across a more specialised part of the frequency range, the SCM40 promises greater scale, bass extension and refinement.

When Bigger Isn’t Automatically Better

This is where things became particularly interesting.

To my surprise, when we first connected the SCM40 to the Aethos, I actually felt we lost some of the clarity that had impressed me with the SCM19, despite the obvious increase in scale and bass presence.

The SCM40 is a more substantial loudspeaker and clearly responds to high-quality partnering amplification. In our room, with our system and at the levels we were listening, I felt the Aethos combination didn’t show the SCM40 at their absolute best.

Rather than simply accepting that as the final verdict, we decided to split this part of the test in two.

First, we would listen with the Rega Aethos for the sake of a consistent comparison.

Then we would move to Rega’s considerably more ambitious Mercury preamplifier and Solis power amplifier to see just how much further the SCM40 could go.

SCM40 with Rega Aethos

Through the Aethos, the presentation felt slightly muddier to me, particularly when trying to follow textures such as individual guitar strings being picked.

There was certainly more scale and bass, but I actually found myself preferring the SCM19 at this stage. The kick drum on the SCM40 almost seemed smaller in relation to the sheer size of everything else happening in the track, making the presentation feel a little less balanced to my ears.

Jack had a different take.

He felt the overall character was similar to the SCM19 but with increased bass undertones. Not necessarily extra punch, but more of the underlying rumble that helped hold the track together. As he put it:

“The bass sounded less like lingering residue and felt more intentional.”

Patrick disagreed with both of us to some extent. For him, the transition from SCM19 to SCM40 represented an even bigger jump:

“More character, more body. The highs of the guitar were very enjoyable compared with the previous speakers.”

Like Jack, he also felt that the track came together more convincingly and that there was much less need to consider adding a subwoofer.

And there you have it.

Three people. Same system. Same track. Different conclusions.

That’s the wonderfully subjective nature of hi-fi.

Giving the SCM40 Room to Breathe

To find out what the SCM40 could really do, we moved over to Rega’s Mercury and Solis pre/power combination.

Rega Aethos vs Rega Mercury and Solis

For me, another major jump in performance was immediately apparent.

The system had considerably more authority and weight, while the treble detail returned cleaner than anything we had heard previously.

The slightly muddier character I had noticed with the Aethos disappeared. The Mercury and Solis combination gave the SCM40s a much greater sense of control, while the whole presentation became cleaner, more confident and more expansive.

Now the SCM40 really had room to breathe.

The soundstage opened up, instruments were easier to follow and the system had the ability to move from quieter passages into the heavier sections of the track with far greater conviction.

Patrick heard:

“More dynamics and power.”

Jack was similarly impressed:

“The drums feel more defined, standing out enough but not overpowering the rest of the track, allowing every instrument to sound good.”

Interestingly, Patrick still preferred the SCM19 overall.

He felt they presented some of the lower-frequency detail in a way he enjoyed more, despite acknowledging that the SCM40 combination was extremely impressive.

Once again, price and size hadn’t automatically determined the favourite.

So, Which ATC Is Right for You?

After spending time with all three models, one thing became very clear: ATC’s design philosophy remains remarkably consistent, but the listening experience changes considerably as you move through the SCM range.

The SCM7 impressed us with its clarity and ability to uncover small details, although its compact dimensions inevitably limit the weight and scale it can bring to particularly demanding music.

The SCM19 added the body, scale and vocal presence that made our Gojira track considerably more engaging. For me, it represented a wonderfully well-rounded balance between detail, scale and practicality.

The SCM40 was perhaps the most interesting of the three.

With the Aethos, its additional scale and bass extension were obvious, but I didn’t immediately feel it offered the same sense of clarity I had enjoyed from the SCM19. Partnered with Rega’s Mercury and Solis pre/power combination, however, the SCM40 really came alive, delivering significantly greater authority, dynamics, space and scale.

Ultimately, there wasn’t a single winner.

The SCM7 remains an incredibly detailed compact speaker. The SCM19 strikes an impressive balance between detail, scale and practicality, while the SCM40 offers another level of performance for those prepared to partner it with amplification capable of showing what it can really do.

And Patrick still preferred the SCM19.

At the end of the day, only your own ears can tell you which one is right for you. But it’s always nice to bring your friends along for the ride.

Thanks for reading.

Louis, Jake and James – Audio T Brighton

If you have any questions about the equipment featured in this article, or any other hi-fi or home cinema enquiries, be sure to contact your local Audio T.

If you enjoyed this article, why not take a look at some of our other Audio T blogs and follow us on our social media channels below…

ATC Loudspeakers can be found at the following Audio T stores

August 13, 2026

Why Wired Headphones Are Back: A Hi-Fi Buyer’s Guide for the Retro Tech Revival

August 13, 2026/ Brad Tyler

It is quite humbling to have the technology of your youth suddenly branded as “retro tech”.

Nothing makes you feel your age quite like watching someone on social media excitedly discover an iPod as though they have just unearthed Tutankhamun’s tomb.

Look! It has buttons! And you have to put the music on it yourself!

Yes. I know. I was there.

But apparently wired headphones, iPods, early digital cameras and other technological relics of the 2000s are having something of a revival.

A recent BBC News article looked at exactly this phenomenon. Social media is increasingly full of younger people rediscovering digital cameras, wired headphones and dedicated MP3 players. In the UK, eBay says sales of iPods and Walkman portable audio players increased by nearly 50% during 2025, while searches for the iPod Mini rose by 48% over the following year.

Suddenly, the tangled cable at the bottom of the drawer is fashionable again…

Why Is Old Technology Suddenly Cool Again?

There is obviously an element of fashion involved.

The slightly fuzzy flash photography of an old digital camera has a distinctive look. An iPod Classic has a satisfyingly chunky click wheel. Wired earphones hanging from your ears apparently now convey considerably more street credibility than they did when half of us were spending ten minutes every morning trying to untie them.

But there seems to be something a little more interesting happening too.

The BBC spoke to people who liked older technology precisely because it does less. An iPod plays music. A digital camera takes photographs. Neither immediately invites you to check WhatsApp, answer an email, watch a Reel, buy something you don't need and then spend 40 minutes wondering why you picked your phone up in the first place.

Professor Andrew Przybylski from the University of Oxford suggested that part of the attraction comes from wanting greater control over our experiences. Choosing an album and putting it onto an iPod is a conscious act rather than something being endlessly selected and pushed towards us by an algorithm.

Which brings us rather neatly to Hi-Fi.

Because while the wider technology industry spent the past decade trying to remove every cable, button and physical interaction it possibly could, proper wired headphones never actually went anywhere.

Perhaps we weren't behind the times after all. Perhaps we were just extremely early for 2026.

Wired Headphones: Retro Fashion or Actually a Good Idea?

Wireless headphones can be brilliant.

I use them. They're convenient, noise cancelling can be invaluable on trains and planes, and Bluetooth headphones have become genuinely impressive, but wired headphones still have some very obvious advantages.

There is no battery to charge. No Bluetooth connection to establish. No software update. No wondering why your left earbud has mysteriously decided it no longer wishes to participate.

More importantly for Hi-Fi, a passive wired headphone allows the manufacturer to concentrate almost entirely on the things that actually produce the sound: the drivers, earcups, damping, materials and acoustics.

You then choose what drives them.

That might be the headphone socket on an old iPod, a laptop, a Hi-Fi amplifier or a dedicated DAC and headphone amplifier. Or perhaps you’ve fully immersed yourself in a full retro vibe and are playing your old cassettes on the WE-001 Portable Player from We Ar Rewind.

Improve the source and amplification later and a good pair of wired headphones can improve with it.

So, if you have been tempted by the so-called “retro tech” revival and fancy rediscovering the simple joy of plugging something in, here are a few places to start…

Sennheiser HD400S: Keep It Simple

If the whole attraction of retro tech is simplicity, the Sennheiser HD400S understands the assignment.

They are closed-back, foldable, wired headphones with a 3.5mm connection and an 18-ohm impedance, meaning they are not particularly demanding to drive. At £64.99*, they are also a very accessible introduction to conventional wired headphone listening.

There is no app.

There is no battery percentage.

There is a cable.

Plug cable into thing. Music comes out.. Revolutionary stuff!

Sennheiser HD560S: Your First Taste of Proper Open-Back Hi-Fi

If you are mainly listening at home, an open-back headphone is where things start getting particularly interesting.

The Sennheiser HD560S is designed to produce a more open, spacious presentation, allowing sound to pass through the rear of the earcups rather than enclosing the driver completely.

That means very little isolation, so everybody else in the room may get to enjoy your music too. Whether they asked to or not.

But in a quiet space, open-back headphones can deliver a wonderfully natural sense of scale and space. At £179.99*, the HD560S is a great entry point into serious home headphone listening and comes with connections suitable for both 3.5mm and larger 6.3mm headphone outputs.

Meze 99 Classics V2: Retro Meets Modern

Few headphones fit this particular article better than the Meze 99 Classics V2.

Walnut wooden earcups, a proper cable and absolutely no attempt to disguise themselves as another piece of disposable consumer electronics. They feel like something you might actually want to own for years.

The latest V2 version costs £319* and has a low 16-ohm impedance, making it relatively easy to drive. Better still, Meze includes a compact USB-C DAC/headphone amplifier in the box, allowing you to connect them to modern phones and tablets that have decided the humble headphone socket is beneath them.

It is essentially the perfect meeting point between old-school wired listening and the slightly inconvenient reality of owning a phone manufactured after about 2018.

Focal Azurys: Wired Headphones for the Real World

Open-back headphones are wonderful until somebody else enters the room. Or you enter an office. Or a train. Or, frankly, anywhere involving other human beings.

The Focal Azurys takes the more practical closed-back approach. Currently £349*, it is a completely passive wired headphone with no Bluetooth, battery or active noise cancellation. Its 26-ohm impedance also means it can work with a broad range of portable sources and headphone outputs.

Focal manufactures the 40mm aluminium/magnesium drivers in France, and the closed earcups provide useful passive isolation while reducing the amount of your music escaping into the outside world.

In other words, you can enjoy your music without forcing everybody within a six-metre radius to develop an appreciation for Steely Dan.

Sennheiser HD600: The Hi-Fi Classic

Then we get to something properly serious.

The Sennheiser HD600 is the sort of headphone that demonstrates why wired Hi-Fi never needed reviving in the first place.

It has remained a firm favourite among music lovers because it concentrates on straightforward things: an open-back construction, carefully matched drivers, a detachable cable and an honest, natural presentation.

The HD600 costs £399.99* and has a considerably higher 300-ohm impedance, so this is where source and amplification become more important. Plug them into something mediocre and they will work. Partner them with a good headphone amplifier and they begin to show why serious headphone systems are a thing.

This is where buying wired headphones starts becoming very recognisably Hi-Fi.

You buy the headphones today, improve the DAC or amplifier later, and hear what the headphones were capable of all along.

Meze 109 PRO: Things Are Getting Serious

The Meze 109 PRO takes that idea further.

At £769*, these are open-back headphones built from materials including walnut, zinc, manganese steel and velour, with a 50mm dynamic driver developed specifically for the model.

Despite the price and performance level, the 40-ohm impedance means they remain relatively easy to drive from a range of portable and home equipment.

They are also a good example of what spending more on headphones can buy you before you've even pressed play: better materials, greater comfort, more sophisticated driver engineering and a product that has been designed to be maintained and enjoyed rather than replaced when its battery eventually gives up.

Very retro indeed.

Sennheiser HD800S: Now We've Gone Full Hi-Fi

And then there is the Sennheiser HD800S.

Currently £1,199*, these sit firmly in high-end headphone territory and are designed to extract considerably more from a serious source and headphone amplifier. Their open-back construction is famous for producing an unusually spacious presentation, while Sennheiser developed the current S version to offer a smoother, more balanced sound than the original HD800.

Nobody is buying a pair of these because wired headphones happen to be fashionable on TikTok this month.

But that is rather the point.

The same fundamental idea scales from a £65 pair of headphones all the way into genuinely high-end Hi-Fi.

Open-Back or Closed-Back?

If you are new to proper wired headphones, this is probably the first decision to make.

Closed-back headphones keep the rear of the driver enclosed. They generally provide better isolation and leak less sound, making them more suitable for travelling, offices, shared rooms and family life.

Open-back headphones allow air and sound to pass through the earcup. They provide very little isolation but can create a more spacious and natural presentation, which is why they are so popular for serious listening at home.

Neither is inherently better.

If you are sitting alone with a cup of tea and an album, open-back can be glorious.

If you are sitting beside somebody watching The Great British Bake Off, perhaps show some mercy and buy closed-back.

But My Phone Doesn't Have a Headphone Socket...

Yes. We have successfully reached the point where the technology industry has made wired headphones fashionable again while simultaneously removing the hole you plug them into.

Excellent work, everyone.

Fortunately, a simple USB-C DAC or headphone adaptor can add a conventional 3.5mm connection to most compatible modern devices. Some headphones, including the Meze 99 Classics V2, now even include one in the box.

Meze 99 Classics V2 and the included USB-C DAC

For easier-to-drive headphones, something compact may be all you need.

Move towards more demanding models such as the HD600 and a dedicated DAC/headphone amplifier becomes much more worthwhile.

And that is where the retro tech trend potentially becomes particularly interesting for Hi-Fi.

Someone may begin with an old iPod and a pair of wired headphones because it looks cool. Then they discover that different headphones sound different. Then they try a proper DAC. Then a headphone amplifier. Before they know it, they're arguing about power supplies on an internet forum at 1:30 in the morning.

Welcome. We've been expecting you.

Maybe Hi-Fi Was Retro Tech All Along

There is something rather reassuring about younger listeners rediscovering technology that asks them to be slightly more involved.

Choosing an album. Owning some music. Plugging in a cable. Listening without six notifications appearing halfway through the first track.

Hi-Fi has always been built around that idea.

We have embraced streaming, wireless audio and all the genuinely useful advances modern technology has given us, but sometimes removing every last bit of friction also removes some of the ritual that makes listening to music enjoyable.

So if wired headphones are officially cool again, excellent.

Come in. Try some.

Just please give me another few years before you start describing CDs, MiniDiscs and the PlayStation 2 as “vintage”.

I'm not emotionally ready.

Thanks for reading.

Brad Tyler – Head of Marketing at Audio T

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 your local Audio T.

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 products mentioned here can be found in all Audio T stores:

*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

August 13, 2026

Chord Electronics Quartet: A New Era in Audio Upscaling

August 13, 2026/ Audio T Southampton/ Southampton

Many of us will be familiar with upscaling in relation to our TV pictures. But fewer will have heard audio upscaling in action, let alone the astonishing talents of the new Chord Electronics Quartet.

It is probably no exaggeration to say that it is products like the Quartet from Chord Electronics that help redefine the art of the possible in hi-fi.

This £25,000 box of electronic wizardry can, for example, take a standard CD 16-bit/44.1 kHz signal or a high-res 24-bit file and upscale it to a maximum of 768 kHz.

But then so can Chord’s own M Scaler, and for considerably less money. So what does the Quartet bring to the upscaling party that its less costly stablemate doesn’t? The answer is: a heck of a lot, actually.

Suffice to say at this point in the blog that the Quartet, which is housed in the familiar, beautifully machined aluminium Choral casework, offers a step change in terms of the processing power and talents it brings to the upscaling table.

The technical bit

When we play a CD or stream a piece of music, that digitised material has been created by taking snapshots or samples at regular intervals of the original analogue waveform. These snapshots are assembled to create a digital copy of the music.

While modern digital audio is very accurate, no digitisation process captures every point of the original analogue waveform. So a 16-bit/44.1 kHz CD, or even a 24-bit high-resolution stream with a higher sample rate of 96 kHz or even 192 kHz, will have tiny gaps in the music which, in turn, impact on the fidelity of the music we hear.

Chord electronics quartet with power supply

The more information missing in a music file, the less detail we hear. Less information also means, among other things, less dynamic range, a more two-dimensional soundstage, a less authentic tonality and looser timing.

An upscaler works by intelligently reconstructing the information between those sample points. The more accurately this reconstruction is performed, the more faithful the resulting waveform is to the original analogue signal.

Serious processing power

The Quartet, which is supplied with a dedicated off-board power supply, has taken this process of sampling to new heights and uses huge processing power to perform the reconstruction to an extremely high level of accuracy.

At its heart are five Xilinx FPGA (Field-Programmable Gate Array) chips. By way of comparison, Chord’s excellent DAVE DAC has one FPGA chip. Each FPGA is programmed to Chord’s exacting specifications and optimised for the tasks they are required to perform.

The enormous processing power allows the Quartet to run the Blackbird WTA (Watts Transient Aligned) filter, designed by Chord’s design guru Rob Watts.

In the simplest terms, this filter enables the Quartet to achieve a remarkable four million samples or ‘taps’ of an incoming signal, allowing it to build a very accurate picture of the music. It allows for more data points, less guesswork and fewer errors when reconstructing the waveform. Chord Electronics’ own highly regarded M Scaler manages a ‘mere’ 1 million taps.

By way of analogy, imagine trying to recreate a great work of art from a handful of blurry black and white photographs. It would be difficult, if not impossible, to do justice to the original work. But given hundreds of very high-definition photos of the same artwork, it becomes far more likely that any copy will more closely resemble the original.

The Quartet then applies all that processing power to those millions of taps, or sample points, to reconstruct a highly accurate, high-res waveform. The aim is to fill in those tiny gaps in the digital file and thereby deliver music with superb timing, transients, resolution and tonality.

Upscaling analogue sources

Not only that, but, for the first time in a Chord upscaler, the Quartet incorporates an integrated Pulse Array analogue-to-digital converter (ADC).

This allows analogue sources, including high-end turntables, to benefit from the same advanced upscaling technology, extending the Quartet's capabilities beyond purely digital playback.

Connectivity

Includes USB, optical, BNC and dual-BNC outputs supporting resolutions up to 768 kHz, making the Quartet an ideal partner for Chord Electronics DACs – particularly the flagship DAVE DAC.

Impressive, but how does it sound?

According to Chord Electronics' design philosophy, improved transient timing is one of the most important aspects of realistic digital reproduction.

Listening to the Quartet in the Southampton demo room

Timing helps music sound coherent and, well, musical. The importance of timing is often overlooked when we talk about hi-fi simply because detail, soundstage and dynamics tend to grab our attention more when listening. But without accurate timing, all those wonderful details and all that dynamic sweep can be compromised and, in worst-case scenarios, can even begin to sound messy.

The Quartet’s ability to greatly reduce timing errors and accurately reconstruct the analogue waveform means it can more faithfully recreate all the good stuff we expect from top-notch hi-fi, such as the detail in the leading edge of notes, the space within the music, the natural decay of instruments and so on. All of that creates a more lifelike and immersive musical experience.

From our experience, Chord’s design philosophy translated beautifully into real-world listening in our demo session – and then some!

Putting the Quartet to the test

We played a number of tracks at 16-bit/44.1 kHz and higher resolutions using an Innuos Stream3 as a streaming transport straight into a DAVE DAC and into ATC SCM 50 ASL actives. All sounded hugely impressive, as you might expect from a streamer and DAC combination alone costing around £20,000, to say nothing of the excellent ATCs at over £16,000 a pair.

In fact, given the excellence of the Stream3 and DAVE DAC, we were all, with the exception of our Chord Electronics rep, wondering how much more the Quartet upscaler could realistically add.

We were prepared for a careful and critical listening session in which we would have to listen attentively to hear some subtle improvements in detail, etc.

However, on switching the Quartet from pass-through mode, which meant it did nothing to the signal, to ‘on’, the impact was immediate, obvious and unequivocal.

An immediate difference

Within the first few bars, it was obvious that detail and separation between instruments and vocals had improved dramatically. The music became clearer, more coherent and simply more present. This, we reckoned, was in significant part due to the improved transient timing.

The leading edge of instruments gained definition and texture, which gave greater dimensionality within the music. It allowed a more musical interplay between separate instruments and voices within a track. Everything was simply better sorted.

Yes, we could hear more detail, but this wasn’t a one-trick pony trying to win us over simply with microdetail fireworks. There was a naturalness and ease to the way the Quartet conveyed all that additional musical detail and nuance.

Tonality was greatly improved. The accuracy with which the Quartet captures the signal allows it to flesh out instruments and vocals, giving them back their microtonal nuances and even imperfections.

It was almost like we could hear the way in which the musician’s fingers manipulated the strings on their guitar, or the precise timbre of the stick on the skin of the snare drum, or the movements of the singer behind the mic. All very, very moreish.

Conclusion

The Quartet reinstates into music all the good stuff like the on-point transients, the subtle timbre of instruments, the microtonality in vocals, the space in music, the leading edge and decay of notes, the subtleties and even the imperfections.

It is something of a hi-fi cliché, but the Quartet really did lift a veil from the music, allowing us to hear much more of what was there in the original analogue recording. It made for a compelling listen.

Obviously, there is a huge amount of electronic processing going on to allow the Quartet to do what it does so well. But its presentation never sounded like artifice or electronic jiggery-pokery. The music sounded natural and honest and, dare we say it, very analogue.

One of the benefits of working in hi-fi retail is that we often get to listen to some superb bits of kit. The downside of listening to loads of fantastic hi-fi components, if there is one, is that it can take a lot to genuinely wow us.

But the Chord Electronics Quartet did just that, and pretty much from the second it was turned on. Hugely impressive.

OK, at £25,000, the Quartet is clearly a costly bit of kit. But it is a cutting-edge upscaler representing a step change in tap rate and processing power. And it also comes with the Pulse Array ADC for analogue upscaling.

However, if you ask us, the Quartet’s real value lies in what it can do for music. The likelihood is that you would have to go a long way and spend an awful lot more than £25,000 to get the same upgrade in sound as that delivered by the Quartet.

If your system justifies a component of this quality, then you are strongly advised to give the Quartet a listen. Consider it especially if you already own Chord Electronics products such as a DAVE DAC.

If you buy one, it will likely transform your already excellent system into something that can deliver an altogether more insightful and absorbing listening experience.

Thanks for reading.

Alan (formerly of Portsmouth’s Audio T branch) - 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.

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Chord Electronics can be found at the following Audio T stores

August 06, 2026

Do Expensive Music Streamers Really Sound Better?

August 06, 2026/ Brad Tyler

It is one of the most common questions in modern Hi-Fi. If two streamers are playing the same track from the same service, surely they should sound exactly the same?

After all, digital is just ones and zeroes. Job done. We can all go home.

Except, as ever with Hi-Fi, it is not quite that simple.

WiiM, Bluesound, Eversolo and Innuos are just Several brands of Streamer we stock at Audio T

The honest answer is that more expensive music streamers generally do sound better, particularly when connected to a system capable of revealing the difference. Better power supplies, lower electrical noise, more accurate clocking, improved digital processing and higher-quality analogue output stages can all help produce a cleaner, more natural and more involving performance.

That does not mean everyone needs a reference streamer to play a Spotify playlist. It does mean the streamer should be treated as a proper source component, rather than a glorified Wi-Fi adapter with ideas above its station.

The Source Starts Before the Streamer

Before comparing streamers, it is worth considering what you are actually asking them to play.

The streaming service is the first part of the chain. A beautifully engineered streamer cannot restore information that has already been removed, just as the world’s finest turntable cannot rescue a record badly mastered.

For listeners prioritising outright sound quality, Qobuz and Tidal remain among the strongest choices. Both offer lossless CD-quality streaming and Hi-Res music, while their Connect features allow compatible streamers to receive music directly from the service.

Amazon Music Unlimited can also sound extremely good and has an enormous catalogue, although its integration is not as universal across specialist Hi-Fi products. It is always worth checking that your chosen streamer supports it in the way you expect.

Spotify remains exceptionally strong for playlists, recommendations and ease of use. It is often the service that helps people discover the music they later buy on vinyl, CD or another platform. However, if ultimate sound quality is the main goal, Qobuz and Tidal would usually be our first ports of call.

Of course, the best streaming service is ultimately the one containing the music you actually want to hear. A technically perfect catalogue without your favourite albums is not tremendously useful. You will find that all of the aforementioned services offer free trial periods.

Are All Music Streamers Created Equal?

No. Not even slightly.

A music streamer is effectively a specialised computer, but the better models are designed to stop the less desirable behaviour of a computer from contaminating the audio signal.

Inside a streamer, manufacturers must manage network traffic, processing, digital timing, electrical noise, power regulation and, where fitted, digital-to-analogue conversion. Every stage presents an opportunity either to preserve the signal or give it a light kicking on the way through.

The biggest differences usually come down to:

The quality of the power supply
Clocking and digital timing
Electrical isolation
The quality of the digital outputs
The DAC and analogue output stage
Software and app development

Software matters more than some people realise. A streamer may sound heavenly, but if its app requires hand-to-hand combat every time you want to change album, it will soon become a very expensive ornament.

Even when two streamers are connected digitally to the same external DAC, differences may remain. Power noise, signal integrity and timing can still influence how the receiving DAC performs.

WiiM and Eversolo: The Newcomers Who Gatecrashed the Party

WiiM Ultra, Eversolo DMP-A6 Gen 2 and Eversolo DMP-A8

WiiM and Eversolo have arrived in the Hi-Fi industry with all the subtlety of someone bursting through the doors and asking why everything costs so much.

Products such as the WiiM Mini and WiiM Ultra have made proper music streaming accessible to a huge number of people.

WiiM Mini Brings Streaming to Existing Systems

The compact WiiM Mini offers a simple and affordable route into network audio, while the WiiM Ultra adds a touchscreen, improved conversion and enough connectivity to make some traditional Hi-Fi components look rather underprepared.

Eversolo has performed a similar trick further up the ladder. The Eversolo DMP-A6 Gen 2 combines streaming, digital-to-analogue conversion, pre-amplification and music-server capabilities with a large touchscreen and excellent connectivity.

Moving up to the Eversolo DMP-A8 brings a more advanced power supply, conversion stage and analogue pre-amplifier section.

Both brands have wowed the industry by offering an enormous amount for the money, and established manufacturers have undoubtedly taken notice.

However, they are understandably limited by their budgets. A manufacturer cannot include the same power supply, clocking, isolation, casework and premium output circuitry as a reference product while charging a fraction of the price. That is not a criticism. It is simply fact.

The achievement of WiiM and Eversolo is not that they make high-end streamers redundant. It is that they offer a remarkable slice of the experience for considerably less money.

Streaming Amplifiers or Separate Components?

A streaming amplifier combines the streamer, DAC, pre-amplifier and power amplifier inside one enclosure. Connect a pair of speakers, open the app and away you go.

Products such as the WiiM Amp Ultra make a compelling case for this approach, particularly in smaller rooms, where simplicity matters or where budget is non-negotiable.

The Linn Majik DSM demonstrates how far the all-in-one concept can be taken, combining high-quality streaming, amplification, extensive connectivity and Linn’s Space Optimisation technology.

The advantages are obvious. There are fewer boxes and cables, installation is easier and every section has been designed to work together. In many cases, an all-in-one system also represents better value than purchasing each component separately.

A well-designed streaming amplifier is not automatically a compromise. For many listeners, it may be the most sensible and best-sounding option.

Separate streamers and amplifiers offer different benefits. Each component can have its own enclosure and power supply, reducing interference between sections. You can choose the streamer, DAC and amplifier that best suit your speakers, then upgrade each part independently.

Separates generally provide a higher ultimate performance ceiling. The downside is more cost, more cables and the possibility of ending up with seventeen boxes after originally deciding to simplify things.

Stepping Up to Innuos, Naim and Linn

At the upper end of the Audio T streaming range, Innuos, Naim and Linn show what becomes possible when the digital source is treated with the same seriousness as a high-end turntable or CD player.

The new Innuos STREAM1 is particularly interesting because it is modular. It can be configured as a streaming transport, music server or complete player with an internal DAC.

Innuos STREAM1 With matching LPS1 linear power supply

Optional storage allows a locally held music library to sit alongside online streaming services, while the matching LPS1 linear power supply provides a clear upgrade route.

The Innuos STREAM3 takes the same flexible approach considerably further. Its more substantial power architecture, advanced clocking, heavily engineered chassis and modular output options are designed to produce a quieter and more accurately timed digital signal.

It can feed a high-quality external DAC or become a complete source with one of Innuos’ optional DAC modules. This makes it equally relevant to someone building a new reference system and someone who already owns a favourite DAC.

The STREAM1 and STREAM3 are excellent examples of why streamers do not all sound alike. Innuos has treated the network, processor, power supply, chassis, software and audio output as parts of one complete source, rather than adding streaming as a convenient extra feature.

Naim takes a similarly serious approach with the NSS 333. It combines their streaming platform with carefully engineered digital processing, conversion and discrete analogue output circuitry.

It can also be upgraded with an NPX 300 external power supply, because this is Naim and there is almost always another box waiting patiently in the wings.

At the summit sits the Linn Klimax DSM. This is not simply a streamer, but a reference digital source, DAC and pre-amplifier built around Linn’s Organik DAC, Utopik power supply and precision-machined enclosure.

It can also improve connected digital and analogue sources while incorporating Linn’s Space Optimisation system.

These products cost considerably more because considerably more engineering has gone into controlling the conditions under which the music is received, processed, converted and passed to the amplifier.

So, Is Spending More Worth It?

Generally, yes.

The move from having no proper streamer to something like a WiiM Mini or WiiM Ultra can completely transform how often you use your Hi-Fi.

Moving to Eversolo can bring better build, broader functionality and a more accomplished performance. Stepping into Innuos, Naim or Linn territory will then uncover greater clarity, space, texture, timing and musical involvement that is worlds apart.

However, the improvement must be considered within the complete system.

Connecting a reference streamer to an entry-level amplifier and loudspeakers may produce an improvement, but it is unlikely to reveal everything the streamer can do. To use my go-to analogy when talking about these things - It would be rather like fitting Ferrari racing wheels to a go-kart. Technically impressive, but perhaps not the most balanced use of the budget.

As prices rise, improvements also become more expensive. The difference between a basic network adapter and a good budget streamer may be dramatic. The difference between two already excellent high-end sources can be subtler, although in a suitably revealing system it may still be musically significant.

The real question is therefore not simply:

“Does the expensive streamer sound better?”

It is:

“Does it sound sufficiently better in my system to justify the difference?”

That is why demonstrations matter. Use the same amplifier, speakers, streaming service and familiar music, then compare the streamers under controlled conditions.

A specification sheet can tell you how many bits are involved. Your ears must decide whether they are having more fun.

Thanks for reading.

Brad Tyler – Head of Marketing at Audio T

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 your local Audio T.

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…

WiiM and Eversolo can be found at the following Audio T stores

Naim, Innuos can be found at the following Audio T stores

Linn can be found at the following Audio T stores

August 01, 2026

How IsoAcoustics Isolation Can Improve Your Hi-Fi System

August 01, 2026/ Audio T Swindon/ Swindon

Many Hi-Fi enthusiasts crave the latest streamer, CD player, amplifier or turntable. However, significant improvements can sometimes be made without changing a core component, often for considerably less money than the resulting performance boost might suggest.

Paying attention to the less glamorous parts of a Hi-Fi system can bring huge benefits. Upgrading speaker cables or interconnects, improving the mains supply, adding a subwoofer or supertweeter, and addressing mechanical vibration can all help your equipment perform at its best.

Of these potential upgrades, isolation is perhaps one of the most overlooked.

Why IsoAcoustics Could Be One of the Best Upgrades for Your Hi-Fi System

IsoAcoustics has made a significant impact within the Hi-Fi industry by developing innovative isolation products that allow speakers, turntables and electronics to perform closer to their full potential.

Rather than changing the fundamental character of your system, effective isolation can reduce unwanted vibration and reveal more of what your equipment is already capable of producing.

Who Are IsoAcoustics?

IsoAcoustics is a Canadian company renowned for designing award-winning isolation products for home audio, professional studios and consumer electronics.

Its patented isolation technology is engineered to reduce unwanted vibrations while maintaining stability, helping audio equipment deliver greater clarity, precision and focus.

Unlike traditional spikes or basic rubber feet, IsoAcoustics products are carefully designed to manage mechanical energy and reduce resonance without compromising performance.

Why Does Hi-Fi Isolation Matter?

Every component in your Hi-Fi system either produces vibration or can be affected by it.

Loudspeakers generate mechanical energy that travels through floors, furniture and speaker stands. Turntables, amplifiers and other sensitive electronics can also be affected by vibrations coming from the room around them.

These unwanted vibrations may contribute to:

Reduced bass definition
Less precise stereo imaging
A loss of fine musical detail
Colouration through the midrange
Smearing of transient sounds

Effective isolation helps minimise these effects, allowing your equipment to reproduce music with greater accuracy and control.

IsoAcoustics GAIA Speaker Isolation Feet

The GAIA and GAIA Neo ranges are among IsoAcoustics’ best-known products.

Designed to replace the standard spikes or feet fitted to floorstanding loudspeakers, GAIA isolators reduce the transfer of vibration between the speaker and the floor.

Potential improvements include:

Tighter and faster bass
Improved stereo focus
Greater soundstage depth
Cleaner vocals
Enhanced low-level detail

Available in several sizes, the GAIA range is suitable for everything from compact floorstanding speakers to much larger high-end models.

I remember the first time GAIA isolators were demonstrated to me. Two pairs of identical loudspeakers were used, with one pair fitted with GAIA feet and the other using its standard feet.

What struck me most was how much tighter and better controlled the bass sounded through the GAIA-equipped speakers. It was not a subtle difference. The improvement was immediately noticeable.

IsoAcoustics OREA Equipment Isolators

OREA isolators are designed for Hi-Fi electronics such as amplifiers, DACs, CD players, music streamers and phono stages.

By reducing the vibration reaching sensitive components, OREA isolators can help reveal subtle details that might otherwise be masked. Music can sound more open, dynamic and natural, particularly when listening to high-quality recordings.

Different OREA models are available to suit equipment of various weights, making it important to select the correct version for your component.

IsoAcoustics zaZen Isolation Platforms

The zaZen isolation platforms are designed for turntables, amplifiers and other sensitive electronics.

They combine a dense, stable platform with IsoAcoustics’ patented isolation technology, helping to control vibration without introducing unwanted resonance.

This can make zaZen particularly effective beneath turntables, where external vibration and acoustic feedback can have a noticeable effect on vinyl playback.

IsoAcoustics Aperta Speaker Platforms

For standmount speakers and desktop systems, the Aperta range provides an effective way to decouple speakers from desks, cabinets, shelves or speaker stands.

The platforms also offer adjustable tilt, helping you aim the speakers more accurately towards the listening position.

Reducing vibrations passing into the supporting surface can improve bass definition, clarity and stereo imaging, while also reducing the amount of sound transferred through furniture.

Do IsoAcoustics Products Really Make a Difference?

One reason IsoAcoustics products receive so much praise is that the improvements can often be heard immediately.

They are not designed to dramatically change the tonal balance of your system. Instead, they help reduce unwanted distortion and vibration that may be obscuring musical detail.

The best analogy I can think of is cleaning a window. The view itself has not changed, but removing the dirt allows you to see it more clearly.

The scale of the improvement will naturally depend on your room, flooring, speaker placement and existing equipment. However, in many systems, isolation can represent one of the best-value upgrades available.

Final Thoughts

The pursuit of better sound is not always about buying a larger amplifier or more expensive pair of speakers. Sometimes, it is about allowing your existing equipment to perform as its designers intended.

IsoAcoustics has earned an excellent reputation by developing products based on genuine engineering principles. With solutions available for loudspeakers, turntables and electronics, there is an isolation product suitable for almost every Hi-Fi system.

For anyone searching for an upgrade that can deliver clearly audible improvements, IsoAcoustics deserves a place near the top of the shortlist.

Better isolation can reveal cleaner detail, sharper imaging, tighter bass and a more immersive listening experience, helping you hear more of the music you already love.

Experience IsoAcoustics at Audio T Swindon

We are holding a special IsoAcoustics demonstration event at Audio T Swindon on Thursday 3rd September.

A representative from IsoAcoustics will be joining us to run a series of demonstrations, allowing you to hear the effects of its isolation products for yourself.

Attendance is free, but places must be booked in advance. Reserve your ticket and come along to discover what effective isolation could bring to your own Hi-Fi system.

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…

IsoAcoustics can be found at all Audio T stores:

July 31, 2026

9 of the Best Tracks for Testing Your Hi-Fi System

July 31, 2026/ Audio T Reading/ Reading

Everyone has that handful of tracks they know inside out. The ones they have heard hundreds of times across countless systems, where even the smallest change in presentation immediately stands out.

Whether we are installing a new system in a customer’s home, comparing components in one of our demonstration rooms or simply listening to the latest equipment arrivals, these tracks are never far away.

Some are chosen for their imaging, while others test bass control, dynamics, timing or vocal realism. A few simply tell us whether a system sounds right.

Here are nine tracks that regularly appear on our playlists at Audio T Reading.

Billie Eilish – Your Power (Dan)

Billie Eilish has a catalogue full of beautifully recorded material, combining intimate vocals with a clever mix of acoustic instruments and modern electronic production. Your Power has become one of my go-to tracks when setting up a pair of speakers.

It opens with acoustic guitars panned widely across the soundstage, while Billie’s vocal sits firmly locked to the centre. It is an excellent test of stereo imaging and is often the first track I play when fine-tuning speaker positioning. The vocal should sound completely natural and detached from the speakers, with plenty of detail but without ever becoming harsh or fatiguing.

As the track develops, the production becomes busier and introduces a deep, controlled bassline. This quickly highlights how well the speakers are interacting with the room. If the bass becomes overpowering or boomy, it is often a sign that the speakers need moving slightly further away from the wall behind them. If a subwoofer is involved, its crossover or level may also benefit from a little adjustment.

Once that balance is right, the track sounds effortless from top to bottom.

Maria Mena – I Was Made for Lovin’ You (Dan)

This is one of those tracks that tells me an enormous amount about a system within the first minute. The upright double bass is beautifully recorded, with every note revealing the warmth of the instrument’s wooden body, the definition of its strings and the natural resonance that follows each pluck.

Unlike tracks that simply test how deeply a system can play, this one is all about texture and realism. A good system allows you to follow every bass note effortlessly, while Maria Mena’s vocal remains firmly centred and completely separate from the accompanying instruments. The recording has an intimate quality that quickly exposes whether the lower frequencies sound natural or have become overly thick and congested.

It is not the most spectacular demonstration track, but it is one I return to time and time again because I know exactly how it should sound. Within a minute or two, I already have a good understanding of the overall character of the equipment. If something is not quite right with the speaker positioning or tonal balance, this track usually lets me know.

Ludwig Göransson – Kitty Comes to Testify (Dolby Atmos Mix) (Dan)

The Dolby Atmos mix is available on TIDAL when played through a compatible AV processor or receiver, and it is one of the most impressive demonstrations of immersive audio I have encountered. Taken from the Oppenheimer soundtrack, it immediately reveals how well a surround system has been installed and calibrated.

The introduction sets the tone with a heavily reverberated piano that creates a huge sense of space before the orchestra gradually enters. The string sections extend not only across the front soundstage but also into the side channels, creating an enveloping presentation.

Rather than sounding like effects fired from individual speakers, the orchestra blends seamlessly through antiphonal exchanges, with musical phrases passing naturally between different sections. On a well-calibrated Atmos system, the room should disappear completely, leaving you surrounded by one cohesive performance rather than a collection of speakers.

That is often the difference between an average surround system and an exceptional one. You should not find yourself listening to individual speakers. Instead, everything should merge into one continuous soundfield, creating a convincing three-dimensional bubble around the listening position.

Towards the finale, the soundtrack introduces a series of exceptionally deep and powerful bass notes. This is an excellent test of a subwoofer’s ability to deliver low frequencies with both authority and control. A capable subwoofer should reproduce these notes effortlessly, without strain or boominess, while integrating seamlessly with the main speakers.

It is also a track I frequently use when positioning a subwoofer, as those sustained low frequencies quickly reveal room modes, dead spots and peaks. Simply moving the subwoofer, or even the listening position, while playing this section makes it much easier to identify the placement that provides the most even bass response across the room.

Once Kitty Comes to Testify finishes, I almost always follow it with Ground Zero from the same Dolby Atmos soundtrack. It continues many of the same themes, testing dynamic impact, low-frequency control and, most importantly, whether every speaker in the system is working together as one seamless whole.

Tom Misch – Goldie (Rishi)

Tom Misch’s Full Circle marked his return to music after taking time away following burnout, and it is an album full of beautifully natural performances and exceptional recording quality. The vocals were recorded using a vintage Neumann U47 microphone, helping to give the album its rich, warm and intimate character.

On Goldie, the opening acoustic guitar tells us a great deal about a system. Does it sound like real wood and steel strings, with body and resonance, or does it simply sound like another guitar recording?

One of the first things we listen for is the subtle squeak of fingers moving across the fretboard. A revealing system showcases these details, but it should present them naturally as part of the performance rather than drawing unnecessary attention to them.

When Tom’s voice enters, it should appear firmly centred between the speakers, with the right sense of scale and presence. Too far forward and it can become fatiguing. Too recessed and some of the emotion is lost.

Above all else, this is a track that reminds us that great hi-fi is not only about hearing more detail. It is about preserving the sincerity and warmth of a beautifully understated performance.

Thomas Fehlmann – Window (Rishi)

Sometimes, you do not need a complicated recording to expose the strengths and weaknesses of a system. Window is one of those tracks.

Thomas Fehlmann is renowned for his work in ambient and dub techno, and this piece places almost all of its focus on bass performance. Rather than simply asking how deeply a system can play, it challenges how accurately it can reproduce rapid changes in bass notes while maintaining control and rhythm.

Listen carefully as the bass synths arrive in quick succession. A capable system keeps each note distinct, allowing you to follow every transition with ease. If the amplifier or speakers struggle, those notes begin to blur together, turning what should be a dynamic and tuneful bassline into something much flatter and more one-dimensional.

When everything is working together, the track has tremendous pace and agility, with an expansive soundstage that gradually unfolds behind the driving low frequencies.

It is a brilliant demonstration that bass is not just about quantity. It is about timing, texture and control.

Evgeny Grinko – Grass, Dew and Marmalade (Rishi)

Not every test track has to challenge a system technically. Sometimes, the best recordings simply ask one question: does it move you?

Evgeny Grinko’s Grass, Dew and Marmalade is built from remarkably simple ingredients. Delicate piano lines provide the foundation, while softly textured strings gradually build the emotion before opening into a sweeping orchestral climax.

Rather than analysing every detail, we simply sit back and listen. Can the piano float effortlessly between the speakers? Do the strings carry genuine emotion without becoming harsh? Most importantly, does the crescendo create that moment when the hairs on your arms stand up?

Recorded at Berlin’s renowned Funkhaus, the production is wonderfully spacious and natural, allowing a capable system to reveal subtle layers without ever sounding forced.

If a hi-fi system can draw you into the music and make you forget that you are listening analytically, it has done exactly what it was designed to do.

Miles Davis – Circle (Gareth)

When Miles Davis appears in a hi-fi demonstration, it is usually Kind of Blue taking centre stage, and rightly so. My personal favourite, however, comes from a little later.

Miles Smiles, recorded in 1966 with Davis’ legendary Second Great Quintet, captures the group at the height of its powers.

Circle opens with Miles’ unmistakable Harmon-muted trumpet before Wayne Shorter and Herbie Hancock each take a turn in the spotlight. A well-balanced system allows every instrument to retain its own character, making it easy to follow the subtle musical conversations taking place between the players.

Rather than presenting the band as a single, blended mass, great hi-fi reveals the interaction, timing and chemistry that made this quintet so extraordinary.

If you enjoy this track, do not stop there. The entire album is an exceptional recording and a reminder that some of the finest jazz performances ever captured still have plenty to teach today’s hi-fi systems.

Azu Tiwaline – Long Hypnosis (Gareth)

Azu Tiwaline is one of those artists who quietly creates something completely unique. Drawing inspiration from electronic music, dub and the traditional sounds of the Sahara, her music builds hypnotic rhythms that constantly evolve without ever feeling repetitive.

Long Hypnosis, from The Fifth Dream, is an excellent test of timing and rhythmic precision. Multiple percussive patterns weave together throughout the track, and a capable system keeps every layer organised and easy to follow.

If the timing begins to slip or detail is lost, those intricate rhythms can start to sound muddled and disconnected.

When a system gets it right, however, everything locks together effortlessly, creating an immersive and almost trance-like experience. It is a wonderful reminder that rhythm can be every bit as revealing as imaging or frequency response.

Jean Sibelius – Symphony No. 6 (Gareth)

For orchestral music, it is difficult to look beyond Jean Sibelius’ seven symphonies, and Symphony No. 6 remains my personal favourite.

Completed in 1923, it combines a wonderfully understated orchestral palette with remarkable emotional intensity. Unlike many large-scale classical works, this symphony rarely becomes overwhelmingly loud. Instead, it relies on subtle dynamics, delicate textures and the natural colour of the orchestra to build its atmosphere.

My preferred recording is by the Lahti Symphony Orchestra, conducted by Osmo Vänskä, on the BIS label. A revealing hi-fi system allows each section of the orchestra to occupy its own space while preserving the coherence of the performance as a whole.

It is less about dramatic fireworks and more about allowing the music to breathe naturally.

After you have explored the other tracks in this list and fine-tuned your system, sit back, press play and let Sibelius remind you why we all fell in love with listening to music in the first place.

What Tracks Do You Use to Test Your Hi-Fi?

Of course, this list is far from definitive. Every member of the Audio T team has their own collection of go-to tracks, and every music lover has those songs and recordings they know inside out.

Whether it is a piece of music that always gives you goosebumps, exposes a weakness in a system or simply sounds incredible on a well-set-up hi-fi, we would love to hear it.

Leave us a comment with the tracks you always reach for when testing your system. We are always open to discovering new music that could become our next favourite demonstration track.

Thank you for reading.
Dan, Gareth & Rishi – Audio T Reading

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

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July 30, 2026

The Joy of Music with the Neat Acoustics Iota II at Audio T Cheltenham

July 30, 2026/ Cheltenham

If personal circumstances dictate that you need a really small but high-quality loudspeaker, look no further! The resident genius boffins at Neat Acoustics have once again moved the goalposts and produced a tiny loudspeaker that delivers a big sound, packed with character, swagger and groove. Read on to discover a little more about the stunning new Iota II.

Balance and Flow

Hand-built in the North of England and voiced by ear, these diminutive beauties have had no expense spared when it comes to their design and build quality.

A 100 mm polypropylene mid/bass driver combines with a 50 mm vertical planar magnetic tweeter, housed within a compact 2.6-litre, rear-ported cabinet that has been carefully tuned for balance and flow.

close up of that secret weapon planar magnetic tweeter

The drive units are fed by a carefully conceived, ear-tuned, three-element crossover network that employs low-loss air-core inductors and high-grade polypropylene capacitors. This crossover has been refined through careful auditioning, helping the Iota II capture not only precision and balance, but also the emotion that makes music feel alive.

The speakers are available in satin black and satin white finishes.

A Space Opera

So, I hear you ask... what do they sound like?

I will simply say that listening to them play the prog-rock epic Into the Electric Castle by Ayreon was almost a religious experience.

Nimble and Hefty

The open, airy sweetness of the planar magnetic tweeter was the gateway into a clean, wide-open soundstage. Combined with that nimble yet hefty bass driver, it allowed me to listen deep into the mix with ease.

The vocal interplay, featuring Fish, Sharon den Adel, Anneke van Giersbergen and Damian Wilson, amongst others, was addictively engaging and transparent. I was especially struck by how easy it was to follow every word, without any annoying intrusion from overblown midrange or bass.

The first ten minutes or so of this album have been a permanent fixture on my list of demonstration tracks for years. Played through the Neats, this opening section sounded totally immense as time and space collided!

Clarity, Rhythm and Life

Every time I listen to these mini marvels, I am amazed by their ability to produce an almost holographic, three-dimensional stereo image filled with clarity, rhythm and life.

This is partly because there is very little front baffle surrounding the drive units, and very little cabinet around or behind them to resonate or introduce colouration of any kind.

Genius!

nice chunky binding posts and a bass port

An Ending of Sorts

Summing up, I have to say that the Neat Iota II are compelling and, above all, great fun to listen to.

Small enough to fit pretty much anywhere, the Iota II perform beautifully on shelves, sideboards or dedicated stands. They also make excellent little desktop monitors. Wherever they are placed, they fill the room with a sound that feels open, engaging and alive.

Compact, confident and unmistakably Neat, the Iota II bring the full spirit of music to almost any space.

They are especially well suited to the current crop of all-in-one streaming systems, from which a very high level of sound quality can be achieved, particularly where space may be at a premium.

Pop Along

If I have piqued your interest in the little Neat Iota II, please pop along to our Cheltenham store to see and hear them for yourself.

I bet you’ll like them!

And, just so you know, this month’s blog would not have been possible without...

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

Audio T Blogs

At a Glance

Design and Build

Sound Quality

Denon PMA-600NE

Marantz PM6007

Bluetooth: Denon’s Biggest Advantage

Built-In DAC

Phono Stage

Speaker Matching

Everyday Use and Room to Grow

Which Should You Buy?

Final Verdict

Under the Hood

Analogue Preamplifier and R2R Volume Control

Equipment Connectivity

Network Connectivity

Eversolo EOS

Expandable Storage

Usage Modes

What Does It Sound Like?

Verdict

From a dinner-table idea to a cable company

A look around the factory

Nick and I get to work

Into the listening room

What I brought back to Cardiff

Bass basics

Under pressure

Power hungry

Timing

Harmonics

Room acoustics

Bring on the subs

The bass paradox

And finally

The Context

The Aftermath

Bang On Cue

Particularly Exciting

Kicking Some Proverbial

The Bit At The End

Blog Writing Essentials This Month…

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So, which one should you choose?

So, Where Did Audio T Come From?

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Everything Changes. Then Comes Back Again.

Surviving Isn’t the Same as Standing Still

Sixty Years of Knowledge

Thank You for Keeping Us Here

Another Anniversary Is Coming

What About the Next 60 Years?

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Don't overlook the cartridge

How important is turntable setup?

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Do you want to upgrade later?

What speeds do you need?

What about Bluetooth and USB?

Should I buy a turntable with a built-in phono stage?

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Take records you actually know to a demonstration

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My advice: buy the turntable that makes you want to play records

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