May 28, 2026

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

May 28, 2026/ Audio T Swindon/ Swindon

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

Why Phono Stages Matter

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

Three versions populate the Rega range:

Rega Fono MC – £290*
Rega AOS MC – £1,500*
Rega Aura MC Reference – £4,620*

Rega Fono MC

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

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

Rega AOS

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

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

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

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

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

Rega Aura

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

The Technical Bit…

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

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

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

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

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

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

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

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

Earth Grounding

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

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

Listening Comparisons

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

Rega Fono MC vs Rega Aos

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

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

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

Rega Aos vs Rega Aura

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jon and Andy - Audio T Swindon

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

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

Rega can be found at the following 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

May 28, 2026

Nytech CDP 132 Review – Vintage Spirit, Modern Performance

May 28, 2026/ Audio T Cardiff/ Cardiff

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

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

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

Back to the Beginning

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

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

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

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

The Story of Nytech

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

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

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

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

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

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

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

Revisiting an Old Favourite

So why revisit my old phono stage now?

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

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

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

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

System Changes Before Listening

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

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

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

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

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

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

The Music

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

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

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

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

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

Listening Impressions – CDP 122

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

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

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

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

Listening Impressions – CDP 132

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

Revisiting the same tracks immediately revealed improvements.

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

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

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

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

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

Final Thoughts

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

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

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

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

Thank you for taking the time to read my blog.

Matt Aaron - Audio T Cardiff

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

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

Nytech Audio can be found at the following Audio T stores

CARDIFF

Cyrus can be found at the following Audio T stores

Dynavector can be found at the following Audio T stores

May 28, 2026

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

May 28, 2026/ Audio T Portsmouth/ Portsmouth

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

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

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

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

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

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

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

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

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

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

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

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

Elevating entry level

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

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

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

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

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

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

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

AE300 Series

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

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

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

Moving on up

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

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

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

Stepping up to the range topping AE520 Acoustic Energy really starts to show its high end credentials with a speaker offering a powerful and rich sound. As a 3-way speaker there is detail beyond that achieved by the AE509 and the sound stage is wide and holographic.

At £3,650* they are knocking on the door of high end in terms of price point, but they are more than cable of giving far more expensive speakers a run for their money.

Optimus

Acoustic energy Corinium in british racing green

When Acoustic Energy launched the Corinium speakers two years ago — named after the Roman title for Cirencester, the company’s home town — it marked a clear statement of intent: a brand long respected for its entry and mid-level loudspeakers could also compete at the high end.

And boy did they achieve their goal.

These elegant speakers taper front to back in a design that belies their 40kg weight. The solid aluminium front baffle adds additional heft to the construction although only the new soft dome tweeter is attached to it. The carbon fibre bass and mid range drivers, larger than those in the 500 series, are bolted to the composite cabinet.

The Corinium sound is incredibly poised and, like their shape, elegant. There is a delicacy in the way they handle mids and highs. They are fantastically transparent letting vocals and instruments breathe with plenty of space around them.

Bass reaches impressively low thanks to the larger carbon fibre drivers and new motor system behind the cones. Yet the presentation remains controlled and tuneful rather than overly dominant. The Coriniums use their low-end weight with real deftness.

All of this makes for a hugely insightful speaker with the poise and the clarity to convey the emotion in music rather than just notes and sounds. They sound unforced with wonderfully natural tonality.

They were three years in development and, in our opinion, that was time very well spent.

Final Thoughts

Acoustic Energy prides itself on delivering technically sophisticated speakers built on sound engineering principles.

The bulk of the AE range may not have generated the media excitement that the AE1 40th Anniversary speakers or the Coriniums did at their launch, but the rest of the range, including the AV-focused AE105 Wall Speaker, AE107² Centre Speaker and their range of subwoofers, include some real star performers.

In fact, right now, in our humble opinion, they are making some of the best speakers available at their respective price points.

We have a range of Acoustic Energy speakers on demo in the Portsmouth store so if you’d like to hear them for yourself then drop us an email at portsmout@audio-t.co.uk or call us on 0239 266 3604.

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

You can find out more about Acoustic Energy and their award winning speakers in Music at Home+ Winter Edition 2025.

Acoustic Energy can be found at the following 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

May 28, 2026

Audio T Cheltenham Make Wonderful Noise with Arcam and Acoustic Energy

May 28, 2026/ Audio T Cheltenham/ Cheltenham

It appears to have been a while since Arcam featured in one of our blogs, so I intend to put that right and feature not one but two Arcam products! We have here the CD5 compact disc player and the A5+ integrated amp, partnered with the Acoustic Energy AE300² bookshelf speakers. Let’s see (or, more accurately, hear) what they can do together!

Side By Side

I am going to skip all that stuff about the amazing brand that Arcam are, and how they became so great, their rich history and elevation into hi-fi legend status because, well, we know that already, don’t we? There also seems little point in regurgitating all that boring technical stuff because, at the end of the day, it matters so little when a CD player and amp such as these gel so well and, when coupled with the rather bargainous Acoustic Energy speakers, sound so amazing for what is actually comparatively little money, that the only important thing becomes the music!

Serious Performance for the Money

I have been doing this all day, every day, since 1985! (Started very young, I’ll have you know!) and it kind of is the hi-fi holy grail when a system this good comes along and doesn’t cost squillions of pounds. It is one of those system combinations that is the very definition of the word synergy. Whatever I play on it sounds both exciting and involving. Never bright or brash, just musical and lush. One of those systems that you could listen to all night long and even into the small hours.

Is It Prog?

I put this combination well and truly to the test with a combination of all types of music: rock, pop, jazz and classical, and all were reproduced in stunning detail with a wide-open soundstage that just laid the music bare and let me hear right into the minutiae of the production.

Robert Fripp at Full Force

Top honours here go to the 1979-released King Crimson-on-steroids album Exposure by Robert Fripp. In particular, the title track, which here was rendered nothing less than awesome. The screamed/sung vocals by Terre Roche are spine-chillingly rendered in all their throaty power and glory, and the low-down, deep Chapman Stick bass attack from Tony Levin is a seismic event! All underpinned by the atmospherics of the guitar wash Frippertronics. Not at all bad for a small loudspeaker!

Easy-Peasy Plug In

One thing that immediately strikes you when setting this system up is just how solid and well thought out everything feels. Plugs and sockets are all very neat and sturdy, providing reassuringly chunky connections between all components in the chain. Everything fits together with real confidence and quality, with clearly laid out connections that make setup refreshingly simple. It is nice to use equipment that feels properly engineered and lets you get straight to the important bit… listening to music.

The Talented Supporting Cast

Acoustic Energy AE3oo² on the Solidsteel ss6

An honourable mention must go to the very talented supporting cast, without whom none of this would have been possible. So, a big thankyouverymuchindeed to Solidsteel for the SS-6 speaker stands, the Rega Couple phono-to-phono cable, and The Chord Company for the OdysseyX speaker cable… all go to make a hi-fi system that punches way above its weight. Indeed, I have heard many a much pricier setup sound far worse than this one! I also think that the Arcam CD player and amp look great too. Understated and minimalist, and a dream to use to boot!

Come and Hear It for Yourself

If, by any chance, you don’t believe my hype, by all means feel free to pop along to Audio T here in Cheltenham and I can show you just how great this combo really is. As always, you’re more than welcome to bring along a selection of your own music too, as there is no better way to judge a system than with albums you know and love.

And if Cheltenham is a little too far afield, don’t forget that you can also visit one of our other Audio T stores around the UK, where our teams will be equally happy to help you put together a system that gets you properly connected to your music.

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…

Arcam can be found at the following Audio T stores

Acoustic Energy can be found at the following Audio T stores

May 28, 2026

TVs Are Better Than Ever… So Why Are We Still Installing Projectors? Our Favourite Home Cinema Options for 2026

May 28, 2026/ Audio T Reading/ Reading

With the FIFA Men’s World Cup approaching, many people are starting to think about upgrading their viewing setup. Bigger TVs are becoming more common (and affordable) than ever, whilst home projectors are continuing to improve at a serious rate. So which actually makes the most sense in 2026?

The truth is, modern TVs are phenomenal. OLED and Mini-LED performance is now genuinely difficult to fault. 77”, 83”, and even 98” TVs are becoming increasingly normal in a lot of living spaces, whilst overall picture quality, gaming performance, HDR brightness and convenience have never been better.

So why are dedicated home cinema enthusiasts and everyday customers still choosing projection?

Because specifications are only part of the story.

Once you move beyond the usual 65”–85” screen sizes and start chasing true cinematic immersion, the conversation changes quite quickly. Scale, room integration, that “movie night” feeling or group gathering to watch a big sporting event still gives projectors a very special place in home cinema.

In many cases, the best solution depends less on pure specifications, and more on how you actually use the room.

Why TVs Are Still So Hard to Beat

Before talking about projectors, it’s important to acknowledge just how good modern TVs have become.

Current OLED TVs from brands like Sony produce astonishing black levels, contrast and HDR performance. Mini-LED TVs continue to improve as well, especially in brighter living rooms where outright brightness and anti-reflection performance matter more.

For mixed-use spaces, TVs are often still the easiest and best all-round solution.

They are instant-on, incredibly sharp and perform brilliantly during daytime viewing without needing blackout blinds or careful room preparation. If your viewing habits consist mainly of casual TV and streaming content during the day, a modern OLED or Mini-LED TV is very difficult to argue against.

The challenge comes once you start wanting a truly cinematic image size.

Once you begin looking at 98” TVs and beyond, costs rise dramatically, wall space becomes a serious consideration, and suddenly projection starts becoming a much more realistic and often a more immersive option.

At What Point Does a Projector Make More Sense?

A projector setup allows you to achieve 100”, 120” or even 130”+ screen sizes far more realistically than with traditional TVs. More importantly, projection changes the feel of a room.

A great projector setup can disappear during the day, then completely transform a room at night.

Motorised screens, hidden ceiling installations and discreet projector mounting now allow systems to integrate beautifully into modern living spaces. A well-thought-out projector system can actually dominate a room less than a permanently mounted 98” TV.

However, modern projectors all have their own distinct character, with each model excelling in different environments and viewing styles. Below, we’ll be breaking down three of our favourite current projectors, along with the types of rooms and viewing experiences where they perform at their very best.

The Dedicated Cinema Approach

JVC DLA-NZ500

The JVC DLA-NZ500 is a fantastic example of a projector that’s perfect for a dedicated home cinema.

Rather than chasing sheer brightness, the NZ500 focuses on producing a deeply natural and cinematic image. Black levels are where JVC projectors continue to stand out, with dark scenes feeling genuinely deep rather than slightly grey or washed out.

Watching darker films such as The Batman on the NZ500 is incredibly immersive. Shadow detail feels rich and layered, whilst brighter scenes still maintain excellent contrast and realism without looking artificially exaggerated.

Everything feels natural and cinema-like. It doesn’t have the exaggerated punch in colour that some competitors offer, but it doesn’t need to — everything feels balanced. Whether it’s watching nature documentaries, live sports or a late night horror movie, this projector can do it all.

This is not the sort of projector designed to brute-force its way through bright daytime viewing. It thrives in properly controlled environments: darker décor, effective blind systems, good acoustic treatment and dedicated cinema rooms all allow the NZ500 to really show what it can do.

For movie lovers wanting that authentic cinema-like experience, the JVC approach remains incredibly compelling.

The Bright Room / Sport / Gaming Approach

Optoma UHZ68LV & UHZ78LV

The Optoma UHZ68LV and larger UHZ78LV take a very different approach.

Where the JVC focuses heavily on cinematic depth and black level performance, the Optoma projectors lean much more into brightness, colour vibrancy and versatility.

Optoma UHZ68LV 4K Laser Home Entertainment Projector

These projectors immediately feel punchier and more energetic. Bright HDR scenes have serious impact, colours pop far more aggressively, and they are much more forgiving in rooms with ambient light.

This makes them especially enjoyable for sport, gaming and general mixed-use entertainment.

Fast-paced Formula 1 coverage felt particularly impressive here, with the motion smoothing helping maintain fluidity without heavily sacrificing sharpness. Nature documentaries like Planet Earth also benefit massively from the extra brightness and colour intensity, especially during vivid daylight scenes.

Optoma UHZ78LV 4K Laser Home Entertainment Projector

For gaming, the Optoma models also have an advantage thanks to their lower input lag and higher refresh rate support. Features like PureEngine Ultra Processing allow you to tweak the image character quite significantly depending on whether you prioritise sharpness, smoothness or cinematic presentation.

The overall feeling is simply more vibrant and immediate.

Whilst they may not quite produce the same dark-room cinematic depth as the JVC, they arguably suit modern multi-purpose living spaces far better.

The Middle Ground Option

Sony VPL-XW5000ES

Sitting somewhere between these two approaches is the Sony VPL-XW5000ES.

The processing of Sony projectors has always had a very natural and refined feel to it, and the XW5000ES balances cinematic performance with day-to-day usability extremely well.

Compared to the Optoma models, the Sony feels more filmic and controlled. Compared to the JVC, it is slightly more forgiving and versatile in mixed-use environments.

In many ways, it becomes the all-rounder option.

It handles movies beautifully, whilst still maintaining enough brightness and flexibility to work well with sport, gaming and general television viewing. For many customers, this balance can actually make the most sense.

All three projectors offer very different strengths, and choosing the right one really comes down to the type of viewing experience you want to create. Whether your priority is dedicated cinema performance, bright-room sport and gaming, or a balance between the two, there are now some incredibly capable projector options available.

The Hybrid Setup: Why Many Homes Are Now Using Both

One of the biggest trends we are seeing is not necessarily choosing between TV or projector, but combining both.

A high-quality OLED TV can handle everyday viewing and casual streaming, whilst a drop-down projector screen completely transforms the room for films, sporting events and big cinema nights.

Motorised ceiling screens, hidden installations, smart lighting integration and automation systems now make these hybrid setups feel incredibly seamless. Motorised cabinet for ultra short throw (UST) projector is also an increasingly popular option for modern homes.

This approach often gives you the best of both worlds: the convenience and performance of a premium TV, alongside the scale and immersion only projection can really provide.

For major sporting events like the FIFA Men’s World Cup, projection still delivers something very special. Watching football across a 120” screen with friends simply creates an atmosphere that even excellent TVs can struggle to replicate. The effect becomes even more immersive when paired with a capable surround sound system.

Final Thoughts

TVs absolutely deserve the praise they are receiving right now. As we’ve previously said, modern OLED and Mini-LED displays are currently some of the best we have ever seen, and for many rooms they remain the most sensible option.

But projectors still offer something uniquely immersive.

There is no universal “best” solution. The right choice depends entirely on your room, viewing habits and the type of experience you want to create.

A great TV can look spectacular, but a great projector setup can make movie night feel like an occasion.

Contact your local Audio T store to find out more about Home Cinema, or visit us at Audio T Reading to experience the above models for yourself in our dedicated cinema demonstration room.

JVC Projector in a purpose built cinema at INto AV

Thanks for reading.

Dan, Gareth & Rishi – Audio T Reading

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…

The products featured here can be found or enquired about at the following Audio T stores:

May 27, 2026

Upgrading Your TV Sound: Exploring Alternatives to a Traditional Soundbar

May 27, 2026/ Audio T Southampton/ Southampton

When it comes to improving TV sound, soundbars are understandably one of the most popular choices available today. They’re compact, simple to install and, in many cases, a substantial upgrade over the built-in speakers found in modern televisions.

For many rooms and lifestyles, they make perfect sense. If space is limited or you want a clean, minimal setup with as few boxes and cables as possible, a good soundbar can be an excellent solution.

However, they aren’t the only option.

Over the years, I’ve found that many customers are surprised by just how effective a simple stereo setup can be for television, films and gaming — especially now that modern active speakers and streaming amplifiers are easier to use than ever before.

In many cases, these systems can offer a wider, more natural presentation while also doubling as a fantastic music setup when the TV is switched off.

So rather than replacing the idea of a soundbar entirely, I thought it would be interesting to look at a couple of alternative approaches that may suit different rooms, budgets and listening habits.

Why Consider An Alternative?

One of the biggest advantages of a stereo speaker setup is the sense of space and separation it can bring to films and television. With speakers physically positioned apart from each other, dialogue, music and effects can often sound more open and immersive within a room.

That doesn’t necessarily mean a soundbar is the wrong choice — modern soundbars are incredibly capable and often far more practical in compact spaces — but for people who also enjoy music listening, a stereo setup can offer a more versatile solution overall.

Another benefit is flexibility. Many speaker-based systems can be upgraded gradually over time, whether that means adding a subwoofer, changing speakers or improving the amplifier later down the line.

Perhaps most importantly, these systems are no longer difficult to use. Modern streaming amplifiers and active speakers are designed around convenience, with features like HDMI ARC/eARC, Bluetooth and app-based streaming built in as standard.

The result is a setup that can remain simple and living-room friendly while still delivering an engaging listening experience.

Option 1: Active Wireless Speakers

The first alternative — and arguably the easiest to implement — is a pair of active wireless speakers.

This type of setup keeps things wonderfully simple. Amplification is built directly into the speakers themselves, meaning fewer boxes, less cabling and a very straightforward installation process.

In most cases, all you need to do is connect your television via Optical or HDMI (depending on the model), and you instantly have a much more capable sound system that can also handle music streaming, Bluetooth playback and even vinyl in some cases.

For many people, this strikes a brilliant balance between performance, convenience and aesthetics.

Kanto YU6 Active Speakers (£419*)

Kanto YU6 Active Speakers available in Matte Black, Matte White, Walnut, Gloss Black, Gloss Red, Gloss White and Matte Grey

The Kanto YU6 is a fantastic example of how much performance and flexibility can now be found in a relatively compact speaker system.

Despite their modest size, the YU6 offers an impressive amount of connectivity, including:

Switchable Phono/Line RCA input
3.5mm auxiliary input
Bluetooth with Qualcomm aptX
Dual Optical inputs
USB charging output
Dedicated subwoofer output

This makes them incredibly versatile for modern living spaces. They can comfortably handle television duties while also serving as an excellent music system for streaming, casual listening or even vinyl playback.

What I particularly enjoy about the YU6 is their lively and energetic presentation. Films sound dynamic and engaging, dialogue remains clear and music playback has plenty of punch and character without becoming fatiguing.

They also come in a variety of finishes, allowing them to blend naturally into both modern and more traditional interiors.

For somebody considering a mid-range soundbar but wanting a little more flexibility and stereo separation, these make a very compelling alternative.

Triangle AIO Twin (£599*)

Triangle AIO Twin available in Abyss Blue, Eggplant, Frost White, Graphite Black and Linen Grey

Stepping slightly further up the ladder, the Triangle AIO Twin offers a more refined and feature-rich approach while still maintaining the simplicity of an active speaker system.

The AIO Twin combines traditional hi-fi design with modern streaming functionality, making it an excellent all-rounder for both television and music listening.

Features include:

Optical input for TV connection
Bluetooth streaming
Spotify Connect
Streaming via the Triangle AIO app
Support for services including TIDAL and Qobuz
Analogue inputs
Subwoofer output

Where these speakers really stand out is in their presentation. The sound is smooth, spacious and impressively detailed, with a lovely sense of openness that works beautifully with films, live performances and acoustic music.

Bass is clean and controlled, while vocals carry a natural warmth and realism that makes dialogue particularly enjoyable during films and TV dramas.

Aesthetically, they also retain a more classic bookshelf speaker appearance, which many people may prefer over the more discreet but sometimes utilitarian design of a traditional soundbar.

Option 2: Streaming Amplifier & Passive Speakers

The second route is a more traditional hi-fi approach, pairing a streaming amplifier with passive speakers.

While this option involves an additional component compared to active speakers, it also opens the door to significantly greater flexibility and upgrade potential.

You have far more freedom when choosing speakers, allowing you to tailor the system to your room, listening preferences and aesthetic tastes. It also means individual parts of the system can be upgraded over time rather than replacing everything at once.

Thankfully, modern streaming amplifiers have made this approach far simpler than it used to be. Many are now compact, easy to use and packed with modern features including HDMI eARC, app control and high-resolution streaming support.

WiiM Amp (£319) & DALI KUPID (£299)

This is one of the most impressive affordable TV and music systems I’ve come across recently.

The DALI KUPID in Black Ash, Golden Yellow, Chilly Blue, Dark Walnut and Caramel White

The DALI KUPID speakers may be compact, but they produce a wonderfully open and articulate sound with excellent detail and separation. Their small size makes them ideal for discreet installations, and DALI even includes wall mounting brackets for added flexibility.

While they naturally won’t produce huge amounts of bass due to their size, they remain incredibly engaging and surprisingly spacious sounding for such compact speakers.

The real standout here, though, is the WiiM Amp.

For a relatively affordable streaming amplifier, the feature set is genuinely impressive:

HDMI eARC for seamless TV integration
High-resolution streaming support
Excellent app control
Compact design
Plenty of power for smaller and medium-sized speakers

What makes the WiiM particularly appealing is how approachable it feels. Setup is straightforward, usability is excellent and it integrates naturally into modern living spaces without feeling intimidating or overly technical.

For somebody looking to move beyond a soundbar while keeping things affordable and easy to use, this combination makes a huge amount of sense.

Bluesound POWERNODE (£999) & Acoustic Energy AE300² (£649)

At the more premium end of the spectrum, this system delivers a noticeably more substantial and refined experience for both films and music.

The Acoustic Energy AE300² speakers produce an impressively full and detailed sound for their size, with excellent bass weight, clarity and control. They remain composed even during demanding scenes and create a wonderfully immersive presentation within a room.

Paired with the Bluesound POWERNODE, the system becomes incredibly versatile.

The POWERNODE includes:

HDMI eARC
BluOS multi-room streaming
High-resolution audio support
Additional analogue and digital inputs
Optional centre channel support

That centre channel capability is particularly interesting for television and film enthusiasts, as it allows dialogue to become even more focused and stable across the front soundstage.

At the same time, the POWERNODE remains a superb music streaming amplifier in its own right, delivering a clean, dynamic and engaging sound whether you’re watching films, listening to albums or simply streaming playlists in the background.

This type of setup begins to bridge the gap between traditional stereo hi-fi and dedicated home cinema, while still remaining relatively compact and living-room friendly.

So, Which Option Makes The Most Sense?

Realistically, the “best” option will always depend on the room, the available space and how the system is going to be used day to day.

For some people, a soundbar remains the ideal answer. They’re tidy, convenient and capable of delivering excellent performance with minimal disruption to a room’s layout.

For others, particularly those who enjoy music listening as much as film and television, active speakers or a streaming amplifier setup can offer a more versatile and immersive experience overall.

The good news is that modern audio systems have become far more flexible than they used to be. Whether you prioritise convenience, aesthetics, upgrade potential or outright performance, there are now excellent solutions available at virtually every price point.

Final Thoughts

Improving your TV sound no longer means choosing between convenience and performance.

Soundbars continue to offer a fantastic solution for many homes, especially where space is limited or simplicity is the priority. At the same time, modern stereo systems have become more accessible, stylish and user-friendly than ever before.

Personally, I still enjoy the presentation and flexibility that a dedicated speaker setup can offer, particularly for combined music and television use, but ultimately the right system is the one that best fits both your room and the way you listen.

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

Thanks for reading

Tiago, Wayne & Nick - Audio T Southampton

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

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

*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

May 21, 2026

A diminutive Aura - the new Rega AOS MC phono stage

May 21, 2026/ Audio T Brighton/ Brighton

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

This month, I’ve been auditioning the latest phono stage from Rega, the moving coil preamp, called the Rega AOS. An exciting proposition, especially given its price point! To be fair, we always loved the previous phono stage, the Rega Aria, especially here in the shop, as it offered MM/MC inputs, very useful for demonstrations. Rega has needed to fill that void for a while, so it’s exciting to present it to you now. Let’s get into it!

The new Rega AOS

The new Rega AOS is a “trickle-down” product developed by Rega. Renowned for their turntables, it has to be said that their built-in amplifier phono stages are superior to most integrated amplifier solutions. The Rega AOS is an external phono stage, known to have superior technical and audio properties over most built-in stages because of the topology in the design and the inherently lower noise floor associated with larger, separate power supplies and more room to position them away from noisy interference.

The Rega AOS is a Rega AURA-Lite! This is literally the case, because the AURA is a beast of a thing, weighing over 20kg, housed in a massive, noise-suppressing housing! The AOS, on the other hand, is housed in the same casing used in the entry level Rega IO, reducing weight and size considerably, as well as the associated cost by roughly two-thirds. Circuit topology is very similar, or so I was told at the Bristol Hifi Show, but with surface mount technology to lower manufacturing and component costs. One thing is for certain - it isn’t a two-man lift like the AURA.

The prowess of the AOS

So what does it sound like, and how does it compare to its bigger sibling?

In isolation, it is a nice step forward from the MC phono stage in the former Rega ARIA, albeit without the former model’s flexibility of cartridge input types.

The AOS offers a sophisticated and smooth sound, with loads of detail and refinement. When auditioned with a Rega Planar 8/Ania Pro, the Rega AOS allowed the benefits of moving coil to shine through, clearly out performing the moving magnet competition from the same brand. Stepping up to a Rega NAIA/Aphelion 2 cartridge is a transformational change, but the AOS allows the better turntable to show off in all its glory!

So is it a giant-killer when compared to the Rega Aura? I’m pleased to say that the simple answer is no - somewhat of a relief given the difference in price!

Unsurprisingly, the Rega AURA justifies its considerably larger price tag. The massive sense of scale, detail and dynamics are there for all to hear and sounds much more substantial than it’s younger sibling, not dissimilar to what you may expect when looking at pictures of them side-by-side!

AOS summary

The Rega AOS is a welcome addition to the Rega phono stage line-up. The Rega Aria was sorely missed when it was discontinued, so we are pleased to see the void filled with an upgrade for the Rega Fono MC. It is a fine sounding piece of kit, allowing Rega customers a worthwhile upgrade, whether or not they are using one of Rega’s MC cartridges: the Rega Ania Pro, Rega Apheta 3 or Rega Aphelion 2.

Of course, this is our opinion, and it is essential for you to form your own opinion by giving us a call and booking a demonstration to hear for yourself.

Thanks for reading.

Adey, Jake, Kevin and Paul - Audio T Brighton

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Rega can be found at the following Audio T stores -

April 28, 2026

Fyne Audio F500S Series: The Modern Hi-Fi Sweet Spot?

April 28, 2026/ Audio T Swindon/ Swindon

Welcome to my second blog on Fyne Audio loudspeakers. After spending some time with the F501E, I was keen to get stuck into the newer F500S Series and see what they’re all about. This time, it’s less about background and more about how these speakers actually perform, how they compare, and where they fit in a real-world system…

In the crowded world of hi-fi loudspeakers, finding a range that genuinely balances performance, design, and value is no easy feat. The F500S Series from Fyne Audio positions itself right in that sweet spot, offering premium engineering and musicality without straying into unaffordable territory. Introduced in 2025 as an evolution of the already respected F500 line, the F500S range aims to refine rather than reinvent — and in many ways, that’s exactly why it works.

Fyne Audio has a fascinating history, but rather than repeat what I’ve written previously, here is the link to my earlier F501E, which goes into those details in more depth.

The range

The F500S Series is a well thought-out line-up, covering both two-channel and home cinema use. It consists of the standmount F5S and F500S, two floorstanders — the F501S and F502S — and the F500S LCR for home cinema applications.

What’s particularly appealing here is the consistency across the range. Whether you’re building a compact system or a full room-filling setup, the design philosophy and sonic character remain aligned.

F500S Series vs F500E Series

On the surface, the changes from the E Series might seem largely cosmetic — but they’re more meaningful than that.

The F500S models feature refined finishes and real wood veneers, available in black oak, natural walnut, and piano black gloss. The cabinets feel more premium, both visually and physically, with improved fit and finish. Internally, they remain well braced, and the magnetic grilles keep things clean and modern.

These speakers feel substantial and well-crafted — closer to higher-end products than their pricing might suggest.

Less obvious, but arguably more important, is the continued evolution of the IsoFlare driver technology. The S Series introduces a neodymium HF magnet, a vented rear chamber, and a move to a magnesium HF diaphragm instead of titanium. These aren’t headline-grabbing changes, but they contribute to a more refined and controlled top end.

IsoFlare

At the heart of many Fyne designs is the IsoFlare driver. In simple terms, it places the tweeter in the centre of the mid/bass cone, so sound radiates from a single point.

Why does that matter? Because your ears don’t have to “piece together” different frequencies arriving from different places. The result is more natural imaging, better focus, and a soundstage that holds together even when you’re not sat dead centre.

It’s one of those technologies that doesn’t shout about itself, but you notice it almost immediately when you sit down and listen.

Like the E Series, the S models use multi-fibre bass cones and Fyne’s BassTrax system for more forgiving room placement. This makes them particularly easy to live with in real-world environments, rather than perfect demo rooms.

The S Series are also bi-wireable, and a presence control switch is neatly positioned between the terminals. This allows the user to adjust the lower treble output (2.5 – 5.0 kHz) by ±3dB. It’s a genuinely useful feature, not just a gimmick — especially if you’re fine-tuning for room acoustics or partnering equipment.

F500S and F501S – A Comparison

Starting with the F500S, I partnered these speakers with a Rega Elex amplifier and a Bluesound Node Icon streamer. I fired up Messy by Lola Young — a fantastic track with a strong message and a great mix to test vocal presence and control.

The standout feature here is the improved IsoFlare point source driver, which delivers excellent stereo imaging. Vocals sit exactly where they should, and there’s a real sense of cohesion across the frequency range.

The treble is smooth and refined, and noticeably superior to that of the F500E — cleaner, with less edge.

Midrange is natural and slightly on the warm side of neutral, which works well across a wide range of music.

Bass is tight and surprisingly deep for the size of the cabinet, with good control and no sense of overhang.

Moving onto the F501S.

The F501S takes the same design philosophy but scales it up into a full-range floorstander, and the differences are immediately noticeable.

Playing Contact by Daft Punk — a great test of speed, bass extension, and dynamic headroom — the overall character remains consistent with the F500S, but everything opens up.

The soundstage is larger and more spacious, filling the room with ease. Bass goes deeper and has more authority, while dynamics are stronger and more effortless. There’s a greater sense of scale without losing the coherence that makes the smaller model so engaging.

Verdict: Even ore of a good thing.

These speakers excel in ease of setup and day-to-day usability. They don’t demand perfect positioning or carefully matched equipment to sound good, which is a big part of their appeal. You can get them up and running quickly and still enjoy a genuinely engaging performance.

The treble is smooth, the midrange rich, and the overall presentation is non-fatiguing, even over longer listening sessions. They’re the kind of speakers you can happily listen to for hours without feeling the need to turn things down or switch off.

What really stands out is how well balanced they are. Nothing feels overdone or artificially pushed forward — it’s just a clean, cohesive sound that works across a wide range of music. Whether you’re listening at lower levels in the evening or opening them up a bit, they remain composed and enjoyable.

The improvements over the E Series might not seem dramatic on paper, but in practice they add up. There’s a noticeable step up in refinement, particularly in the top end, along with a more confident and controlled presentation overall.

The extra cost over the E Series is well justified — not just in terms of aesthetics, but in the audible refinements as well. They look smarter, feel better built, and sound more polished.

For anyone putting together a system in this price range, the F500S Series is very easy to recommend. It’s a range that manages to feel both accessible and properly considered, without cutting corners where it matters.

It’s hard not to be impressed with what Fyne Audio has achieved here — and even harder not to just sit back and enjoy the music.

Thanks for reading. If this has sparked your interest, feel free to contact us to arrange a demonstration.

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…

Fyne Audio can be found at the following Audio T stores:

April 27, 2026

Fight the Power: The IsoTek V5 Synchro and Polaris Mains Conditioning Solutions

April 27, 2026/ Audio T Swansea/ Swansea

One of the longest-running arguments in audio circles is whether power conditioners do anything useful, or whether they’re just expensive furniture for people who enjoy arguing on forums. When you factor in the reality that most homes are wired with bulk-standard power sockets and kilometres of cable whose primary job is to not burn your house down, it’s fair to question why anyone would spend their hard-earned money trying to “fix” the electrons coming out of the wall. It all starts to sound a bit mysterious and dramatic, with little agreement about what’s actually happening.

the isotek polaris mains conditioner. let’s face it, about as sexy as you can make an extension lead look.

Over the past 20 years, I’ve owned exactly two power line conditioners; one of them remains in service. I know it works because when I unplug my TV from it, the noise floor becomes visible immediately. Image sharpness drops, background haze creeps in—and this from a modern Panasonic OLED display using FilmMaker Mode, i.e. no extra processing is performed by the TV which may muddy the gin-clear waters created by our Director of Cinematography. Clean power matters, and some gear benefits from conditioning whilst some appears not to. It’s why blanket recommendations are usually ill-advised.

that initium power cable. use them between your gear and the polaris for enhanced performance

The IsoTek V5 Polaris fits squarely into the “does what it says on the tin” category. At £695*, with the included Initium C13 power cable, it’s a compact six-outlet power-cleaning bar designed to reduce both differential mode and common mode noise whilst maintaining stable current delivery. Compared to the previous version, IsoTek claims nine times more differential mode filtering, lower resistance for better current delivery, a 60 percent improvement in DC resistance, and upgraded surge protection.

All of this goodness comes in a chassis that weighs a little under 3 kilos and doesn’t dominate the hi-fi rack. It sits behind, usually on the floor, but can be wall-mounted, quietly out of sight.

the rather more muscular sirius power conditioner comes with a purple cable this time. you can make power bars look sexier! who knew?

Each power outlet is isolated and references a central PCB with doubled copper loading and silver plating to prevent noise from hopping between components. IsoTek’s ‘delta filter topology’ delivers more than 20 dB of noise reduction at 1 kHz and 40 dB at 10 kHz, which is where RFI becomes most noticeable and annoying. Internal wiring is silver-plated, oxygen-free copper with an FEP dielectric (aerospace-grade Fluorinated Ethylene Propylene, which has a very low dielectric resistance). This is used to protect the conductors, as well as providing an ideal conductor contact dielectric for the internal power delivery system. IsoTek’s ‘KERP’ design ensures equal resistance and equal power delivery to all outlets. The Polaris supports 100–240V operation, up to 10A, handling 2,300W at 230V, and provides surge protection up to 45,000 amps—which seems like an awful lot. IsoTek recommends the higher power-handling 16A V5 Sirius at £1,295* if higher current draw kit, like hefty power amplifiers and/or subwoofers, are in play.

In use, the V5 Polaris makes its case most clearly with source components and displays, where reduced noise readily translates into audible and visible improvements. The effect upon integrated amplifiers is more subtle, but still very much worthwhile. I thought to use modest, real-world equipment rather than anything particularly exotic, to ascertain if affordable gear benefits as much as the highly strung, pedigree high-fidelity units we have become accustomed to in-store (it’s a tough job, but… etc.).

advance paris x-i75 remarkably good for the money. ask for a demo if you’re in the market for a £1k amp

the wonderfully natural acoustic energy ae309 mk2. love these things

Switching between the V5 Polaris and the wall socketry of our upstairs demo suite made the differences pretty clear. Plugged into the Polaris, our Advance Paris X-i75 amplifier had better definition, and the bass tightened up considerably. The overall tonal balance didn’t shift, but the presentation was definitely cleaner, and the X-i75 appeared to have more grip over our favourite £1200 speakers, the Acoustic Energy AE309². The top end had more clarity, mostly noticeable with vocals and jazz, where sibilants softened and micro-details came through with a bit more ease.

the node mark4. great little media player on its own, but the performance is next-level when partnered with an ofboard dac.

rega’s planar 2. fantastic value turntable which will repay a little light upgrading.

The bigger changes came from the sources. Our favourite reasonably priced streamer, the Bluesound Node 4 at £499*, the new Rotel CD11 Mk2 CD player at £549, and a Rega Planar 2 turntable at £525 sounded different enough that I pulled the X-i75 amp out of the Polaris just to confirm I wasn’t imagining anything. Same result: cleaner, less noise, better impact. Vocalists moved slightly forward in the mix with more precise imaging; instruments appeared more solid and in focus. Interesting stuff.

rotel cd 11 mk2 such a grown-up sound from such a modest unit

The takeaway is pretty simple: the IsoTek V5 Polaris isn’t magic. It won’t fix bad gear, and it won’t justify itself to the sceptics who think all conditioning is snake oil. But used correctly and in the right system—even a relatively modest one like our example here—it does what a power conditioner is supposed to do: tidy up any messiness without getting in the way and make your hi-fi sound like the component designers (and we!) intended.

Our listening pleasure can be limited and spoiled by many things, including the DC component in the electricity supply. This can saturate the toroidal transformer in hi-fi equipment, make them mechanically hum, and in some cases lead to a deterioration in audio performance. As the world and our homes accumulate more diverse electronic devices, the DC component becomes increasingly apparent. The addition of solar panels and EV charging to our streets will only increase these phenomena. IsoTek has always had a solution to this problem, currently personified in the latest V5 series of components connected with filter circuits.

IsoTek V5 Synchro units are available with the moniker 10 (as in 10 amps) and 16, for 16 amps. They do not differ in function, only in the supported nominal current and slightly in shape and dimensions. The larger V5 Synchro Uni 16 model we have on demonstration here in Swansea is enclosed in a simple case with radiused corners; on one side is the input, on the other the output. Nothing too complicated.

the isotek synchro uni 16 displaying the 20a socket and the high quality circuit breaker above.

Above the C19 input socket is a circuit breaker and a very bright white status LED, a feature shared with other V5 series filters. Behind the 16A thermomagnetic circuit breaker is a safety circuit, then a radio frequency interference filter, and then the DC filter itself, consisting of 32 elements whose impedance does not exceed 0.02 ohms, so it should not be an obstacle to the electric current. Before the output itself, IsoTek has placed a classic filtration circuit—a kind of “extra bonus” to remove any lingering DC component. At the output end, we find a regular UK 13A socket, just like the ones in your walls at home.

the synchro sporting the socket into which you plug the power lead that attaches to a polaris or sirius.

All the cabling inside is made of silver-plated 6N purity copper in a Teflon dielectric, just like the Polaris power bar. The filtration efficiency is up to 4V DC, which we are reliably informed “is quite enough”. The grounding solution is based on the popular star configuration. IsoTek also uses a thermomagnetic circuit breaker, which it claims far surpasses even “audiophile fuses” (yes, they’re a thing) in performance. The energy flows along the printed circuit board through thick copper paths; there are 36 copper and silver capacitors in said path, with a total capacity of 169,000 µF. Thanks to them, the V5 Synchro Uni 16 can “hold” a short-term peak of up to 500 amps.

The goal of the V5 Synchro Uni 16 is said to be not only removing the DC component and thus quietening our transformers, but also improving the sound due to the absence of micro-vibrations in the transformer. The service life of the components should also end up being longer, because an unsaturated transformer does not heat up as much, so its life is made that much easier, etc. Connecting the Synchro into the mains, then plugging the Polaris into the Synchro, we fired up the system.

lover’s rock by sade. smooth baby, real smooth

Accessories are where common sense evaporates if you’re not careful. Cables, isolation devices, power products, and room treatments can absolutely improve a system when used rationally, priced sensibly, and applied to gear that’s actually worth optimising. Spend money on speakers, amplification, sources, and music first. After that, well-made cables, proper isolation, and selective power conditioning can refine performance, improve usability, and lower noise without veering into audiophile cosplay. What they won’t do is fix bad gear, override poor system matching, or justify prices that rival core components. The moment an accessory costs more than what it’s supposed to help, you’re no longer tuning a system. It’s better to buy the stuff that’s engineered, proven, and priced like it exists in the real world—and ignore the rest.

A very solid thumbs-up for the Polaris then—what about the Synchro?

‘Lovers Rock’ by Sade (2000, Epic Records) has a beautifully rich bass (especially with the help of the Polaris), and after connecting the Synchro it noticeably relaxed, but the music in its lower octaves lost none of its emphasis and separation. Instead, it became significantly softer, warmer, calmer, more comfortable, and noticeably less mechanical.

Likewise, the treble component in Beth Orton’s ‘She Cries Your Name’ (1996, Heavenly UK): it was absolutely clear that here was a cleaner and more penetrating delivery, with better separation of individual instruments and their longer, more differentiated decay. Each note sounds cleaner, less harsh, calmer, and smoother. The V5 Synchro Uni 16 removes something mechanical from the sound, and the listening experience has significantly more sweetness and musicality. It’s really rather lovely, actually.

beth orton’s 1996 album ‘trailer park’ from which four singles were released..

It seems that the IsoTek V5 Synchro is not only an effective DC filter (which you can easily confirm by putting your ear to the toroids in systems that simply go silent), but also works (at least with the V5 series of filters from IsoTek) as an ideal additional “pre-filter”. It does its job without the music losing its confidence, energy, or definition after connection; it also sounds warmer and more relaxed. Digital media is rendered less neurotic somehow; the musical component is emphasised. The effect is extremely interesting, and in both cases it seemed to us that, for not unreasonable money, the Synchro not only removes the unwanted DC component but underlines the musicality and depth of the listening experience.

My own Synchro is already on order…

Thanks for reading.

Adrian – 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…

IsoTek can be found at the following Audio T stores

April 27, 2026

The Origin Story: How Origin Live Became What It Is Today

April 27, 2026/ Audio T Southampton/ Southampton

If you’ve spent any time exploring the deeper waters of analogue audio, you’ll know there are brands—and then there are philosophies. Southampton-based Origin Live sits firmly in the latter camp. It’s not just a manufacturer of turntables and tonearms; it’s an ongoing exploration of how music should really be experienced.

The Swift turntable with the zephyr tonearm

The Beginning: Curiosity Over Convention

The story of Origin Live begins, as many great audio stories do, with dissatisfaction. Founder Mark Baker wasn’t content with what he heard from conventional hi-fi designs. Where others accepted trade-offs as inevitable—resonance, energy loss, colouration—he saw problems still waiting to be solved.

Rather than working within accepted norms, Baker took a more radical approach: questioning the assumptions behind them. Why should a tonearm behave in a certain way? Why must a turntable dissipate energy using traditional methods? These weren’t marketing questions—they were engineering challenges.

Origin Live was built on that mindset: not to refine the status quo, but to rethink it entirely.

Early Disruption: The Rega Revolution (Sort Of)

In its early days, Origin Live gained attention through modifications—particularly upgrades to existing turntables. One of the most talked-about examples was their work on Rega decks. While Rega already had a strong following, Origin Live showed that meaningful performance gains were possible through structural and mechanical changes.

This wasn’t about tweaking for the sake of flavour. It was about uncovering information buried in the grooves—low-level detail, timing cues, spatial coherence. Listeners began to notice something different: music felt less like reproduction and more like presence.

That distinction would go on to define the brand.

The Tonearm: Where Physics Meets Music

If there’s one area where Origin Live has truly built its reputation, it’s tonearms.

Most tonearm designs—even high-end ones—operate within a familiar framework. Origin Live chose a different direction, focusing deeply on how energy moves through the arm—how vibrations are generated, reflected, and controlled.

Their designs aim to minimise unwanted resonance while preserving the integrity of the signal. The result isn’t just cleaner sound—it’s a more natural sense of timing and dynamics, often described as “unforced.”

This is where things become particularly interesting. Because when timing improves, everything improves: rhythm becomes more precise, instruments separate more clearly, and the emotional core of a performance becomes easier to connect with.

Philosophy Over Specs

One of the more interesting aspects of Origin Live is its relative indifference to spec-sheet bragging rights. While many brands focus heavily on measurable performance figures, Origin Live has always prioritised listening.

That doesn’t mean ignoring science—far from it. But it does mean recognising that not everything that matters is easily measured. Subtle distortions, micro-resonances, and energy storage can all have a significant impact on what we hear, even if they don’t show up clearly in conventional tests.

So instead of chasing numbers, Origin Live focuses on realism.

Turntables: A System, Not a Product

As the company evolved, it moved from modifications into fully realised turntable systems. Models like the Aurora and Sovereign aren’t just record players—they’re carefully integrated systems where every component works towards a shared goal.

Isolation, rigidity, and energy control aren’t treated as separate challenges, but as interconnected elements. The result is a presentation that feels cohesive and natural.

You don’t hear individual parts. You hear performances.

The Listening Experience: Why It Matters

Spend time with an Origin Live system and a clear pattern emerges. It’s not about exaggerated detail or hi-fi fireworks. Instead, there’s a sense of ease—music flows naturally, without effort.

This is what long-term listeners tend to value most. Systems that impress quickly don’t always hold attention over time. Origin Live aims for the opposite: equipment that reveals more the longer you live with it.

It’s a subtle difference, but an important one.

A Quiet Influence

Despite its strong reputation among experienced listeners, Origin Live remains relatively understated. There’s no huge marketing push or lifestyle positioning. Its growth has come largely through word of mouth—enthusiasts sharing their experiences with others.

In a world increasingly driven by convenience and quick results, that kind of organic following stands out.

Closing Thoughts

Origin Live’s story isn’t about sudden disruption or overnight success. It’s a steady, long-term pursuit of better sound through deeper understanding.

At its core, the brand reflects a simple but demanding idea: music reproduction should serve the emotional truth of a recording, not just its technical accuracy.

And in that sense, Origin Live isn’t just about hi-fi.

It’s about listening.

If you enjoyed this blog and would like to learn more about what Origin Live offers, feel free to get in touch. We’d be happy to talk through the options and help you find the right combination for your system.

Thanks for reading

Tiago, Wayne & Nick - Audio T Southampton

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

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April 23, 2026

Rubi, Rubi, Rubi, Rubi… DALI hits a sweet spot with Rubikore speakers

April 23, 2026/ Audio T Portsmouth/ Portsmouth

For a country with a population of around six million people, Denmark punches well above its weight when it comes to hi-fi manufacture. Bang & Olufsen, DALI, Dynaudio, Lyngdorf, Ortofon, Raidho, Gryphon, ScanSpeak are just some of the top audio brands to come out of Denmark.

It is an impressive roll call, but in this blog I want to focus on DALI (Danish Audiophile Loudspeaker Industries) and, specifically, their impressive Rubikore range.

Where Rubikore sits in the range

DALI was founded in 1983 by Peter Lyngdorf, the Danish audiophile and entrepreneur who, among many other things, went on to found Lyngdorf Audio. Denmark has a long and proud history of audio engineering, which has proved the perfect nursery for hi-fi entrepreneurs and world-leading audio brands.

The Rubikore range sits around the midway point in DALI’s extensive speaker offering, which extends from the new entry-level Sonik range up to the high-end Kore. There is the Rubikore 2 stand-mount and the 6 and 8 floorstanders. There are also two units designed for AV applications: the Rubikore On-Wall and the Rubikore Cinema.

All benefit from technology which DALI says is inspired by the top-of-the-range Kore and Epikore ranges.

Hybrid tweeters and high-frequency finesse

One of the standout features of the Rubikore 6 and 8 speakers is DALI’s hybrid tweeter module, which is a combination of a soft dome and a planar element. This design allows the speaker to split the high-frequency handling, with the soft dome working alongside the ribbon tweeter, which takes care of frequencies above 14,000 Hz.

In practice, this means airy highs, delicate detail, and a sense of openness that makes for a really engaging listen.

Midrange clarity and driver design

The mid-bass woofers on all three Rubikores feature DALI’s signature deep red, wood-fibre cones—a blend of paper pulp reinforced with fine wood fibres. The material is both lightweight and rigid.

The drivers employ DALI’s SMC (Soft Magnetic Compound) system, which lowers distortion and improves clarity. It means that, in addition to their airy highs, the Rubikores’ midrange is wonderfully articulate and realistic, allowing vocals and instruments to sound authentic.

Controlled, confident bass performance

Bass performance on the Rubikore 2, 6 and 8 is nicely judged and controlled—weighty enough but not overly so, even on the larger Rubikore 6 and 8. The overall musical presentation is therefore detailed, clean and tight. They sound unforced and composed, even at higher volumes.

All of the Rubikore speakers place voices and instruments accurately within the soundstage, providing good lateral separation and depth too, all of which creates an enjoyably immersive sound.

Easy to enjoy, rewarding to explore

The Rubikores are easy to like straight off but are also revealing enough to reward more detailed or critical listening. Other speakers around the same price may get you more high-end detail, a sweeter midrange, or more low bass, but few at these prices manage to deliver all three as well integrated as the Rubikores.

Amplifier matching and system pairing

The Rubikores are fairly sensitive at 87dB for the Rubikore 2, 88.5dB for the 6 and 90.5dB for the 8. All have a nominal impedance of 4 ohms.

This means they are relatively easy to drive, even with modestly powered amplifiers. However, like most good-quality hi-fi speakers, they will really start to sing when paired with an amp with a decent amount of grunt.

A good-quality amplifier and source—whether vinyl, CD or streaming—offering detail and a touch of warmth would seem to suit the sonic profile of the Rubikores.

In our opinion, very lean or bright-sounding sources and amplifiers may not get the very best out of them. Given the Rubikores’ capacity for detail and insight, there is a risk that particularly bright or lean-sounding amps and/or sources could unbalance their sound.

Versatility across music genres

In our listening room, all three Rubikores perform well with different genres of music, as well-sorted speakers should. They can bring out the midrange beauty of a stripped-back vocal track, and they can rock out if required. Their fast and tight bass keeps even the bassiest electronic and R&B tracks under control.

Design, finish and build quality

The Rubikores are handsome speakers with just enough points of difference—such as the twin tweeters on the 6 and 8 and reddish mid-bass drivers—to make them stand out in a tasteful way.

Their fit and finish—Gloss Black, White and Maroon, plus a Natural Walnut option—is excellent. The cabinets appear well engineered, with sturdy outrigger feet on the 6 and 8, and all come with substantial speaker cable binding posts.

Final thoughts

The Rubikore range is an excellent mid-range hi-fi speaker line-up, with many of the talents often ascribed to high-end speakers, such as clarity, control and an even-handed naturalness to their sound.

They don’t overwhelm with exaggerated bass or overly bright highs. Instead, they invite you to enjoy your music and have easily enough insight to allow you to explore tracks you thought you knew well.

DALI is a company well known for its superb entry-to-mid speakers, such as the hugely talented Oberon 5. It also offers extremely high-end products such as the Kore, so it is good to see—and hear—that the company produces some real mid-range hi-fi gems in the shape of the Rubikore range.

The DALI Rubikore 2, 6 and 8 speakers are available for audition at the Portsmouth store, so please ring 0239 266 3604 to book a demo or email us at portsmouth@audio-t.co.uk

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…

DALI can be found at the following Audio T stores

April 22, 2026

No need to Krane your Neck, Kromey... The Linn Majik has it all.

April 22, 2026/ Audio T Manchester/ Manchester

Music Unites Our City

In Manchester, vinyl isn’t just a format—it feels like part of the city’s musical bloodstream. From the crate-digging corners of the Northern Quarter to legendary spots like Piccadilly Records and Vinyl Exchange, records carry the weight of a musical heritage that stretches from Factory Records to today’s indie and underground scenes.

Yes, Mancunians love their vinyl. The figures say it all. Record sales are up 25% year on year, and ‘The Northern Quarter’ is one of the main driving factors.

So, it stands to reason that here at Audio T, we want to shout about this cultural phenomenon too. We sell the very things you need to play your vinyl.

One of those things being the Linn Sondek Majik LP12.

Manchester store mascot, “Chromey” with the Linn Krane tonearm

It’s A Kind Of Majik

The Linn Majik LP12 is actually one of those rare hi-fi products that sits at the intersection of heritage, engineering philosophy, and musicality—much like our beloved city of Manchester.

At a glance, the Majik LP12 hasn’t changed much—and that’s entirely the point. Its suspended sub-chassis design and understated wooden plinth still echo decades of heritage. But beneath that familiar exterior lies a significantly modernised deck, anchored by the Karousel bearing, improved power supply, and now… the Krane tonearm.

Some Weight Lifting

The Linn Krane tonearm is an interesting piece of kit. It sits right in that “serious but not expensive” tier of analogue components, so how you judge it really depends on your expectations.

It’s very good for what it’s meant to be. Think of it as a well-engineered, modern baseline for the LP12. It can hold its own, but not necessarily blow away higher-end arms. This isn’t a cheap bundled arm, but a properly engineered, no-compromise tonearm. The use of aluminium, stainless steel, and sapphire/tungsten bearings gives it good rigidity and low friction, all essential requirements for a well-thought-out tonearm.

The Linn geometry is baked in. VTA scale, azimuth adjustment, and magnetic anti-skate make it easier to dial it in to your chosen cartridge, if the Adikt isn’t your preferred option. In all honesty, it’s a big step up from the old Majik/Jelco arms; it clearly improves on detail and tracking, and it’s a meaningful upgrade to entry-level LP12 performance. Plus, it looks great too!

Stable Under Foot

The LP12 was introduced in 1972 by Ivor Tiefenbrun, and at the time, most hi-fi thinking prioritised speakers—but Linn argued the opposite: that the source (turntable) is the most critical component.

That philosophy led to a design where vibration control, mechanical stability, and energy dissipation were treated as core sound-quality factors, not secondary concerns.

The LP12 uses a suspended sub-chassis design, where the platter and tonearm “float” on springs inside a rigid outer frame. That outer frame is the plinth. This is key—and often misunderstood.

The LP12 isn’t just “isolated”—it’s a tuned mechanical system where the inner suspension handles micro-vibrations and the plinth provides a stable outer boundary. If the plinth is too soft, you get a loss of precision; if it’s too rigid or reflective, the energy bounces back.

Linn carefully balances rigidity vs damping.

So, when the plinth is doing its job well, you typically get tighter bass (less smearing from vibration), better timing and rhythm, improved low-level detail, and a lower noise floor.

These improvements come from mechanical stability, not electronics.

Simple, really.

Take Your Bearings

One of the biggest strengths of the LP12 system is how quiet the bearing/platter interface is. The inner hub works in harmony with Linn’s Karousel bearing to minimise rumble, micro-vibrations, and energy feedback into the stylus.

That silence translates directly into better retrieval of low-level detail—arguably one of the reasons the LP12 sounds so “alive” and rhythmically convincing.

The inner and outer platters are heavily machined and stress-relieved zinc alloy, which Linn call Zamak (or Mazak).

The Karousel bearing is made from stainless steel and is polished to what Linn call a diamond-like carbon for the thrust pad. This reduces friction at the spindle tip—the single point where the platter’s weight is supported. The result is smoother, quieter rotation and lower mechanical noise—quieter backgrounds during playback, in other words.

Manchester Majik

The Linn LP12 Majik and Manchester actually make a quietly fitting pair.

What keeps vinyl alive here isn’t nostalgia alone—it’s community: shops that double as venues, listening spaces, and meeting points where strangers bond over sound. In a city built on music, vinyl offers something streaming can’t… a tangible connection to that legacy, a way to discover new artists through human recommendation, and a sense that every record bought is part of a living culture rather than a disposable click.

Manchester’s musical identity, from post-punk grit to club culture, has always been about feel over perfection. Think raw rooms, imperfect acoustics, but emotionally precise output. The Linn Majik sits in a similar space: it’s not about flashy specs or clinical neutrality; it’s about timing, rhythm, and musical cohesion. It pulls you into the groove rather than dissecting it.

In that sense, it echoes the ethos behind places like the The Haçienda—not the most polished environment, but culturally seismic because of how it felt. The LP12 Majik does something comparable at a smaller, domestic scale: it prioritises engagement and flow over sterile accuracy, something akin to Northern Soul.

It’s an absolute cracking turntable. Come and have a listen.

Thanks for reading.

Munir, Thomas and Dave - Audio T Manchester

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

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Linn can be found at the following Audio T stores

April 14, 2026

Say Hello to the latest range from Cyrus - No, not Billy-Ray

April 14, 2026/ Audio T Brighton/ Brighton

Hello everyone, and welcome to our April blog from Audio T Brighton.

This month, I’m following up on an earlier promise to enlighten you on the latest range of equipment from Cyrus Audio. Now we’ve had a bit more time to enjoy them with different speakers in our extensive range, we’re able to share our thoughts on this wonderful kit.

Let’s get started and get you acquainted with the Cyrus 40 range, including: the Cyrus 40 AMP integrated amplifier, Cyrus 40 CD player, Cyrus 40 ST streamer, Cyrus 40 PSU, Cyrus PPA phono stage.

Cyrus Audio - a Potted History

If you’ve ever popped into the Audio T shop here in Brighton, you’ll know we’ve got a massive soft spot for Cyrus. They’re a bit of a legend in the British hi-fi scene, and for good reason. They’ve always done things their own way—small boxes, massive sound. Here’s the lowdown on how they became the powerhouse they are today.

1. The Mission Days: Where it All Kicked Off (1983–1984)

Cyrus didn’t just appear out of thin air. They actually started life as the electronics arm of Mission Electronics. Back in the early 80s, Farad Azima and his brother Henry were making some cracking speakers, like the iconic Mission 770. But they needed something with some real "oomph" to drive them properly.

Before the Cyrus name was even on the badge, they put out the Mission 778 in 1983. It was a half-width integrated amp that really set the stage—compact, minimalist, and punchy. It proved you didn’t need a massive, room-filling box to get a massive, room-filling sound.

2. The Legends are Born: Cyrus One & Two

In July '84, the brand officially stepped out of the shadows with the Cyrus One and Cyrus Two.

The Cyrus One: This little amp was an absolute giant-killer and a serious alternative to the “hot-hatch” versions from Rotel and the go-to stalwart, the NAD 3020. It was only rated at 25W, but because of its high-current design, it would absolutely embarrass Japanese "super-amps" of the era. It had grip, it had soul, and it looked like nothing else on the shelf.
The Cyrus Two: This was the "big brother", and it introduced something that became a bit of a Cyrus obsession: the PSX external power supply. This was genius because it gave you a proper upgrade path. You didn't have to sell your amp to get better sound; you just added a bigger "engine" to it. It is a well-trodden path that other British brands, like Naim Audio, have used as the core of their upgrade path ever since.

3. That Iconic "Shoebox" Look (The 90s)

In the early 90s, Cyrus really found their visual identity. They ditched the plastic fronts and moved to a die-cast magnesium alloy chassis. We first saw this on the Cyrus 3 in 1993, and that "clam-shell" design became their signature for the next 30 years.

It wasn't just for looks, though. That chassis is rock-solid, acting like a shield against interference and keeping everything vibration-free. It’s why you can still find 25-year-old Cyrus kits working perfectly today—they’re built like little tanks.

4. Going Solo and Getting Digital

The brand went through a few ownership changes, but in 2005, Peter Bartlett led a management buyout to make Cyrus a truly independent British company again. This is when they really started pushing the envelope with digital tech.

CD & Servo Evolution: While everyone else was buying cheap, off-the-shelf CD drives, Cyrus spent years developing their own "Servo Evolution" software. It’s all about reading the data right the first time so the error correction doesn't have to work so hard. If you’ve heard a CDi, and I have because I own one, you’ll know exactly why it’s won so many awards, with its fast and dynamic sound signature. One could even say that it sounds very “Cyrus-like”.
Streaming Early Adopters: They weren't late to the party, either. The Stream X series showed that Cyrus could take that same "high-current, low-noise" approach and apply it to the world of network audio.

5. The Modern(ish) Line-up: ONE and XR

Fast forward to 2016, and they brought back the Cyrus ONE name, but for a new generation. It’s a full-width "lifestyle" amp with Bluetooth and Class D tech—perfect for someone starting their journey.

But for the purists, the XR Series (launched in 2020) was where the real magic happened. It was a total ground-up redesign. New DACs, new power supply tech (the PSU-XR is a beast!), and that same incredible timing and detail that Cyrus is famous for.

To the Present Day

Bringing things up to date, here at Brighton Audio T, we have an extensive, but not exhaustive, range of products from the Cyrus 40 range, including: Cyrus 40 AMP, 40 CD player, 40 ST streamer & 40 PSU.

Let’s run through some of the range currently available here at Brighton Audio T.

Cyrus 40 AMP

The mini-powerhouse Cyrus 40 AMP is the latest iteration of the Cyrus half-width form factor, redesigned and re-styled in 2025. It is a fully specified integrated amplifier with inputs to serve all use cases, despite limited “real estate” on the rear.

As well as 4 analogue RCA inputs, Cyrus provides an MM moving magnet phono input for a turntable, pre-amp output, SPDIF optical and coaxial digital inputs, plus a USB for computer audio playback and finally, an e-ARC input for TV playback, so pretty much all input requirements are covered. Technical specs include 100W per channel into 6 ohms (113W per channel with the Cyrus 40 PSU).

So how does it sound? In short, really good! The 40 AMP retains the classic Cyrus sonic signature; fast, rhythmic, dynamic and controlled, but with added heft and more warmth. Adding a 40 PSU really opens things up, with soundstage width and depth being noticeably improved, allowing musicians a sense of space to breathe, especially in good live recordings and well-engineered studio productions. The fact that one can achieve this sort of sonic prowess in the same tabletop space as a standard integrated amplifier is quite remarkable.

cyrus 40 amp & cyrus 40 psu external power supply

Cyrus 40 ST - Streamer/DA

Cyrus has been making streamers for a while, but their choice to use BluOS as the software to access digital services was a wise one, and they have joined an ever-increasing group of audio manufacturers choosing to do the same. BluOS is the software baby of Bluesound, a company renowned for their value streamers and their reliable UI. Designing and maintaining software as digital technology evolves is not easy to do, and so it makes sense for manufacturers to licence the use of software that is known to work well, especially if the IT support teams are proven, which is exactly the appeal of the BluOS software.

Of course, the software and hardware implementation is key to the user benefiting from both ease of use and sound quality, and the Cyrus 40 ST certainly does that, offering a clean and detailed sound, without the glare associated with some digital streamers.

As was mentioned earlier, the addition of a 40 PSU brings significant upgrades to soundstage depth and width, plus the lower noise floor makes details pop out more.

Cyrus 40 CD

Last but by no means least is the Cyrus 40 CD player. With physical media making a comeback, we’re pleased to see Cyrus continuing to provide a CD player, and a mighty fine one at that.

Cyrus have a history of making award-winning CD players, and the 40 CD is no different in that regard. Again, the sonic signature is all Cyrus, with dynamics and timing being particularly fine. Once more, the 40 PSU brings added space and dimensionality to proceedings and usefully provides customers with an upgrade path to what is already a fabulous standalone CD player, something that most manufacturers can’t offer.

Summing up...

The Cyrus 40 product range offers a new look and familiar form factor for existing customers, or those seeking a good quality, yet upgradeable, long-term hi-fi system that prioritises the half-width aesthetic without compromising sound quality or usability. Here at Audio T in Brighton, we really are big fans of the current range, and it is good to know that quality British-made and designed hi-fi is still available amongst the swathe of overseas imports.

Looking to the Future

40 + 40 = 80 - The result is the all-new 80 series, a range that will sit above the 40 lineup and marks a clear shift in direction for the brand. For those of you who attended this year’s Bristol Hi-Fi Show, you may have caught an early glimpse, with the 80 Amp and 80 Pre on demonstration.

The 80 AMP is designed as a true all-in-one solution, bringing together high-resolution streaming via the BluOS platform with a wide range of connectivity, all wrapped up in a package that’s as easy to live with as it is rewarding to listen to. It’s powerful, controlled, and from what we’ve heard so far, effortlessly musical.

cyrus 80 integrated amp/dac/streamer tested at Audio T Brighton

Alongside it, the 80 PRE takes things into proper separates territory. Designed and built in the UK, it’s all about extracting greater space, detail and control from your sources, and when partnered with its matching power amplifier, it promises a system that feels both authoritative and involving in equal measure.

Importantly, the 40 series isn’t going anywhere. Much like other manufacturers, these ranges will run alongside each other, offering different system options depending on budget and requirements.

We’ve only had a brief listen so far, but it’s already shaping up to be something rather special—more on that in a future blog…

Thanks for reading.

Adey, Jake, Kevin and Paul - Audio T Brighton

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

Cyrus Audio can be found at the following Audio T stores

April 13, 2026

The Cartridge Files: Part I - First Cuts

April 13, 2026/ Audio T Reading/ Reading

As one of Audio T’s resident “turntablistas”, I’m often asked about what cartridge to pair with what deck, or tonearm, or phono stage/preamp, either with a view to an upgrade or simply to appoint a synergistic cartridge for a new or pre-loved turntable setup. With very few exceptions, it’s often not the case that one cartridge fits all – the choice of turntable cartridges is so vast that it can quickly become confusing or frustrating. If you’ve found yourself at a similar cartridge crossroads, or even if you haven’t, please do read on – it would be great to take you on a voyage to help you find your very own record needle in a haystack…

The aim of this mini-series is to hand-pick a selection of highly performing cartridges at different price points, tell you a little bit about how they sound or present, and put forward cases in which the cartridge is likely to shine or synergise with your record-playing equipment. This is based on my own experience of having fitted more of these little electromechanical generators than is considered healthy – I really do need to get out more.

The suggestions made here aren’t intended to be the last word in cartridge coupling – there are many other permutations that will work exceedingly well, and each of the fabulous vinyl techies at our Audio T stores has established their own pairings that truly shine. For anyone wishing to find out what personally works for them, at Audio T Reading we are happy to entertain you with a cartridge demo. But for now, grab yourself a cuppa and get comfy – whether it’s to help with making a shortlist or making a final choice, here are three phono pickups (from a nerdy cartridge-phile) to kick off Part I of The Cartridge Files (cue curious sci-fi music).

AUDIO-TECHNICA VM95EN AND VM95ML

These first cuts will focus solely on MM cartridges, better suited to someone looking for a first upgrade. Of course, every upgrade is relative to what your starting point is, but let’s presume we are coming from a phono pickup that came as standard with an entry-level turntable – say a Rega Carbon or an Audio-Technica VM95E, etc. – then the Audio-Technica VM95EN (the orange one) or the VM95ML (the red one) represent a first genuine step up in performance. A very neat feature of the VM95 cartridges is that their styli are interchangeable, facilitating an upgrade pathway that can be fitted by the user, as long as their hand is steady (and they haven’t slurped on too many coffees).

The Orange One: The VM95EN has an engaging presentation with a finely judged tonal balance. There’s enough detail to keep you interested, and it never leans into being too analytical – this is good news as it’s more forgiving of poorer recordings, and it softens the harsher edges on thrashier music genres. It genuinely imbues musicality, which makes for an enjoyable listen, but where the orange falls short of its bigger red brother is its stylus lifespan – an average of 400 hrs vs the red’s 1000 hrs – and it may become more susceptible to record surface noise as it wears, as well as inner groove distortion on the tighter vinyl tracks nearing the centre of the record. While at around £120*, it’s cheaper to buy than the red, the main reason to pick the VM95EN is its peppy, easy-going and musical sonic nature.

The Red One: The VM95ML is also tonally well judged, but a more incisive beast compared to the orange. The red’s stylus tracks deeper and truer than the orange, bypassing any record surface noise whilst yielding a more precise rendition from each record. This cartridge really shines when the music (and therefore the corresponding cut in the record) gets busier or more complex, breezing through those passages without losing traction. If you like a cleaner and leaner presentation, or perhaps want to balance out a thicker sound from your turntable, then this red one may well be for you. While the VM95ML can veer into sounding analytical at times, with careful system matching and setup, the detail plus high and low frequency extension on offer can be rewarding, especially at the price of around £155*. A little secret – it can truly astound on suspended higher-end turntable designs, such as the venerable Linn LP12. It’ll last longer than most cartridges too, without suffering the ill effects of inner groove distortion.

GOLDRING E4

The Goldring E4 has an interesting mix of virtues; it presents with a refinement and maturity that is hard to find at the price point of around £200*, but one of its key strengths is how well it dovetails with many manufacturers’ turntables. Pair it with a Rega Planar 2 or Planar 3 and it takes forward the pace, rhythm and timing strengths that the Rega decks are well known for. But then partner the E4 with a Pro-Ject T2 or Debut EVO 2 and the cartridge neatly showcases the neutral, clean, and precise nature of the Pro-Ject vinyl spinners. This chameleon-like feature is a very neat party piece.

In addition to the aforementioned strengths, the Goldring E4 is a competent groove tracker, largely steering clear of any surface noise that may be on the vinyl and capable of riding those inner grooves free from distortion within its average 450 hrs stylus lifespan. It’s a natural and controlled sounding pickup, which might verge on being too polite for some. But its refined way of retrieving detail in a more subtle manner makes for a fatigue-free listening experience. If your deck is a little bright or explicit in its delivery, the refinement of the E4 could well be a good counterpoint.

ORTOFON 2M AND 2MR BLUE

Is there a more universally recognised line of cartridges than Ortofon’s 2M series? Many turntables ship with an Ortofon 2M Red as standard, a none-too-shabby phono pickup to get your vinyl spinning journey underway, but certainly not the beating heart of accomplished high-fidelity performance. One of the coolest features of the Ortofon 2M Red is that, by way of a simple stylus swap, you can turn it into a hot-rodded 2M Blue. Or if you don’t have a 2M series cartridge to start with, you can make a direct beeline for an Ortofon 2M Blue or 2MR Blue, priced at £169*.

The main significant difference between Ortofon’s 2M and 2MR series is the height of the cartridge, where the ‘R’ denotes a ‘Reduced’ height, with no difference in sonic performance between the 2M and 2MR. This makes the 2MR more suitable for a Rega (or Rega iteration of) turntable, where its vertical dimensions mimic that of Rega’s typically less-tall cartridge bodies.

With the 2M and 2MR Blue, detail retrieval and dynamics come across as key attributes, especially relative to the 2M and 2MR Red. It cuts straight to the chase with a forward and unflabby performance, foregoing a warmer, more rounded delivery for a neutral, more edgy and spotlighted presentation. If you value a more hi-fi-focused, detail-oriented approach, or if you have a system or deck that lacks sparkle or extension in the highs, then the 2M and 2MR Blue may well be a transformative step forward. On the other hand, to prevent the risk of listener fatigue, implementing this cartridge with an already bright system is largely not advised. While the Blue might not be the most tolerant of any surface noise that exists on your records, and while it might not match the VM95ML in those pesky inner grooves, its overall energy and impact will delight the thrill-seekers among us during its approximate 1000 hrs stylus life.

REACHING THE RUN-OUT GROOVE

As we arrive at the dead wax on Part 1 of this cartridge series, it’s worth mentioning that because cartridge matching depends on your turntable setup as well as your personal requirements, there is no particular order or hierarchy to the featured cartridges here. It’s also worth pointing out that the highlighted pickups comprise at least a nude elliptical stylus profile; not to be confused with how Homo sapiens once roamed the earth, nude in this case refers to the stylus being firmly gripped in place rather than glued or bonded in place, which more often leads to auditory improvements across the board (for present-day fully clothed humans, hopefully). This ensures you are getting a true advancement from an entry-level conical or elliptical bonded stylus, which can’t dig as deep or transfer its vibrational energy quite as adeptly.

There are, of course, excellent cartridges that just missed out on being featured here, such as the Rega Nd3 or Sumiko Olympia, to name two. It’s not because they aren’t of the required performance or quality – far from it. There are many scenarios where these phono pickups fit the bill perfectly, and it’s worth having a chat with us about your requirements so that we can appoint the right cartridge for you. The ones that are featured, however, embody a mix of high value, versatility across a number of applications, stylus replaceability and interchangeability, along with sonic improvements that many will appreciate when making a first upgrade.

That said, watch this space and stay tuned to upcoming parts of this series dedicated to cartridges; many of the manufacturers that haven’t grabbed the limelight just yet may well have some little music-making generators that come into their own further up the ladder.

Thanks for reading, Rishi

Rishi, Gareth and Dan – Audio T Reading

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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The products featured here can be found or enquired about at the following 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

March 31, 2026

Power play – in the world of power amps more is very often, well, more.

March 31, 2026/ Audio T Portsmouth/ Portsmouth

You know you’re getting serious about your hi-fi system when you start thinking about upgrading to a pre and power amp combo or even a pair of mono power amps. So let’s look at the benefits and potential drawbacks of heading down the power amp route.

Many of us will have seen videos and photos of very expensive systems and beside each of the monolithic speakers sits an amplifier the size of a small fridge.

In this rarefied world, mono power amps are commonplace in large part because they have the grunt to drive big, high-end speakers to their full potential.

But that doesn’t mean that the rest of us, with less exotic systems powered by integrated amplifiers, should forget about upgrading to a pre-power amp combo or even monoblocks.

The benefit of going pre-power is that you separate the sensitive pre-amplification stage from the high current power amp stage. By separating them, you reduce the risk of electrical interference and so lower the noise floor in your system.

A power amp (or two) will also likely deliver more current and watts, allowing you to drive your speakers better. The result should be a faster, more detailed and expansive musical presentation.

Let’s unpack some of the main things to consider.

A pre-amp with stereo power amp

In this setup, you use one pre-amplifier to control volume and source selection, and a separate stereo power amplifier to drive both speakers.

There are obvious benefits over an integrated amp in that the sensitive processing systems in the pre-amp stage, such as DACs, phono stages and volume adjustment, are housed in a different box, probably sitting on its own shelf in a rack.

Power amplification involves stepping down large mains AC voltages to lower levels which can then be transformed into stable and quieter DC.

This high current activity inevitably generates a fair bit of electrical noise which can interfere with the sensitive circuitry in the pre-amp stage and raise the noise floor in your system. So putting some distance between pre and power stages makes sense.

This doesn’t mean to say that a well-engineered integrated amplifier cannot deliver excellent sound through clever circuit design and shielding.

It is certainly not a given that a pre-amp and a power amp combination costing, for argument’s sake, £4,000 will sound ‘better’ to you than an integrated retailing for the same price.

The quality of the components and build in that £4K single-box integrated may be superior to that found in the two-box solution. And, well, you may simply prefer the sound of the integrated. Remember, the sound we like is highly subjective.

Nonetheless, all things (like price) being equal, separating the pre-amp stage from the power amp stage tends to deliver a lower noise floor, allowing you to hear more of your music.

Here are some examples of stereo pre-amplifiers with suitable power amps:

Audiolab 9000Q and P pre and power combination

The other thing to bear in mind is that having a separate power amp can mean having more power on tap, since there is a whole box given over to housing a big transformer and banks of capacitors.

While not the be-all and end-all, greater power tends to bring improved control over speaker drivers which, in turn, delivers a more dynamic and better defined sound. That said, there are plenty of powerful integrated amps on the market.

Of course, one potential drawback of the pre and power option is that you’ll need to buy and find space for two separate boxes rather than one, plus extra interconnects.

Mono power amps

If you are looking at mono power amps (often called monoblocks), then the likelihood is that you are seriously invested in your hi-fi.

The rest of your system, especially your speakers, should justify the expense and additional power capabilities of a pair of monoblock amps. It would, in most cases, be overkill to have a pair of mono power amps driving entry-level speakers.

But if you are in the market for a pair of monoblocks, then there are clear benefits.

The first is that you have one power supply for each amplifier, which is to say each channel. Now, integrated and stereo power amplifiers do come in dual mono designs, which means separate power supplies for each channel.

But the separation possible within the confines of a single-box integrated or stereo power amp is not the same as the true channel separation possible with two mono amps.

Monoblocks significantly reduce the risk of electromagnetic interference, or crosstalk, between the left and right channels. So mono power amplifiers are engineered to deliver a lower noise floor and improved channel separation and stereo imaging.

The other significant benefit of monoblock amps is power. Each monoblock or channel has its own transformer and capacitors and can deliver greater power to a single channel than most integrated amps or even stereo power amps.

This means better control over your speaker drivers, meaning greater dynamism, speed, accuracy and often tonality, as your speakers are being driven to their full potential.

Monoblocks tend to come into their own if you have a pair of demanding speakers that need a high current amp to perform at their best. Such speakers are very often larger, high-end floorstanders.

Examples of high power mono amplifiers include:

However, there are some lower output valve mono power amps out there such as Audio Note Conquest Silver Signature and the Quad QII-FORTY mono amps.

The drawbacks when going down the mono route, apart from cost as you will need to buy two of them and more cables, tend to be the space required. You will need space in your rack for two amps rather than one. And of course, you still need a separate pre-amp.

And when it comes to some of the high-end behemoth monoblocks, you can forget standard racking. For instance, the Pass Labs Xs 300 monoblocks, which weigh almost 140kg (around 20 stone) per unit, would need a custom racking solution or ground-level plinths.

PAss LAbs Xs 300 (Image courtesy of Pass labs)

One advantage of placing such monster monoblocks on the ground is that you can position them close to each speaker, which reduces the amount of speaker cable required, reducing cost slightly and potentially reducing signal loss.

The other thing to consider if you do upgrade to mono power amps is that, when you start to get into the world of high-end hi-fi, your system may benefit from a dedicated and, preferably, acoustically treated listening space in order to appreciate your system’s full potential.

And that can mean a whole new level of expense!

In summary

As hi-fi enthusiasts, we are prone to bouts of upgrade-itis. And there is genuine pleasure in changing something in our systems that improves things noticeably.

Almost everything can make a difference, from a better quality turntable or streamer to better speakers, cabling or adding a subwoofer.

When it comes to amplifiers, the added interest is that you don’t have to stick with the one-box integrated amp format. You can experiment with pre and power combinations and even mono power amps.

This potentially opens the door to new levels of detail, scale and enjoyment from your existing system.

You can check out our selection of amplifiers online here. If you don’t see what you’re after, be sure to contact us.

Thanks for reading,

Alan - Audio T Portsmouth

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March 30, 2026

Smart as New Paint - The WiiM Sound Smart Streaming Loudspeaker

March 30, 2026/ Audio T Swansea/ Swansea

Ever since Henley Designs’ stalwart (née legendary?) sales guy Ralph Ward brought round the very first WiiM audio streaming unit—the WiiM Pro—back in October 2023 and had me set it up to make a very pleasant sound indeed inside a minute, we’ve been enamoured of the WiiM brand.

An absolute doddle to commission, with an enormous number of features for just about every hi-fi scenario we could imagine, the WiiM Pro not only performed well, it did so for very little money. The control app has proven simple to navigate and more reliable than most. This is more important than most people realise at first—a poor app will make navigating your music a very frustrating experience and will likely put a customer off that app for life. Anyway, on with the show…

Design & Build: More Than Meets the Eye

It’s been a while in coming, but WiiM’s first foray into smart speakers is an interesting one. First up, the WiiM Sound is substantial in the hand (which is always reassuring) and larger in the flesh than the online images may suggest. The fabric wraparound comes in black or white and adds to the premium feel.

The wee porthole on the front looks cute and is actually a 1.8-inch touch display—the functions manual for which runs to several pages. It offers a choice of about a dozen clocks when not playing music. When engaged in audio duties, track artwork is displayed as you might imagine, but once set up, you can also access all your music without using a smartphone—a function that WiiM tell us they have been asked for many times. It will even rotate the track artwork as if it’s the label on a vinyl record, should you wish. Surprise and delight indeed.

The top of the unit houses a polished plate which illuminates when your hand is near, offering the essential controls of volume, play/pause, and skip forward/back.

Sound Quality: Punching Above Its Price

What does it sound like? Fulsome, satisfying, and surprisingly musical. If you take the time to allow it to set itself up for its environment (it asks you upon first power-up out of the box, and the process is quite fun), you are rewarded with a satisfying, clear, and weighty sound. So far, so good.

the wiim app. it’s proven remarkably stable.

App & Features: Where WiiM Really Wins

The WiiM Home app is another big selling point. It’s one of the most user-friendly platforms around for multi-room audio, EQ adjustments, and managing presets. It’s also where you’ll find Room Fit, WiiM’s room optimisation software, which analyses your space and automatically tunes the speaker’s performance to suit your environment.

Wireless connectivity is equally strong, with support for Chromecast, Spotify Connect, Tidal Connect, and Alexa Cast, along with voice control via Alexa or Google Assistant. It’s worth noting there are no built-in microphones, so you’ll need to use an external device like your phone or a smart speaker to use voice commands.

Stereo Pairing: The Real Party Trick

Its party trick is the ability to pair with an identical unit to produce proper stereo, with a commensurate increase in performance. It’s not a subtle improvement either. In a recent interview at the Bristol Hi-Fi Show with our very own Brad Tyler, Roy Gandy (founder of Rega, no less) sang the praises of the WiiM Sound.

or you could have one white and one black, you non-conformist you.

Connectivity: Simple but Effective

It has a limited number of sockets to connect peripherals—there’s a 3.5mm input if you wish to connect a turntable with a phono stage, for example, and a LAN port should your Wi-Fi have insufficient strength, something we come across more often than you might imagine.

Final Thoughts: Serious Value at £299

When you look at everything on offer, the WiiM Sound for £299 starts to feel like good value. The feature set is broader than most rivals, the connectivity options are excellent, and that touchscreen adds a layer of functionality you rarely see at this price. Come on in for a demo.

Thanks for reading.

Adrian – 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.

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WiiM can be found at the following Audio T stores

March 27, 2026

Listening Lab: Meze Liric II Closed-Back VS Meze Poet Open-Back

March 27, 2026/ Audio T Southampton/ Southampton

Welcome one and all to another Audio T Southampton blog. This month, I’ve explored two fantastic pairs of headphones to compare against each other: the Meze Liric II and the Meze Poet. So let’s dive in and see what I discovered…

The Prologue

Before we begin, I want to lay out both how and why I listened to these headphones. Sheer interest and curiosity drove my reasoning, particularly since both models sit at the exact same price point.

My main line of thinking was: “If both of these are the same price and created by the same manufacturer, can this answer the question of which type of over-ear headphone is best?” And suffice to say… it didn’t. I loved both of these headphones equally, though for different reasons that we will explore later in this blog.

That was the why. As for how I listened to them (other than simply putting them on and playing music), I used the following equipment:

Source: Bluesound Node N132 Streamer – £499*
Amp: Rotel DX-3 Headphone Amplifier – £,1399*
Cable: Black Rhodium Calypso RCA-RCA 1m – £500*

I chose all of these units because they synergise incredibly well together. The streamer is a great unit for the money, offering a high level of quality for what you pay. The RCA cables were excellent and transported all of the information flawlessly, whilst the Rotel provided the drive and control needed to make both pairs of headphones truly sing.

Now, without much further ado, let’s have a look at…

Musical Words

The Meze Liric II (£1,899*) headphones are a closed-back isodynamic pair of cans. Closed-back headphones get their name from the sealed outer cups (where the driver is housed), which provide some passive noise isolation, lower sound leakage, and a more personal listening experience. Meanwhile, the isodynamic design delivers even drive across the diaphragm, meaning greater accuracy and lower distortion.

The first track that I listened to was Beat It by Michael Jackson – a phenomenally well-recorded track with loads of detail embedded everywhere you listen: up above, down below, and even to the sides.

Immediately, I noticed that the headphones had a fantastic soundstage, making them sound super open and engaging to listen to. Furthermore, the sound of MJ’s voice was crisp and clear, elevating that feeling even more. From there, I put on Sixteen Tons by Geoff Castellucci, a largely vocal track with background instrumentals added in for texture. Geoff’s voice was full of emotion and character, reinforcing my initial impressions from Beat It.

The next track on my list was Inferno by Hedegaard, a techno/electronic track with aggressive bass and loads of detail hidden throughout – electric crackles and blips flitting across the soundstage, all of which the Liric II picked up on with ease. The bass was extended and almost epic in proportion, like listening to a stereo system with a small subwoofer added in.

Track #4 was a personal favourite of mine: Mexicana by Opal Ocean, a fast-paced acoustic guitar track. The Liric II picked up on each guitar string being plucked, although there were a few sections where they slightly struggled to keep everything perfectly separated. Still, this track further cemented the fact that these cans have a fantastic soundstage, and it definitely put a grin on my face.

The final track was Our Love by Coheed And Cambria, an expansive piece with incredibly detailed vocals that almost ‘scream’ at you with raw emotion. Once again, these headphones handled it like a dream, allowing me to close my eyes and let the music take over.

Vocal Musician

Now it’s time for the Meze Poet open-back isodynamic headphones (link is placeholder, unit not on web). Much like their siblings, they feature isodynamic technology; however, they use an open-back design. Open-back headphones (like these) have ear cups with a perforated or mesh exterior, allowing for an easier drive and a more open sound (hence the name), at the expense of sound leakage that may disturb those around you.

As before, I started with MJ’s Beat It, and immediately noticed how much more open the soundstage was. It was incredibly expansive and wide, with a level of depth that the Liric II didn’t quite achieve. So far, so good.

Something interesting happened when I put on Sixteen Tons. I noticed the Poets had a much lighter, airier sound than I was expecting. Whilst this works brilliantly for fast-paced tracks with lots of intricacies, tracks like this felt slightly lighter overall, especially as the bass didn’t have the same level of extension as the Lirics. That’s not to say there was no bass – just a little less of it.

That said, Geoff’s vocals were super crisp and clear, and you could hear more of the natural resonance in his voice as well.

Back on track, Inferno was great fun to listen to. Whilst it features a deep, expansive bassline that the Lirics excelled with, the Poets provided a clearer and more concise presentation, making the intricate details stand out that bit more.

Mexicana was simply phenomenal. The guitar strings that were already noticeable on the Lirics became even more pronounced on the Poets, making the fast-paced track feel almost alive. I found myself closing my eyes while listening, and I could almost picture being in the recording studio, watching Opal Ocean perform right in front of me. Truly mesmerising.

Finally, Our Love was another interesting experience. The low-end presence wasn’t quite as prominent as with the Lirics, but the vocals had a sharper, clearer edge which brought them further forward in the mix and, in turn, made the track even more engaging (in my eyes).

Closing Thoughts

This blog was incredible fun for me to write. I already listen to headphones a lot – in fact, every day – and the experiences I’ve had with the Meze Liric II and Poets were nothing short of eye-opening. I’ve heard great headphones before from many different brands, but these felt like a step beyond.

Whilst I can’t say which set is better, as they are designed for slightly different uses, I can say that the Poets spoke to me (pun intended). I love bass, but I personally find a more balanced and open sound to be more rewarding in the long run.

If you would like to listen to these headphones, or indeed any others, please give any of our stores a call and we’ll be more than happy to help.

As always, see you next month.

Thanks for reading

Tiago, Wayne & Nick - Audio T Southampton

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Meze Audio can be found at the following Audio T stores

March 27, 2026

Super Tweeting The FYNE way

March 27, 2026/ Audio T Cardiff/ Cardiff

Fyne-tuning those hidden high frequencies in our systems with one of the hi-fi industry’s hidden gems: the S-Trax tweeter, made by those damn fine people at Fyne Audio.

In this month’s blog, Matt—your favourite hi-fi enthusiast and all-round music nerd—focuses on yet more hidden information in music, this time in the treble frequencies. And how do we Fyne-tune this? We hear you ask… well, grab yourself a cup of coffee, sit back, and let’s read along with Matt and see where we end up.

Greetings to all of you wonderful people out there in the big wide world of hi-fi. It’s me again, Matt, here on yet another quest to find hidden information in music. This time, as my blog’s title suggests, I’m listening for that sometimes hidden and lost information in those treble frequencies. Especially with more laid-back loudspeakers accompanied by vintage amplification, sometimes those finer details can be lost—despite the equipment sounding absolutely phenomenal. In my system’s case, I would say the finer details are very much there, especially with the Cyrus and Spendor D7 combination. You could say it wouldn’t need any help with those finer details on the treble side of things.

So, this brings one big question to light: is there any way I can improve the upper-register details with my personal hi-fi system?

So you may be thinking, what has piqued my interest in this side of hi-fi? Well, it started with a visit from Nick, our sales representative from Fyne Audio, who brought a lot with him—a few wonderful loudspeakers from Fyne’s new range. Along with the speakers, he brought a pair of Fyne’s S-Trax super tweeters. I knew Fyne had been making super tweeters since 2024 with their original flagship SuperTrax, but the super tweeter goes back further than we think, so let’s look into a little history—I promise I’ll keep it short.

There have been a great many super tweeters over the years, mainly within loudspeakers, such as the Coles super tweeter, which was used primarily in British studio monitoring speakers going back to the 1960s—especially Spendor’s original BC1 monitor speaker. A few companies followed suit, such as Decca, Klipsch, and Lowther, but the first stand-alone super tweeter didn’t come around until the ’70s with Decca’s ribbon-based design. This meant you could add this piece of kit to your speaker of choice and improve its performance. Moving fast-forward in time, companies such as Tannoy—and now Fyne, of course—have advanced and improved the design of the stand-alone super tweeter, making this adaptation to our speakers easier and, dare I say it, more desirable.

What is a Super Tweeter?

As we know, the conventional tweeter within our loudspeakers is forward-firing only, whereas the stand-alone super tweeter is open to the room. This changes the performance of our loudspeakers, giving the sonic impression of more openness and airiness in the treble frequencies—often extending these frequencies up to 50kHz, which is seldom heard in any production loudspeaker. Also, adding a super tweeter can improve the time alignment of a speaker. In so many words, by adding a super tweeter, you are adding more detail to your listening experience, even changing the whole soundstage and presentation of the piece of music we’re listening to.

Before I talk your ears off about the changes I heard in my system’s performance when adding the S-Trax super tweeter, let’s talk a little about Fyne Audio’s history.

Who Are Fyne Audio?

Fyne first came to life as a speaker company back in 2017, established by Tannoy’s former management team, including Dr Paul Mills, who is a true innovator when it comes to loudspeaker design. He’s been one of the hi-fi industry’s most respected figures since the ’90s. Paul and the team at Fyne have certainly injected their passion into every loudspeaker and super tweeter they’ve built. This passion and attention to detail certainly show when it comes to the S-Trax super tweeter.

Before I talk about my listening experience, let’s go over a little of the spec for the S-Trax super tweeter:

Sensitivity: Suitable for loudspeakers up to 98dB sensitivity
Nominal impedance: 8 ohms
Frequency response: 16kHz–50kHz (-6dB typical in-room)
Drive unit complement: 25mm (1”) magnesium dome with neodymium magnet
Crossover type: 3rd-order high-pass at 16kHz, Cryolite-treated
System adjustments: ±4.5dB from normal setting
Made proudly in Scotland.

The Listening

With my amplifier all warmed up and the S-Trax super tweeters linked to my Spendors—and of course, a fresh pot of coffee brewed—I’m ready to rock. So let’s sit back and talk about what we’re hearing with these marvels of Scottish engineering set up with my speakers.

Before I settled down to listen to my records of choice, I took some time to set up the super tweeters for optimum performance—positioning them correctly, aligning them properly, and adjusting the gain dial on the top of both tweeters to match the output of my Spendors as best I could. So with everything set, I can now settle down and tell you about everything I’m hearing—and more importantly, how they changed the performance of my hi-fi listening experience.

What albums and tracks did I use, I hear you ask?

Artist & Album: Alice In Chains – self-titled final studio album with Layne Staley (reissued on vinyl)
Original release year: 1995
Track: Heaven Beside You

Artist & Album: Rush – Signals (vinyl, 1982)
Track: Subdivisions

Artist & Album: Zakk Wylde – Book of Shadows II (CD, 2016)
Track: Sleeping Dogs (featuring Corey Taylor)

fyne audio s-trax super tweeter installed on matts spendor d7

Now, with everything settled—and after pre-listening to each track before adding the super tweeters—I’m familiar with how everything sounds in terms of instrument placement and overall performance.

First up, Alice In Chains’ track “Heaven Beside You.” With the super tweeters in play, I could hear more openness in Layne’s vocals, as he sits more in the alto range. There was also more texture and subtlety in Kinney’s cymbals, and more definition and feel to Jerry Cantrell’s Soldano amplifier.

Moving on to Rush’s track “Subdivisions”—all I can say is wow. This track, in particular, really showed off what the S-Trax can do. Right from the off, Geddy Lee’s synthesiser had more openness, and there was a greater sense of space around Neil Peart’s drum kit.

On to my favourite track of the evening: Zakk Wylde’s “Sleeping Dogs.” This track really opened up, with more space and breath between the vocals and better definition in Corey’s backing vocals. But what really shone for me was Zakk’s lead guitar tone—better separation, more space, and clearer articulation of the notes played.

Conclusion

So, what can I take away from this experience—and would I buy one?

The S-Trax, I have to say, is a very interesting addition to most loudspeakers, and I definitely feel that it makes a significant change to the overall soundstage and performance of my system, giving it more openness in the treble frequencies. I really do feel the S-Trax super tweeter would shine best with a more laid-back loudspeaker, improving time alignment and the overall soundstage.

I would highly recommend trying these out in your own system—or why not book yourself in for a demonstration and let us know what you think?

Thank you for taking the time to read my blog. As always, it’s much appreciated.

Matt Aaron - Audio T Cardiff

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

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

Fyne Audio can be found at the following Audio T stores:

March 27, 2026

The New Quad 3 Amp and 3 CDT - Now at Audio T Cheltenham

March 27, 2026/ Audio T Cheltenham/ Cheltenham

Quad are one of the hi-fi world’s most iconic brands, with a heritage that stretches back decades and a reputation built on doing things properly rather than following trends. That legacy of thoughtful engineering and understated design is exactly why new Quad releases still carry a bit of weight.

Things are getting particularly interesting right now with the recent release of the 3 CDT to partner the 3 Amp, which has already been turning heads since it landed a few months ago. There’s something quite appealing about a brand doubling down on a proper, no-nonsense CD-based system in a world that’s gone almost entirely streaming-focused.

Here in Cheltenham, we have just taken delivery of one of each, and it feels like the final piece of the puzzle has arrived. Naturally, we’re keen to get them fired up and see whether this compact pairing can live up to Quad’s reputation — and more importantly, whether it delivers where it really counts: the music.

We have been huge fans of the Quad 3 amp since it was released. Now we are really looking forward to hearing what the brand new 3 CDT can bring to the party.

Quad’s Philosophy

The build quality is just lovely and, in a strange way, I feel that it has both a dual retro and futuristic quality that sets it apart from any of the competition at the moment. The Quad 3 CDT is a dedicated CD transport designed to deliver uncompromising digital performance in its purest form. Crafted as the natural companion to the 3 Amp, this new model embodies QUAD’s philosophy of “the closest approach to the original sound.” By focusing solely on the mechanics of disc retrieval and data integrity, the 3 CDT strips away unnecessary circuitry to achieve class-leading accuracy, ensuring that every note is reproduced with absolute precision.

At the heart of the 3 CDT lies a high-precision CD mechanism and custom-designed CD servo control system, delivering exceptional disc reading accuracy and stability. Every detail of the laser assembly and servo control system has been optimised to minimise read errors, jitter, and distortion, preserving the integrity of the original CD signal. It has a drawer too… not one of those slot-loading mechs. Its sole task is to deliver a pristine signal — exceptionally clean, with minimal interference or unwanted processing. This singular focus ensures the highest fidelity connection to the 3 Amp’s state-of-the-art DAC, unlocking the full musical potential encoded on every disc.

Critically Acclaimed

Just like its critically acclaimed sibling, the new QUAD 33 – the 3 Amp’s industrial design is a subtle nod to the past. It features the same signature orange-lit LCD strip as the QUAD 33, for intuitive function feedback, with settings, parameters, options and source selections all visually represented. Users can customise the backlight brightness — or turn it off entirely — to suit their environment or preference. Classic orange accents echo the aesthetics of the legendary QUAD 33. At the same time, the tactile row of digital encoders provides precise control over volume, source selection, balance, bass, and the renowned QUAD ‘Tilt’ control, allowing for fine-tuning of the audio spectrum without adding artificial colouration.

Lets Play Some Music

Now we’ve got all that technical bumf out of the way, we can get down to my favourite bit, which is finding out what it sounds like. And I can tell you that I have been very pleasantly surprised. I will freely admit that I was not expecting this level of detail retrieval. First on the playlist was the totally awesome prog rock epic that is “Natural Selection” by US band Lands End. This album has amazing production qualities and quite possibly the best recording of a drum kit you are ever going to hear. The Quad combination held the combined drum and bass guitar rhythm section rock solid, while all around guitars and mellotron are swirling in free space. I know that I have recommended this CD in some of my previous blogs but seriously, if you like/love prog rock and like things a tad spaced out with a stunning bottom end (ooer), then you owe this album a listen… it is a bona fide classic of the genre!

one of the all time great prog albums imo

The Quad pair made such a great sound with the Lands End CD that I decided to play another one of my all-time prog rock favourites… Rockpommel’s Land by German band Grobschnitt. An album that boasts on the back cover that it was recorded with the help of Krautrock legend Conny Plank using a fully dBx-ed MCI 24-track recorder running at 30ips on four AGFA PEM468 Professional type 2 tapes, and that therefore it deserves to be played LOUD. Boy are they right! The Quad combo delivers speed, timing, dynamics, detail, bass slam and total three-dimensionality, making the music a joy to listen to.

Summing Up

Summing up my experience with the 3 Amp and 3 CDT, I have to say how wonderfully they work together and that they punch way above their weight. I can understand now how they have been the recipients of so many great reviews already. I was knocked out by the ability of the Quads to sound equally adept whether they were being played loud or quiet. They also score huge amounts of bonus credibility points because they look so darned cute too! If you are in the market for a sub £2k CD and amp system, look no more… your perfect system may well have arrived.

Oh!… before I forget… the amp has Bluetooth 5.1 connectivity which enables seamless streaming from smart devices too. It boasts support for the aptX HD codec, so you can enjoy 24-bit hi-res audio over Bluetooth without compromise. Truly a retro heritage delivering a modern solution.

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.

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Quad can be found at the following Audio T stores

March 23, 2026

Fine Sound from Fyne Audio: Fyne Audio F501E Review

March 23, 2026/ Audio T Swindon/ Swindon

If you’ve been to the Bristol Hi-Fi Show over the last few years, you’ve probably seen (and heard) Fyne Audio. It’s safe to say they’ve been building a bit of a following. And now they’ve now started appearing in Audio T stores, which is great news for anyone who’s been curious but not had a chance to properly sit down and listen.

We’ve recently had some time with the F501E floorstanders here in Swindon, and for the money, they’re doing a lot right…

A brief history:

Fyne Audio may have launched in 2017, but its roots run deep—right back to one of the most influential names in loudspeaker design: Tannoy.

Founded in 1926, long before “hi-fi” was even a term, Tannoy became synonymous with public address systems—so much so that the name itself entered everyday language. But beyond PA, their real legacy lies in innovation.

In 1940, Tannoy introduced the Dual Concentric driver, a design that would go on to define studio monitoring for decades thanks to its coherence and imaging.

Fast forward to 2015, when Tannoy changed hands and manufacturing direction shifted. Rather than follow that path, a group of key engineers and designers chose to start fresh. The result was Fyne Audio—named after Loch Fyne in Scotland.

Free from legacy constraints but armed with serious experience, they set out to refine and rethink loudspeaker design. Not reinventing the wheel—but making it roll better.

Key Technologies

Isoflare

At the heart of many Fyne designs is the IsoFlare driver. In simple terms, it places the tweeter in the centre of the mid/bass cone, so sound radiates from a single point.

Why does that matter?
Because your ears don’t have to “piece together” different frequencies arriving from different places. The result is more natural imaging, better focus, and a soundstage that holds together even when you’re not sat dead centre.

BassTrax: Flexible Placement, Cleaner Bass

Bass can be tricky—especially in real rooms. Fyne tackles this with their downward-firing BassTrax system.

Basstrax. showing air dispersion characteristics

Instead of firing bass out the back or front, it’s directed downwards and dispersed evenly. The twin-cavity design also helps reduce unwanted turbulence and standing waves.

In real-world terms?

Less port noise
Tighter bass
Far less fuss about where you place them

They’re noticeably more forgiving than most floorstanders at this price.

FyneFlute: Small Detail, Big Difference

Around the edge of the driver cone, Fyne uses a variable geometry surround they call FyneFlute.

It’s not just for show—it helps control unwanted resonances and reduces colouration. That means what you hear is cleaner, more accurate, and less “boxy”.

F501E bass unit, showing fyneflute driver surround

The F501E

Design & Build

The F501E is a 2.5-way floorstanding speaker with a clean, understated look. Available in Black Ash finish.

Key technologies:

IsoFlare point-source driver (tweeter sits in the mid driver)
BassTrax downward-firing port for easier room placement
Solid, substantial MDF cabinets.

How Do They Sound?

Balanced, Engaging, and Easy to Enjoy

The first thing that stands out is how well-balanced these speakers are. They don’t lean overly warm or artificially bright—they just sound right.

The bass is punchy and controlled, with more depth than you might expect at this level. Crucially, it avoids that bloated, one-note character that can creep in with budget floorstanders.

Midrange: Where the Magic Happens

Vocals come through clearly and naturally, with a sense of space around them. Instruments are easy to pick apart, even in busier tracks.

It’s the kind of presentation that lets you relax into the music rather than analyse it—always a good sign.

Treble: Detail Without Fatigue

There’s plenty of detail up top, but it’s delivered smoothly. No harsh edges, no forced brightness—just a clean, extended treble that holds together over longer listening sessions.

Soundstage & Imaging: A Real Strength

This is where the F501E really punches above its weight.

Thanks to that IsoFlare driver, you get a wide, room-filling presentation with precise placement of instruments. It doesn’t collapse if you move off-centre either, which makes them far more usable in everyday living spaces.

Final Thoughts: Serious Value Done Right

At under £1,000, the F501E makes a very strong case for itself.

You’re getting:

A cohesive, immersive soundstage
Tight, controlled bass
Flexible placement in real rooms
A speaker that works just as well for films as it does for music

No gimmicks. Just well-executed engineering and a sound that’s easy to live with.

Verdict

The Fyne Audio F501E is one of the easiest recommendations in this price range right now. If you’re looking for a floorstander that delivers proper scale without demanding a perfect room or system, this should be high on your list.

Thanks for reading — 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…

Fyne Audio can be found at the following Audio T stores:

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