Articles Archive

Volumio reinvents its iconic streaming DAC with Primo V3

Florence, Italy. 8 July 2026 – Volumio, the leading audio software platform for music streaming and playback, today announced the launch of the third generation of Primo, the company’s beloved first streaming DAC. Primo V3 is a streaming DAC completely reinvented around Volumio’s latest engineering solutions to set a new standard for Volumio’s streaming DAC range.

Primo V3 is the next step in Volumio’s high-fidelity streaming journey, and enhances all of the features audiophiles across the globe love from the first two generations. Volumio is going one step further too by integrating features that were praised on other products. At the core of this launch is the feedback from the Volumio community and its users across all products.

The new features of Primo 3 include:

– NEWER CPU – faster and more responsive than ever before.

– LINEAR PSU – lower noise for better SNR.

– BETTER DAC – powered by the ES9039Q2M

– IMPROVED OUTPUT STAGE – delivering lower distortion and noise.

– ADJUSTABLE OUTPUT LEVELS – perfect matching with your system.

– HIGHER RESOLUTION – supporting higher resolution audio in PCM

– NOS MODE – Preserves the raw signal path for non-oversampling conversion

– ADDING DAC FILTERS – 8 filters to finely tune your sound.

Michelangelo Guarise, the founder and CEO of Volumio, who leads Volumio’s team of creative minds, engineers, music enthusiasts, and audiophiles, said: “Primo V3 is not an iteration. It is a complete reinvention of our flagship streaming DAC. Built on Volumio’s latest engineering platform, it reflects our commitment to pushing performance boundaries while staying true to the musicality and ease of use our users expect.”

“Primo V3 builds on everything our community has loved about the previous generations, while introducing meaningful improvements in performance, flexibility, and control,” added Guarise.

Primo V3, like all of Volumio’s products, have been designed and developed by hand in the heart of Florence, Tuscany. It is powered by Volumio, the music OS developed with the sole purpose of guaranteeing the best audio streaming quality and experience. Users can play music from any local source, and access online streaming services such as Tidal, Qobuz, HighResAudio, TuneIn, Spotify all through the Volumio app or any favourite streaming app, whether that be Tidal Connect, Qobuz Connect or Roon.

The Primo V3 is priced at EUR €849, USD $1049 and GBP £769 and is available to order on the Volumio Shop here : shop.volumio.com/product/primo-v3/.

New top-of-range Project V1-LAN cable from Furutech

7 July 2026 – Furutech’s top-of-range Project series of cables features a host of the company’s own groundbreaking technologies and patented designs, married with the finest quality materials. Engineered with the same precision and unwavering commitment to exceptional sound quality as the Project V1 power cord, V1-L interconnect cable, V1-T tonearm cable and V1-S speaker cable, the new Project V1-LAN cable delivers exceptional resolution, transparency and sonic accuracy, ensuring your music is reproduced with absolute fidelity.

As a Category 8 LAN cable, the Project V1-LAN allows 40 Gigabit Ethernet and frequencies of up to 2000 MHz (Category 7 X 3.3), and features improved specifications for crosstalk and system noise. Category 8 is also backward compatible with Categories 7 and 6.

At its core, the Project V1-LAN employs Furutech’s silver-plated OCC conductors, each of which undergoes Furutech’s proprietary two-stage ‘Alpha’ cryogenic freezing and ring demagnetization process. This treatment optimizes conductivity, minimizes distortion and preserves signal purity, resulting in an audio presentation of remarkable realism, nuance, and immediacy—suited to the most demanding audiophiles and professional listeners alike.

To further protect signal integrity, Furutech integrates its advanced NCF (Nano Crystal2 Formula) technology throughout the cable’s construction. NCF actively suppresses static, resonance and electrical noise, allowing micro-detail, dynamic contrast and spatial depth to emerge naturally from a quieter, more stable background.

The Project V1-LAN is built with a sophisticated multi-layer structure, combining high-grade insulation, vibration-damping materials and extensive shielding to prevent external interference and minimize signal degradation. A five-layer shielding system, double-layer outer sleeve and hollow-tube fillers work together to reduce mechanical resonance and maintain a pristine transmission environment.

A specially engineered cable damping ring improves grip and further enhances mechanical stability.

Exclusive Project V1-LAN connectors, including RJ45 plugs and damping rings, also incorporate Furutech’s NCF material combined with high-grade nylon insulation. The connector conductors are formed from Alpha-treated copper alloy with 24k gold plating, housed in NCF-insulated bodies for optimal electrical and mechanical performance. Connector housings and damping rings feature a four-layer hybrid NCF carbon-fibre structure, finished with a hardened clear damping coating for maximum rigidity and resonance control.

Elevate your system to its highest potential with the Furutech Project V1-LAN. By addressing every detail of the digital signal path—especially at the source—it delivers an immersive, emotionally engaging listening experience marked by realism, coherence, and a convincing sense of presence. This is meticulous system preparation taken to its ultimate conclusion, where technology disappears and music takes over.

Pricing & availability:

• Furutech’s V1-LAN cable is available now.

• All cable lengths are custom built to order.

• Example price: 1.2m length – £3,050 (inc. VAT).

Linn 360 Pistonik

Linn’s 360 flagship is no stranger to hi-fi+. We first reviewed the active or part-active flagship floorstander from the Glasgow-based company back in Issue 220 (see review here). It’s more than just another top-tier Linn loudspeaker; it’s a genuine high-end loudspeaker, more than capable of outperforming some of the best speakers in production today. And now, with bass drivers featuring Linn’s new Pistonik motor system, the bar gets raised still further.

Pistonik is a reworking of the 6” and 8” drivers used in the original Linn 360. These are made to be driven actively; either active or ‘PWAB’ – Passive with Active Bass… there is no version of the 360 that doesn’t have active power for the two bass units. That sentence carries a lot more weight than it might seem at first.

Driver limitations

The life of a bass driver is hard, and the only way most loudspeaker driver designers can prevent it from being a death sentence is to place some significant limitations on its performance. This is entirely understandable because the driver’s destination is unpredictable. The manufacturer can’t know the enclosure’s design and volume, whether it’s ported or sealed, the crossover design, the intended drivers above and below it, and the range of amplifiers that might be used. Each of those parameters is a potential problem that can, at best, undermine a driver’s performance. Worst case… the listener burns through drivers at an alarming rate. In fairness, this last is rare, but using the wrong amplifier (often, an underpowered amp driven into clipping) is one of the main causes of drive unit failure.

Overused analogy alert

While car analogies are massively overused, they work here. Most drive units are a little like production saloons. They are perfectly designed for broad-spectrum motoring skills. That means a suspension and drivetrain that let you take your eyes off the wheel long enough to sneeze without finding yourself in a ditch. Compare this to the British Touring Car Championship, or NASCAR. Now, you have a car with a suspension and drivetrain that reacts to every twitch and movement of the person behind the wheel.

By controlling those parameters, Linn can make a set of drive units with the gloves off. Linn can design the drivers knowing the behaviour of the cabinet, the other drivers going into that box and the characteristics of the crossover and amplifiers. The result approaches the ideal, with outstanding linearity and cone excursion. Note that the midrange and tweeter don’t receive the same custom treatment, in no small part because they don’t need to move as much air.

This is no simple undertaking. Modern drive unit design (as distinct from tailoring an OEM drive unit to meet your needs) requires some serious mathematical modelling to make the concept even remotely viable. But this is where Linn excels.

Science: the Bedrok of good sound

Although no stranger to a neatly-turned marketing tagline (and an obsession with the letter ‘k’), Linn has always been built on a foundation – bedrok, if you will – of good, solid science-led engineering. The original Linn LP12 became a mainstay of so many systems, not just because of the sheer force of Ivor Tiefenbrun’s personality, but also because it was built to a standard few achieved at the time. Whether you liked the LP12 or not, few disputed that it was – and still is – extremely well made. This ultimately caused other manufacturers to raise their respective games.

Sure, that science and engineering-first approach didn’t always spell greatness. I’m looking at you, Linn Intek! But, on balance, the combination of hard science, good engineering and critical listening has scored many more hits than misses. However, even with that solid foundation, making your own drivers from scratch is a bit of an ask.

Linn is one of the few companies in the audio world that uses COMSOL Multiphysics software in its product design, starting with the analysis of current, heat, and vibration in the Dynamik switch-mode power supply. That analysis became central to the design and development of the recent Klimax Solo 800 and Solo 500 power amplifiers (reviewed in Issues 236 and 247, respectively). Switch that to the magnetic, mechanical, and thermal properties of a loudspeaker motor system, and you set the company on a path to making drivers with linearity orders of magnitude higher.

Long stroke

Improved linearity alone gets you a lower-distortion loudspeaker. But you need more. Typically, it’s relatively easy to create a very linear bass driver, so long as you are prepared to listen at whisper-quiet levels. Linearity at levels where people enjoy their music gets a lot harder and in playing music with ‘gusto’ while maintaining that linearity is almost impossible. Linn’s Pistonik motors include a super-long stroke (or throw) driver, thanks to a huge magnet for the drive unit size. This means the voice coil gets to spend almost all of its travel in the motor’s magnetic field.

However, a big magnet means big eddy currents (I went to school with his cousin, Lil’ Joey Rasins), but Linn shields the voice coil in a copper sleeve to limit that effect. A long voice coil travel also means risks of air pressure build-up, performing a similar draggy effect as eddy currents, so Linn ventilated both the rear of the magnet housing and the coil former. The copper acts as a kind of heatsink and the ventilation also helps cool the voice coil at higher volumes, so we’re talking multiple ‘wins’.

The suspension system of these drivers has been completely rethought, too; this is perhaps the most direct benefit of these drivers always being in a known ‘ecosystem’; there’s no need to overcompensate in a suspension system where the acoustic loading and the amplifiers powering the drivers are known quantities. And that makes the suspension effectively not there… until it is. Perhaps the most identifiable part of this truly bespoke way of designing a drive unit is the twin spiders inside the 8” unit. They are there to provide just the right amount of breaking force needed in context.

Happy puppy

Linn’s YouTube presence has interviews with Phil Budd, the company’s Head of Mechanical and Acoustic Engineering. These are well worth watching because he’s remarkably plain speaking and open about what goes into – and what went into – designing the Pistonik motor technology, but it doesn’t tell the full story. Speaking to Budd off camera is like chatting to a cross between a proud father and a puppy experiencing snow for the first time. He nerds out hard to the tech that goes into the drivers and the 9th Dan COMSOL skills needed to get there. Like most in this business, he’s a passionate music lover, but it’s clear that this isn’t just some project he signed off.

I’ve consciously avoided going over old 360 ground and focused instead on the new drivers. However, all the elements that went into the original 360 cross over to the 360 with drivers with Pistonik. Existing 360 owners can get the upgrade performed in situ, with the dealer performing both the driver change and the software refresh. It should take a couple of hours to switch drivers. New 360 owners get Pistonik as standard, and this has incurred an increase in the basic cost of the loudspeaker system.

Furious!

It’s a big change. Playing some traditional ‘fat lady sings’ opera, in the already very good 360, she sounds angry; with the new drivers, she sounds furious! It wasn’t a magnifier on the sound, just laser-focused on the music. More importantly, that focus means nothing is off the table. Pick some music not known for its audiophile quality – ‘Know How’ by Young MC for example. That’s old school rap from 1989, complete with janky 80s-era samples. That’s not the kind of thing that ever gets played in audio shows or demonstrations, because it rarely sounds good. Here, it rocks! You have the pumping backbeat reproduced in all its glory.

Yes, you can play all the usual audiophile records to your heart’s content, but that was never the point of the 360, and it really isn’t the point now. By removing all those limitations on linearity and improving the loudspeaker’s ability to play at a range of volume levels, those ‘play to impress’ audiophile recordings just stop being so important.

As Linn is all about the streaming, what tends to happen in playing the new 360 is you get lost for hours as you just have fun with your music. The end result isn’t just ‘that’s a great sound’ but ‘that’s a great playlist’. You find yourself making those Roon-esque musical connections, even if you are in an entirely Roon-free environment, simply because that’s where the sound takes you. Also, that you can play louder doesn’t mean you have to!

Beethoven to Skrillex

I moved from Beethoven piano to ‘Rumble’ by Skrillex and everything in between, and in all cases the drivers start and stop with blistering speed, powerful depth and excellent dynamics. It’s fast when you need it, full and rich when you don’t. But, breaking the music down into its audiophile components seems wrong; it’s all about playing music more.

That’s the point, here. The science doesn’t need some granular overview of how the music sounds; it just sounds better. Yes, given that bass drivers are the change, bass is tauter and faster… but more importantly the space and clarity of the midrange and treble get cleaner and more detailed thanks to those bass units. It is a genuine game-changer, as you feel like there’s a step-change in distortion levels. You can hear there’s less between you and the music.

Distortion logjam

Given that the loudspeaker is the distortion logjam in most modern audio systems, finding a way to cut through that distortion is maybe one of the most important things Linn has done in its 50+ years of business. And yes, that does include the LP12. Because the less the system gets in the way of the music, the more music you play. That was true with the LP12 more than half a century ago; it’s just as true now.

In writing this review, I looked back at my notes on the 360. There wasn’t much to criticise even with the first version, and listening to the original 360 means you are sitting in front of a damn good pair of loudspeakers. That doesn’t leave you when you listen to the Pistonik-equipped 360, but you also know within a few seconds that there is no going back. That absence of driver coloration, that removal of distortion, that ability to play bass so clean at every level that it gets you deeper into the midrange… that is not something you would ever want to leave behind once experienced. It’s so far removed from what you might expect given the nature of the new drive units; you know there’s less distortion, but at any volume level? Heady stuff!

The ecosystem

Pistonik can only happen because every part of the Linn ecosystem is a known entity, but there’s more to that ecosystem than flagships! Imagine what Pistonik’s driver-disappearing act would do in a small two-way like the 119 stand-mount (tested in Issue 242), for example.

If you are reading this while staring at a pair of existing 360s, there’s no debate. This is your next upgrade. Spend ten minutes comparing the two, and you spend two minutes comparing the two and eight minutes arranging and paying for the upgrade. For new buyers, the 360 is a little more expensive and a lot better… and now with a real-walnut finish. Either way, once you hear it, you won’t want Pistonik to be separated from your speakers for too long.

Technical specifications

Type: Four-way floorstanding fully integrated active loudspeaker (part active version also available but not tested)
Drivers: 19mm Beryllium dome tweeter, 64mm thin-ply woven carbon fibre dome midrange, 190mm aluminium upper bass, 2× 220mm long-throw aluminium lower bass
360 Array: lass AB amps with Adaptive Bias Control
Bass System: Power DAC
Cabinet volume: 60l
Finishes: Piano Black, Alpine White, Clyde Built, Linn Heritage, Single Malt, Triton, Walnut, or custom RAL at no charge
Dimensions (HxWxD, with stand): 114.1 × 41.1 × 48.4cm
Weight: 70kg
Price: From £67,000, €79,930, $71,500 (360 Passive with Aktiv Bass), £99,500, €104,130, $142,500 (360 Exakt Integrated) per pair. Pistonik drive unit upgrade for 360: £16,500, €19,640, $23,620.

Manufacturer

Linn

homepage: linn.co.uk

Linn 360 product page: https://www.linn.co.uk/uk/speakers/360

Where to buy Linn: https://www.linn.co.uk/uk/try-linn

+44(0)141 307 7777

More about Linn

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The Delines: Mr. Luck & Mrs. Doom

At the heart of The Delines are songwriter and novelist Willy Vlautin – previously the frontman of Richmond Fontaine – and Amy Boone, formerly of The Damnations. Vlautin is also a celebrated author who has built a reputation for weaving deeply human, blue-collar narratives into his music, a talent that carries over into The Delines. Meanwhile, Boone’s hushed, world-weary vocals bring these vignettes to life with an aching, cinematic quality, making The Delines’ music feel like a soundtrack to forgotten highways and dimly lit bars.

The band’s debut album, Colfax (2014), established their signature sound, and their 2019 follow-up, The Imperial, refined this style, deepening the cinematic scope of their music. In 2022, they released The Sea Drift, inspired by Gulf Coast landscapes, continuing their tradition of storytelling through song.

Despite setbacks, including a serious accident that sidelined Boone for years, The Delines have persevered, becoming one of the most unique and literary voices in contemporary Americana. Their music is a testament to the power of storytelling, carried by Vlautin’s prose and Boone’s evocative voice.

Which leads us to Mr Luck and Ms Doom, the band’s fourth album, and in some respects, their best yet. It’s also, rather surprisingly, occasionally upbeat in places. Yes, it is still populated by a cast of dropouts, down-at-heel characters, petty criminals, the lovelorn, and the bereft, but occasionally, this album allows a little bit of southern sunlight to poke through the otherwise all-encompassing bar room at noon gloom.

The opening title track, sets up the subject matter for the whole record. A couple of misfits find each other, realise they are perfect together, and are destined for a life of moving from motel to motel, small backwater to… well, you get the idea. It’s satisfyingly cinematic, and the combination of Vlautin’s storytelling coupled with Boone’s smoky, country-tinged voice instantly confirms that you are in the right place.

‘Her Ponyboy’ is a little more down-tempo, opening with Boone accompanied by piano, and tells the story of a very young couple riding the rails, having good times, and, of course, plenty of bad ones. ‘Left Hook Like Frazier’ is a seriously upbeat, toe-tapping tune, destined to be a Delines classic for years to come, but dig deeper, read the lyrics along with the record, and the darkness of domestic violence and poverty is very present.

‘Sitting on the Curb’ is a sad story of arson and infidelity… Did I say this record had more light than usual for a Delines album? It does, but you just need to compare it to previous albums!

Side one closes with ‘There’s Nothing Down The Highway’, a rather more philosophical number, with Boone singing about what running away does to a person – it’s a change from the otherwise narrative-led nature of the album. It reminds me of Nick Cave, which isn’t something I expected to write!

Side two opens with one of the album’s standout tracks, ‘Don’t Miss Your Bus Lorraine’, the story of a recently released con trying to make her way back in the world – it’s a thing of desperate beauty.

‘The Haunting Thoughts’ once again takes us into the mind of a struggling character. It could even be Nancy from ‘Nancy & The Pensacola Pimp’, the story of a 16-year-old girl and her pimp. Okay, so they get married, but then she has him killed – so a mixed bag in terms of relationships.

‘Maureen’s Gone Missing’s upbeat, almost jazzy drum track propels the story of the titular heroine, who appears to be one of the ones that got away – just before the wrong people come looking for her.

‘JP and Me’ is perhaps Boone’s most heart-rending vocal performance here. The delivery is so impassioned, you find yourself believing it was her who left JP in that Motel 6. The coda of ‘Don’t Go Into That House’ sees Lorraine return but leaves us wondering, what is in that house?

Whether you have been with The Delines since the start or are new to the world of Willy Vlautin’s exquisite storytelling, Mr Luck and Ms Doom is a revelation!

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Telos Macro G

Taiwanese company Telos Audio Design specialises in ridding the audio world of noise: noise imported from your AC supply; noise polluting your ground plane. It’s a crusade they started in 2006. This makes them one of the first brands to address ground noise as a separate issue. Over those last 19 years, the audio world has moved from barely recognising the importance of the topic to it becoming a key concern in high-end audio systems. We seem to have declared war on noise in every part of the signal chain. Except one… networks. It’s only recently that the import of good audio housekeeping has focused on digital streaming and networking. The Telos Macro G is a fine example of just how much damage ground noise can do in the context of an audio network.

The internet age has given rise to a whole new sub-industry. In it, clever people work diligently to design and produce items intended to enhance our listening experience. This is particularly evident when it comes to music and streaming. In my own system, I have several products designed to help eliminate the ‘nasties’ that can cause streamed music to sound worse than physical media. Amongst them, the Telos Macro G is an unsung hero. It is a silent partner in making network audio more listenable.

Slim, yet heavy

The Telos Macro G is built into a slim (2.5×5.5×13.5 cm) yet elegantly machined and quite heavy (300g, or over 10oz) aluminium case. It has a figure-of-eight power socket at one end and a pair of RJ45 ethernet sockets at the other end. You can also get versions equipped with USB and HDMI sockets. But what does the Macro G do? According to Telos, connected to a spare socket on a digital device, particularly network routers and switches, but also the likes of streamers and smart TVs, it uses a patented, microcontroller to actively cancel induced or transmitted noise, thus reducing the network noise floor. In the process, firing up the Telos unit generates a stunning light show from its tiny front panel. Bright green and yellow LEDs flash beside the RJ45 sockets. They are bright enough to have me scrambling to obscure the sight from my listening chair.

The unique thing here is that, while most network filters are in-line devices that sit between the network switch and the streamer, the Macro G works in parallel. It connects directly to the router and switch – but not between them. Although this is an audio product review, my first experience of the Macro G’s impact was via my TV system. I run the television from a Sky Q box. However, its sound is routed through my two-channel audio system via the DAC section of a classic Yamaha CD-S3000. The Yamaha uses its ESS Sabre DAC to the PrimaLuna EVO300 Hybrid integrated amplifier that drives my Harbeth Compact 7 ESXDii loudspeakers.

Macro G In Action

Rarely, if ever, do I introduce a new item into my system with almost no idea what it will do. But in the case of the Macro G I had no clue what to expect. I have never used any grounding products before, although I have audio friends who are convinced of their value. In any case, leaving the Macro G to warm up or burn in as required, I took my seat and switched on the Sky Q box, bringing the television to life. I did not linger on whatever inanity was running on daytime BBC. Instead, I went to my premium YouTube landing page. I selected the first of that day’s offerings from a US site called Meidas Touch. Several times a day this site posts videos railing against the current resident at 1600 Pennsylvania Avenue and the latest eccentric pronouncement to emerge from the Oval Office.

The presenter is Ben Meiselas, and I watch at least one of his pieces daily. This morning, the only difference from every other occasion I had watched his broadcasts was the presence of the Macro G. My 55” Panasonic LED TV was bought in December 2013, and boasts a mere 1080P HD display – distinctly old school compared. However, it still delivers excellent picture quality after a few tweaks and a little fine-tuning. I was astonished to find that the presenter’s face appeared more finely etched and more three-dimensional than it had before.

Brighter picture

The entire picture seemed brighter, more colourful, and sharper, too. However, it was the voice that really caught my attention; there was a notable increase in realism and tonality. This, combined with an undeniable improvement in picture quality, made the whole experience feel more intimate. It felt as if young Mr. Meiselas had teleported from California to Devon. I’d hooked up the Macro G to run it in before critical listening began. I didn’t anticipate an improvement to this extent.

Switching from AV to audio, I changed inputs on the Yamaha and got my AURALiC ARIES Mini going. I selected a perennial favourite, Dave Alvin’s album Eleven Eleven, and the second track ‘Johnny Ace Is Dead’, streaming it from my Qobuz account. I started the track and let it play for a couple of verses, then paused it and took out the Ethernet cable connecting the Macro G to the router. The sound without the Telos device was still acceptable but had lost enough of that realism, that clear audibility of all the musical strands, to be a bit disappointing. I therefore quickly re-engaged the Macro G, and it has stayed there ever since.

Conclusion

I am no Luddite. I have embraced technology wherever I have felt that it has enhanced my life. In fact, I spent the best part of four decades selling high-performance computers to defence and engineering clients. However, when it comes to music playback, I am unashamedly old school. When home alone and not on a reviewing assignment, I play records. Yet, with every passing year and each new gizmo that visits, I have to concede that the gap between vinyl and streaming is getting narrower. The Macro G has come as a genuine surprise – in a good way. Priced at £850, it is not a casual purchase. But if you can borrow one for a home demo, I urge you to try it. I thought my digital playback was pretty good. Then the Macro G arrived and proved that there was still room for considerable improvement. Highly recommended.

Price and contact details

Telos Audio Designs Macro G: £850, €1,200

Manufacturer

Telos Audio Design

telos-audio.com.tw

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Silent Pound Challenger II

Silent Pound is one of the quietly spoken heroes of the Warsaw audio show. The Lithuanian company has been showcasing its constant-directivity loudspeaker designs in prototype form and beyond for several years. However, at the 2024 show, the company revealed its Challenger II floorstander and Bloom stand-mount in such a striking way that I had to learn more. Both are fascinating, but the Challenger II arguably represents a more profound proof of concept.

Let’s start by mentioning the name first. As a child of the Carry Ons (my mother starred in nine of the films), I sometimes get to use the ‘1960s euphemism’ card. And the name ‘Silent Pound’ embodies that spirit. The name has a playful, cheeky quality that nearly every British reader will think of Barbara Windsor’s giggle or Sid James’s cackle. Still, there’s nothing wrong with getting your pair of Silent Pounds out, matron!

Constant directivity

With titter mode now switched to ‘off’, the most immediate and noticeable part of the Silent Pound Challenger II’s design is its ‘constant-directivity’ section for midrange and high frequencies. Constant directivity means that the loudspeaker’s ability to radiate sound at a specific frequency remains steady. It also implies a consistent frequency response regardless of the listener’s position, so even those significantly off-axis can enjoy good sound. However, it also benefits the solo listener sitting in the centre, as it can help reduce room reflections and minimise the room’s effect on sound quality.

To achieve this constant directivity, Silent Pound uses a 25mm compression driver tweeter flanked by two 160mm midrange units in their own enclosure. This meshes perfectly with the drivers below. From the front, everything appears normal, and you might mistake it for a regular floorstander. Then you notice that the Challenger II loudspeaker is barely deeper than the magnet assembly behind the driver basket. That’s because the company’s specially made 300mm bass drivers operate in an open baffle.

Say that again?

Let’s run that again because it’s so extraordinary. The front baffle features two 300mm bass units, two 160mm midrange drivers, and a one-inch compression tweeter with a CNC-milled horn arranged in an MTM configuration. At the rear, while this MTM section remains in its own cabinet, the bass enclosure is open at the back. The baseboard houses the crossover, with a clear tempered glass cover on display, much like many mid-engined supercars. This is not a delicate setup; the entire loudspeaker weighs a hefty 60kg and is built on a steel chassis, bonded with an internal MDF frame, finished with a front panel of either MDF or real oak.

Nor is this design the result of either ‘loudspeaker cookbook syndrome’ (“We’ve never tried that before, let’s give it a go!”) or attempting to combine two contradictory designs, like a poor engine swap in a Vin Diesel film.

Instead, this is the result of extensive experimentation, mathematical calculations, and modelling. The purpose of these is to minimise room interaction. After prolonged testing, the Silent Pound team found that an open-back configuration maintains directivity and reduces room interaction in the bass.

Predictable interactions

Higher frequencies in any loudspeaker have more predictable interactions that can be addressed by room treatment or DSP, but balancing bass weight and accuracy without significant room adjustments (and usually additional bass systems) proved difficult with conventional box designs. The company ultimately concluded that an open-back configuration for the low frequencies maintains directivity, thereby reducing room interaction. It also provides precise control over low frequencies without occupying much space.

Many assume that a cabinet-less design involves creating a dipole model, but this is a mistake. According to Silent Pound, such a change would distort the soundstage due to rear reflections. Instead, the Challenger II features an enclosure that opens to the front and aligns the midrange directivity with the low frequencies. This helps balance internal and external pressures, reducing ‘acoustic loading’ effects that can compress driver movement and cause distortion. By enabling the driver to operate freely, it improves impulse response, lowers harmonic distortion, and enhances dynamic range.

Untroublesome

Silent Pound claims the frequency response is flat from 30Hz to 18kHz, they have a nominal impedance of 4 ohms, and are 88dB sensitive. While this suggests an untroublesome load for almost any modern amplifier design, as ever, it’s more about quality than quantity in amp choices. There is a common trope among modern high-end loudspeaker designs: produce a loudspeaker with good on-paper figures that mask an amp-crushing low-impedance load. That’s not the case here – the 3.2Ω minimum impedance suggests an overall mostly amp-friendly load – but it is the kind of loudspeaker that benefits from some additional bottom-end heft and refinement. There’s also a rule of thumb that says the bigger and more complicated the crossover, the harder the loudspeaker is to drive.

While that seems to have as much credibility as checking a car’s performance by kicking its tyres, it does hold that some of the most demanding loudspeaker loads have the most elaborate crossover networks. In particular, its use of high-order (third and fourth order) slopes in the crossover to filter unwanted frequencies and prevent driver operation in the ranges where cone break-up occurs. That puts it in top-end integrated or pre/power amp territory.

Just one sentence

The Silent Pound Challenger IIs’ place in loudspeaker design can be summed up in a single sentence. There’s never been anything quite like it before. Even if there has been a lot of development since Rice met Kellogg, given that their basic parameters of the dynamic loudspeaker were established in 1924, that’s impressive. But novelty means nothing if it doesn’t sound good.

There are two sides to this: the direct observational and the emotional. The observational side notes that the dispersion properties of the loudspeaker mean that, while it performs best in the sweet spot, the sound throughout the room remains highly consistent. Then there’s the coherence from deep bass to high treble, both in terms of frequency response and tonal quality. Bass, in particular, is praised for its precision, depth, and accuracy, making many conventional dynamic designs sound ‘bloomy’ or ‘flabby’ and less communicative and coherent. It also highlights how poorly most bass integrates with the upper registers.

As you go through the list of observational parameters (vocal articulation, timbral accuracy, soundstaging and solidity), the Silent Pound Challenger II performs well in nearly every category. There’s a slight – and I mean very slight – reduction in dynamic range at quiet listening levels, but if you listen at normal to ‘healthy’ volume levels in typical European-sized listening rooms, it provides all you need.

Profound music

Then there’s the musical aspect, which is profound. Once again, that extra insight into the bass it provides underpins everything, but surprisingly, the first time you notice this is with music that doesn’t feature a notable bass performance. Loyle Carner’s ‘Homerton’ [hugo, EMI] is a perfect example; it has a chill, trip-hop backbeat, but not one with a deep, powerful bass line. However, the Silent Pound Challenger II opens up the track, better separating vocals from backing vocals, while maintaining the all-important sense of ‘vibe’ throughout. It offers more detailed bass than many loudspeakers, yet that information doesn’t detract from the music. Playing something truly unconventional with an almost dubstep-like bass (‘Hollow’ by Björk, remixed by 16 Bit on her 2012 Bastards album, One Little Indian Records) highlights this additional deep-bass detail and demonstrates just how capable these speakers are at handling complex and abstract music.

Moving from the ridiculous to the sublime, playing Bach’s Goldberg Variations [Gould, Sony] and something else shines through; although the loudspeaker does not hide Gould’s noisy sing-along, it sits better in the music, suggesting these speakers are doing something very, very right.

Extreme times

We live in a time of extremes. A loudspeaker like the Silent Pound Challenger II doesn’t have the infrasonic depth or scale of a behemoth that costs as much as a house, but in real-world rooms, it delivers a full-range sound as good as it gets. They need some driving to really show what they are made of, but that’s just what you need to give your music a Silent Pounding!

Technical specifications

Type: 3.5-way loudspeaker
Speaker drivers: 25mm compression driver tweeter, 2x 160mm mid-woofers, 2x300mm woofers made for Silent Pound
Sensitivity: 88dB
Impedance: 4Ω, Minimum Impedance: 3.2Ω
Price: £27,995, €27,999, $34,999

Manufacturer

Silent Pound

silentpound.com

UK distributor

RAD UK

raduk.co.uk

+44(0)2895 575090

Back to Reviews

Stax SRS-X1000

To be fair to Stax, it’s not as if the company has only just begun insisting on the word ‘earspeaker’ to describe what looks very much like a pair of headphones.

The company has been in business since 1938 and has specialised in ‘earspeakers’ since the launch of the SR-1 electrostatic in 1960. Its acquisition by Beijing Edifier Technology Company, Ltd. in 2011 appears to have had no noticeable impact on its priorities. If anything, Stax seems to have become Even More Stax in the period since becoming 100 per cent Chinese-owned. And if there’s a more Stax product than this new SRS-X1000 ‘earspeaker’ system, well, I’ve yet to see or hear it.

Nod to history

The ‘earspeaker’ itself is the SR-X1, a model number that’s a significant and somewhat self-conscious nod to Stax history. It uses what the company calls a ‘medium-sized’ (which means ‘30mm’) push/pull electrostatic circular sounding body with two parallel high-precision fixed electrodes sandwiching a high-polymer film diaphragm. It’s a setup that Stax suggests is good for a frequency response of 7Hz-41kHz.

Naturally, the construction of the SR-X1 is intended to suspend a driver above each ear while ensuring reasonable comfort. However, ‘design’ does not appear to have unduly concerned Stax.

‘Old-school’ is a fitting description of the SR-X1’s appearance. Weighing 234g without cables, this pair of ‘earspeakers’ is among the lightest designs I’ve come across – largely because most of the exterior is made from lightweight but otherwise ordinary plastic. The slatted rear of the earcups offers a clear view of the circular driver. The covers for the basic and quite primitive ‘friction pole’ headband adjustment mechanism? Both are made from that hard, inexpensive-feeling plastic you might more readily associate with the dashboard of an Eastern European car built in the early 1980s.

Frame structure

The frame of the SR-X1 is constructed from metal. The headband adjustment mechanism, the headband itself, the yoke, and the arc are all integrated – according to Stax, this design offers optimal resonance suppression while keeping the weight light. The wafer-thin headband is covered with faux leather. Meanwhile, the earpads are made from memory foam and covered with genuine leather (which still seems an odd choice, as if vegetarianism automatically disqualifies someone from caring about audio equipment). The clamping force is well balanced, and combined with its light weight, it ensures the SR-X1 remains comfortable for quite some time. Certainly, longer than it takes for that sheepskin to return your body heat to your ears.

The SRM-270S driver unit, which supplies the electrical impetus to the ‘earspeakers,’ is similarly utilitarian and modest. Internally, it employs a low-noise FET in the first-stage amplifier, paired with a refined (or ‘white’) emitter follower circuit in the output stage.

Absolute clarity

Stax aims for absolute sonic clarity with this setup, and the measurable harmonic distortion of less than 0.01% indicates that the design is effective.

The case of the SRM-270S is mainly made of aluminium extrusion, meaning the entire chassis acts as a heat sink. At the rear of the enclosure, there are unbalanced stereo RCA inputs and outputs (oddly, they’re labelled ‘L’ and ‘R’ rather than ‘in’ and ‘out’), along with a socket for connection to mains power – it might have been preferable to see balanced XLRs as an alternative input, but unfortunately, that’s not the case. The front of the driver unit features a 3mm thick aluminium fascia with a central LED indicating power status, and on the right, a small rotary dial that controls ‘power on/off’ and also functions as a gain control. On the left is a proprietary five-pin ‘Pro’ output for connection to the SR-X1.

Long, broad and flat

The SRS-X1000 features a 2.5m long, broad, flat, low-capacitance OFC cable with six parallel cores – it’s awkward and cumbersome. One end has a matching ‘male’ five-pin ‘PRO’ connector for linking to
the SRM-270S, while the other end branches into two.
Each earcup needs wiring and includes a click-to-fit input for connection.

For this test, the SRM-270S is connected to a FiiO M15S digital audio player (using a 3.5mm/stereo RCA cable) loaded with Presto, Qobuz, and TIDAL music streaming apps. It also features a large amount of high-resolution content stored locally. Additionally, it is connected to a Naim Uniti Star network streamer (using a stereo RCA-to-stereo RCA cable) that supports various music streaming services and access to music stored on devices connected to a shared network. This setup means the SRS-X1000 always has two gain controls, although it’s hard to imagine a situation where a source device wouldn’t provide a volume control.

Once an acceptable balance has been achieved between the output level of the source device and that of the SRM-270S, they find a pleasing balance between ‘brio’ and ‘analysis’, making each listening session feel somewhat special.

Carefully neutral

Their overall tone is quite carefully neutral, which means that the tonal character of the recording and the source player delivering it has a much greater impact than the Stax themselves. The frequency response, from the profoundly deep lowest frequencies to the shining, substantial top end, is remarkably even – no part of the frequency range is given undue prominence, and none is underplayed. At every point, the Stax retrieve, deliver, and painstakingly contextualise an enormous amount of detail, both broad and fine.

This is the most lasting impressive aspect of the entire SRS-X1000 experience. Even if you’re listening to music you know very well (and I’ve long lost count of how many times I’ve heard Talk Talk’s Spirit of Eden [Parlophone] or Exile on Main Street by The Rolling Stones [Rolling Stones Records], both here as DSD64 files), the Stax system will detect some small transient event or harmonic irregularity that you weren’t previously aware of. Or, more accurately, that hadn’t been brought to your attention before.

Coherent

The system creates a large, coherent, and meticulously controlled soundstage, paying equal attention to spaces and silences as it does to the actual events. Even when the Talk Talk recording becomes dense and busy, there is ample room for each individual to express themselves without bumping into other elements of the performance. And when it reduces to near-silence, there is a directness and positivity in how the recording is presented that makes it sound immediate and almost urgent, despite its relative lack of animation.

Dynamic headroom is substantial, and the SR-X1 has no problem tracking significant shifts in volume or intensity. They confidently control low-frequency activity, and the straight-edged attack of bass sounds ensures rhythmic expression feels natural – and the system is just as attentive to their decay. The momentum built on this solid low-end resolution is sustained across the entire frequency range – even if an instrument drones or blares, the SR-X1 never allows it to fall behind or diminish their overall ‘up and at ‘em’ attitude.

Don’t touch me!

In fact, the only thing that might potentially spoil your listening experience is not related to the sound the SRS-X1000 produces – or at least, it has nothing to do with how the system reproduces music. The SR-X1 doesn’t respond well to being touched when it’s in position. Even if the SRM-270S isn’t powered on, touching the earcups of the ‘earspeakers’ can cause some faint rodent-like squeaking and chirping. When the driver unit is plugged in and operational, this noise becomes slightly louder and more easily triggered.

There’s a simple answer to that, of course: don’t touch the earcups once you have them positioned comfortably. However, it is equally valid to note that no other headphones (or ‘earspeakers’) suffer from a quirk like this, and it does somewhat undermine the Stax experience. So, I suppose it’s an indication of just how thrillingly enjoyable the SRS-X1000 is that I’m able to overlook it.

Technical specifications

SR-X1

Type: Circumaural, open-back, electrostatic earspeaker
Drivers: Full-range, low-mass, electrostatic drivers
Frequency response: 7Hz – 41kHz
Impedance: 62 Ohms nominal
Sensitivity: 100dB/wM
Distortion: 0.01%
Accessories: low capacitance, wide OFC cable
Weight: 234g without cable
Price: £595, €770, $535

SRM-270S

Type: solid-state ear speaker driver
Inputs: unbalanced stereo RCA
Outputs: unbalanced stereo RCA; proprietary five-pin ‘PRO’
Frequency response: DC to 35kHz
Dynamic Range: not quoted
Power Output: not quoted
Dimensions (HxWxD): 38 x 132 x 153mm
Weight: 540g
Price: £595, €549, $445
SRS-X1000 package price £1,095, €1,089, $980

Manufacturer

Stax Electrostatic Audio Products

staxaudio.com

UK distributor

Symmetry

symmetry-systems.co.uk

+44(0)1727 865488

Focal Unveils the Scala Utopia Evo M

2 July 2026: Focal is opening a new chapter in its history with the Scala Utopia Evo M, a major evolution of an iconic model in the Utopia range. Made in France, this hi-fi speaker incorporates two key innovations – the PRISM tweeter and the M-profile W midrange – pushing the boundaries of reproduction even further for exceptional precision. Behind its refined design, the Scala Utopia Evo M is an ode to the art of listening at home.

Major Innovations

While retaining the 3-way architecture that made the Scala Utopia such a success, Focal has greatly developed its model by integrating technologies from its most recent developments, confirming its ability to take its iconic speakers to the next level. The Scala Utopia Evo M adopts the M-profile midrange from the Utopia Main professional range. It combines a W cone with sandwich structure and a one-piece M-profile geometry. This combination guarantees exceptional rigidity, ultra-linear frequency response and very low distortion. The midrange register is significantly more transparent, precise and natural. In another major development, the PRISM tweeter – recently introduced on the Diva Alta Utopia – makes its debut on the Scala. This new generation of high-frequency cone, based on a multi-material combination and an advanced micro-structuring process, achieves a higher level of rigidity than beryllium, while maintaining an optimum balance between lightness and damping. Coupled with IAL2™ (Infinite Acoustic Loading) technology, it delivers treble reproduction of unprecedented purity, finesse and extension.

Mastered Technologies

The Scala Utopia Evo M is an amalgamation of tried-and-tested Focal technologies that contribute to the overall balance and coherence of the speaker. TMD® (Tuned Mass Damper) suspension limits cone deformation and reduces distortion, thereby preserving dynamics and sound definition. The W woofer, which has been completely redesigned, incorporates a dual-ferrite motor to deliver powerful, deep, controlled bass, in tune with today’s musical demands. To these features are added OPC+™ (Optimum Phase Crossover), allowing precise adjustment of bass and treble to suit the listening environment, as well as Gamma and Focus Time™ technologies, guaranteeing exemplary temporal consistency and mechanical stability. The overall result is even more faithful and dynamic reproduction, capable of revealing the full richness of the most demanding recordings.

Unique French Savoir-Faire

The Scala Utopia Evo M continues Focal’s tradition of excellence with French design and production. The wooden cabinet is made by the brand’s cabinetmakers in Burgundy, combining precision craftsmanship with exacting acoustic standards, while the drivers are manufactured at its acoustic workshops in Saint-Étienne. Its patented technologies also originated in France, including the most recent: PRISM. This complete control of the production chain enables Focal to continually innovate and develop its models over time, with a constant focus on performance.

A Sculptural, Timeless Design

The Scala Utopia Evo M stands out for its powerful yet refined looks. Its sculptural lines and controlled proportions make it as pleasing to listen to as it is to behold. Available in lacquer or wood finishes, it embodies a subtle balance between sophistication, modernity and discretion. Every detail, from the choice of materials to the quality of assembly, reflects Focal’s high aesthetic and technical standards.

Natural Synergy with Naim Electronics

Designed as the heart of a complete hi-fi system, the Scala Utopia Evo M is the ideal partner for Naim electronics, a brand closely associated with Focal. The complementary nature of their expertise enables the full potential of the speaker to be harnessed: combined with Naim amplification and streaming solutions, the speaker becomes the cornerstone of an exceptional system, from source to final reproduction, offering power, control and expressiveness.

Pricing and Availability

The Scala Utopia Evo M will be available beginning August 2026 in five premium finishes. Black High Gloss, Off White High Gloss, and Warm Taupe High Gloss are priced at $50,000 USD ($58,000 CAD), while Light Walnut with an Off White front panel and Dark Walnut with a Sepia Brown front panel are available for $56,000 USD ($64,000 CAD).

For more information on Focal Scala Utopia Evo M, visit: https://www.focal.com/products/scala-utopia-evo-m. To find a dealer, visit: https://www.focal.com/stores.

Bugge Wesseltoft: Am Are

Norwegian keyboard maestro Bugge Wesseltoft is a hard-working musician who frequently collaborates with other artists. He has released the odd solo album over a recording career that spans thirty plus years. However, he clearly prefers the company of other musicians not least that of Dan Berglund and Magnus Ostrom with whom he performs as Rymden. Am Are is the first album to carry his name at the top since Duo II with Henrik Schwarze in 2022 but it references another album from the same year, Be Am, where Wesseltoft enlisted the help of sax player Håkon Kornstad but otherwise worked alone.

On Am Are he is joined by a wide variety of musicians on drums, vocals, sax, guitar, bass… and tabla on the last number. The ten tracks start with ‘How?’ which uses layers of undulating synth to back up a solo piano on which Wesseltoft plays with a simplicity that manages to convey real feeling and empathy. There are no words of course just a title, but given the situation in places not so far away, it doesn’t seem too great a leap to arrive at that conclusion. Either way it’s a beautiful lament, sadness often results in art of considerable depth and truth and that is the case here.

‘Rein’ follows this with an angrier tone, gone is the tonal beauty of ‘How?’, with in its place a dry slightly grating balance that is perhaps an expression of frustration, as if Wesseltoft is not merely being upset by circumstances but is adding his voice to the protest. ‘Is Anyone Listening’ features the voice of Norwegian soul and jazz singer Rohey, Taalah who speaks of the sense of isolation that she feels in the world today. This is a blues with a good vibe and a nice tenor sax break from Martin Myhre Olsen and some eerie backing vocals over an ethereal, cracked piano sound.

Those looking for some classic piano trio playing will love ‘Bag’, here Arild Andersen on bass and Gard Nilssen on drums join the fray to start off in typical jazz style before wandering into what some might consider prog rock terrain, with some lovely improv from the man at the piano. This piece reveals Wesseltoft’s natural groove making talent and provides a great intro to ‘Reel’ where bowed double bass marks out a spacious mix that’s ripe with atmosphere and lovely low end for the piano and drums to walk through at a gentle pace, leaving the listener to revel in the reverb.

‘Render’ introduces a second trio with Wesseltoft joined by Sveinung Hovensjø on electric bass and Jon Christensen on drums and percussion, here the piano is swapped for Rhodes played in the Zawinul style while the bass sounds like a guitar with a savage style that brings a dark energy to the piece. Bells and synth let some light in and the combination of tonal dynamics with the seriousness of the playing makes for a dramatic change in feel.

‘Vender’ by the same trio has a similar vibe but with more groove and some nice drum work, it is reminiscent of Herbie Hancock’s less accessible early ‘70s work which Wesseltoft has always admired. ‘JazzBasil’ on the other hand is a blast with acoustic bass courtesy of Jens Mikkel Madsen and drums from Øyunn, it follows a simple but snappy rhythm that never stays quite where it should but doesn’t go far off track. It actually sounds like Wesseltoft is having fun here and leading from the front for a change. The title track is a beauty, late night jazz with a clear melody from keys that sound like water flowing over rocks in a stream.

On the final track ‘Think Ahead’ we have Oddrun Lilja on guitar and Sanskriti Shrestha on tablas and harp, with Wesseltoft playing piano and organ, here a quiet atmospheric intro builds slowly with shimmering keys and bright, open percussion while the guitar makes a drone like backing. This breaks into a noisy interlude filled with low level chaos for over a minute before returning a tranquil cohesion, the contrast creating a powerful overall impression.

For Bugge’s fans such as myself Am Are feels like a return to form, his work has always been diverse and unpredictable but here we get a lot of what he’s so good at; bringing the magic out in the apparently straightforward, I can’t wait to hear it live.

Back to Music

Entreq Macro Twin Kit

The Macro Twin Kit (comprising two identical Macro Box units) is the first of a series of reviews of various Entreq grounding products. For over 20 years, Entreq has developed an understanding of improving audio performance by addressing the magnetic fields in audio circuits, especially in and around the ground. Entreq products address the signal return path to the ground that appears in many locations in your system, including power, line-level signals, speakers and data (digital and Ethernet).

Flowing electricity generates a magnetic field. Managing electromagnetic fields in certain situations can mean the difference between life and death, such as with medical test equipment, or for us, the difference between a good sound and a great sound.

Earthing, grounding or ‘magnetics’?

If you look at the circuit diagram of any audio equipment, you will see a ‘0 volts’ line called the ground. This is different from the Earth – although they are usually connected in mains-powered equipment – which is there for safety in the event of an electrical fault – another life-and-death situation! The ground is critical. Think of it as the floor level of your circuit, where all voltages (and audio signals) are measured relative to it. Managing this reference properly is essential to avoid noise and distortion in audio systems. Keeping it clean and well-routed is also crucial for good audio performance.

Entreq focuses on the ‘magnetics’ manifested as electromagnetic interference as well as radio frequency interference. The sources of this interference come from other internal components, but increasingly from external sources as well. Thus, Entreq’s grounding products attract and absorb that noise through their matched connection cables.

System matching

I have experienced that Entreq grounding boxes and cables need to be carefully matched to your system because every hi-fi system is different. Speaking to Fraser Robertson of Airt (Entreq’s distributor), it’s interesting to note that the more expensive Entreq combinations may not sound best in your system. It’s an interesting cognitive dissonance that some people struggle with… surely the more expensive one must be better? So, Fraser and his dealers actively encourage and help customers determine the right combination by, at the very least, providing a grounding box with a selection of cables to try. However, to help people get started, Entreq has developed kits.

The Entreq Macro Box is designed to connect to the negative speaker terminal, as it is usually connected to ground, at your amplifier, one box per channel. Each wooden box is about the size of my hand, beautifully constructed, and finished with beeswax. I placed each box on either side of my David Berning QZ power amplifiers. The cables are terminated with a spade connector on one end and a banana plug on the other. It’s not directional, which makes it easy to match the amplifier terminal.

If I Didn’t Know Better

Given that the Entreq Macro Twin Kit is £700, I wasn’t quite prepared for such a wonderful improvement to my listening experience. I will say, however, that they take at least a few hours to settle. Upon first listening, I found the sound to be a little fatiguing. But a few hours later… it was gone. Over the next few days, I noticed the sound becoming a little more refined. I’ll tell you now—I could not help myself—so I did lots of A-B comparisons because it was so easy. Suffice to say, it was always better with the Entreq Macro Twin Kit.

I found myself listening to “If I Didn’t Know Better” by Luther Vandross from the album Dance With My Father [J Records]. With the Entreq Macro Twin Kit, Luther was noticeably more present in the room. The track improved from a relatively condensed sound concentrated at the speakers to one that flowed out, with a wider, airier sound stage. His annunciation was even more nuanced and expressive. It led to less of a barrier between me and the music, for greater involvement. The Entreq Macro Twin Kit did indeed lower the noise floor. I loved that.

Welcome distraction

It left me scratching my head because before installing the Entreq Macro Twin Kit, I had no complaints with the sound of the system. But then along comes something new, and I found myself gripped by the music, losing all sense of time, cueing more tracks and forgetting I had a review to write!

I love the track “Woman In Chains” by Tears for Fears from the album Seeds of Love [Fontana Records]. During the time when I owned a Linn Sondek, Naim Nait 1, and Linn Kan’s, it sounded quite harsh and sometimes confused. As my hi-fi improved, it calmed down, allowing the artistry, authenticity, and emotion to shine, especially with my current set-up. Then I added the Entreq Macro Twin Kit. Immediately, the snare drum shots produced a longer decay, beautifully introducing the keyboards, followed by the vocals of Curt Smith. When Oleta Adams enters, she is remarkably clear in her intent and expression, capturing your attention completely!

I must mention bass. I know that Entreq does not claim to stabilise the 0V ground, but, excuse the pun, the Entreq Macro Twin Kit makes the system feel like it’s on more solid ground, especially the bass. This means there is no sense of slightly wavering low frequencies that lack conviction or impact. That feeling of a stable ground allowed me to relax and enjoy the music, removing any anxiety of possible congestion as the track progressed and frequencies collided – or rather did not.

Easy

This was such an easy review. I just installed the Entreq Macro Twin Kit, let it settle for a day or two, and listened. It delivers the kind of improvement you would expect from adding an improved power supply to your preamplifier, perhaps a clock to your DAC, or top-quality supports under your equipment. In that context, the Entreq Macro Twin Kit represents excellent value for money. I didn’t detect any downsides to the Entreq Macro Twin Kit in my system, which is why it’s staying!

Editor’s note: This series on Entreq has been a long time coming. The original concept for this review series was discussed with Chris Thomas before his untimely death. It seems fitting that this review cycle begins again with his close friend Paul.

Price and contact details

Entreq Macro Box Twin Kit: £700 (UK exclusive kit)

Manufacturer

Entreq

entreq.com

UK distributor

Airt Audio

airtaudio.com

+44(0)1223 344053

Back to Reviews

Euphony Summus 2c and 4c

Older readers might agree that life is full of happenstance and coincidence, not to mention compromise. It wasn’t as if I needed reminding of these realities, but along came Euphony Audio’s Summus servers anyway. That they landed in the household reference system came about because of a trail that led from Vancouver in Canada to a village 25km south of Utrecht in the Netherlands and then to Zagreb in Croatia. The trigger for this virtual journey was Master Fidelity’s NADAC DAC and Clock, reviewed in issue 239.

Arresting even when upsampling 44.1/16 material to true 1-bit DSD, the made-in-Canada NADAC truly comes into a league of its own when fed DSD and DXD files. This initiated a hunt for suitable material; not so-called ‘audiophile recordings’ but recordings of high art that happen to be captured with great care in hi-rez. The search led me to Haaften in the Netherlands, where musician and recording engineer Bert van der Wolf-Oude Avenhuis – anyone else have name envy? – runs Edison Productions, the company behind the Northstar recording label and a web shop called Spirit of Turtle.

Enlightened wallet

With my wallet considerably lighter after purchasing several of Mr BvdW-OA’s recordings from DXD, I exchanged emails with him about music playback software, wondering if he had a preference among the many alternatives to Roon, from JPlay to Audirvana. “None of them. I use Euphony Stylus,” was the response.

If we regard the man’s recordings under the Northstar label as being primus inter-pares in the hi-rez world, then his preferred music playing software surely deserves some investigation. Turns out that not only does the Zagreb-based software developer Euphony license Stylus for installation by users on hardware platforms of their choice, but it also offers Stylus as what might be called a turn-key package, pre-loaded onto an AMD Ryzen NUC, installed in a slim and passively cooled OEM chassis.

Euphony calls the server package Summus. It comes with a quality power supply and we can have it in two guises: the 2C and the 4C. The latter is a four-core i7 device designed to function as a one-box network player. It can run both the core Stylus application and the Stylus endpoint, loading both into RAM during boot-up. The 2C is a 2-core i3-based device intended primarily to work in partnership with a 4C in a dual-server set-up, in which case the 4C is designated to handle what might be termed the processor-intensive housekeeping while the 2C runs Stylus Endpoint and acts as a streamer-only. Separating the two functions like this liberates additional sound quality, says Euphony.

Euphony provided a dual-server Summus package for evaluation, at a currency-adjusted (at time of writing) retail price of around £7,200 plus carriage. That buys not just the servers and their accompanying iFi iPower Elite power supplies, but also a two-year license for Euphony Stylus. Thereafter, the Stylus subscription is €119 per year.

Indignity

Suppose we had to submit Stylus to the indignity of sweeping generalisation. In that case, we might characterise it as being towards the other end of the spectrum from the big gorilla in the field, Roon. Where Roon’s primary strength is its frankly unbeatably rich search and archive environment, Stylus declines to compete on terms. Still, it concentrates instead on extracting the best possible sound quality from music files.

Therein lies the compromise. The Stylus user interface is not as slick and certainly lacks the functional richness in its utilisation of metadata. Still, it does a perfectly acceptable job of providing access to a chosen streaming service account and any files stored on the Summus 4C’s SSD, a NAS, or a USB stick. Unlike some alternatives, it doesn’t group remotely accessed and locally stored music into a single holistic view; instead, we have to switch screen tags between ‘stored’ and, in the review system, ‘Qobuz’ (there are tags for Tidal and other providers as well).

Euphony’s assertion that Stylus is focused primarily on sound quality might sound like mere marketing spin. However, the review pair of Summus servers did indeed sound superior, with levels of dynamic, tonal and spatial detail beyond that achieved by alternatives that I have heard, including the big gorilla running on some seriously costly proprietary hardware – what we might call regular one-button players for the sake of differentiation.

Software

Whereas more expensive dedicated platforms seek to mitigate unwanted noise that obscures the music through the application of sophisticated power supplies, mechanical suspension, damping, clocking, EMI screening, and so forth, the Summus servers offer a complete contrast, addressing noise simply through the use of elegantly written software. Yes, they each come with a £300 external switching power supply, and Euphony has specified the makes and types of RAM and SSDs it regards as the best-sounding, but in most other respects, the servers are plain-Jane NUCs, the same as used for gaming and a multitude of commercial distributed computing tasks. Just over £7,000 might be thought rather a lot to pay for two NUCs pre-loaded with memory, 4TB of SSD storage, and a music player, but that’s fine; as buyers, we have a choice.

There are multiple technical reasons for the sound quality achieved by Euphony from such relatively workmanlike hardware, but in essence they boil down to software author Robert Devcic having made some very clever and informed choices about what the processors and memory in the servers are asked to do, when they do it, and the speed with which they do it. Just one example: cue up a file to play – and it’s the same whether it’s streamed from a remote location or a NAS or the internal SSD – the entire album is loaded into and played from RAM. There’s no unnecessary processor activity, drive-lashing or back-and-forth between the servers and the remote streaming service while the track is playing.

Plug and play?

Although the Summus servers are marketed by Euphony as essentially plug-and-play devices, they do require a bit more from the user than any dedicated network player. Euphony wishes us to understand that Stylus was created for the computer-literate user, perhaps in a semi-professional or professional environment, who desires to install it on their preferred computing platform and have access to a broad array of configuration options. Someone like Bert van der Wolf-Oude Avenhuis, for instance.

The user interface presents multiple levels. Remain at level one, and there’s nothing daunting. However, dig deeper…and a world of trouble awaits the ignorant with idle fingers. Fortunately, there’s a software remote control toggle that allows Euphony to intervene from Zagreb to resolve most issues. It’s probably best not to disclose how I know this.

Devcic’s colleague Dalibor Kasac observed that because self-install is the by far the bulk of the market for Stylus, Euphony hasn’t developed what we might call a ‘lite’ version. “We built a Swiss Army knife that gives customers all the tools to get the absolute best sound quality out of digital. None of the alternatives sound like it or are as flexible, but customers need to know that they are in charge of two Linux servers. We are not trying to compete with dedicated network players.”

The Summus servers come pre-loaded with Euphony Stylus, of course, but include Roon Core, HQ Player, several alternative end-points, and can be used as a renderer for any UPnP client. Also included is upsampling by Croatian developer Mozzaik that takes any DSD file to 256 and PCM to 768kHz. Short on functionality they are not.

Isolated

In the review system, the two Summus servers were configured to run Stylus. They took the place previously occupied by a Grimm MU1 running Roon, pulling, as the Grimm had, remote files from Qobuz, and local files from storage. Later, some files were moved to the Summus internal SSD. The rear panel of the Stylus player features isolated I²S, S/PDIF, and USB outputs, with the latter used to connect the server to the NADAC DAC.

Kasac had earlier volunteered that he abhors remote streaming from any of the providers. When I phoned him to say that the servers had arrived, he reminded me not to ‘waste my time’ with Qobuz, but go straight to playing hi-rez files from local storage if I wanted to evaluate Summus sound quality.

Devilment?

Naturally, I ignored his advice and went to my Qobuz account. Devilment? No. Familiarity. I wanted first to make a comparison with fresh audio memory. I’d chosen ‘Air’, the opening track on Paris Sketches (2008) by the under-appreciated French pianist Franck Avitabile.

On the well-recorded Paris Sketches, Avitabile’s partners are Manu Katche on drums and Pino Palladino on bass. Streamed from Qobuz for the first time via the Summus servers it sounded at once familiar yet unfamiliar, in the way that recordings can when rendered with more clarity than we are used to. There was considerably more spatial, textural and dynamic detail to heard. Katche’s brushes and snare rim clicks sounded better defined and more naturally energetic, Palladino’s restrained aesthetic and distinctive flat-wound string tone were rendered with richer tonal density, and Avitabile’s piano tone had greater dynamic weight and tonal and textural shading. It is a 16/44.1 recording, yet via the Summus pair the spatial qualities and transfer of detailed energy were seemingly at much higher resolution. The detail had been there all the time, it just took the Summus servers and Stylus to reveal it.

Supper time

So much for the entree. The main course was to be a feasting on Northstar’s series of Beethoven Symphonies recorded by Bert van der Wolf-Oude Avenhuis in DXD. He adopted DXD as his recording format in 2005, initially using custom dCS beta-firmware, and more recently Merging Technologies platforms and what he describes as ‘basically, Gaussian open filtering.’ Pyramix DSD and CD transfers of his recordings are available from his website, but if our DAC will accept DXD files then he’d much rather we listened in DXD because, as he says, we are then listening directly to the master.

For the Northstar Beethoven Symphony series, he collaborated with conductor Jos van Immerseel and the Bruges-based period instrument orchestra Anima Eterna. I queued up the 5^th Symphony and noticed the rate field in the NADAC’s display change to glow in vibrant magenta, displaying the magic number 352.8kHz. Thoroughly familiar with this recording, having previously purchased a download to install on the Grimm MU1’s internal SSD, I was now confronted with a vivid realism and level of resolution far beyond the usual experience. Transient gradients were notably more subtle and nuanced, the dynamic range appeared to have widened, tonal detail became richer and more complex, dynamic weight felt more natural and expressive, and the soundstage had transformed into something cavernous, with strikingly precise placement of musicians.

Three elements

There are three new elements at play here: the Euphony operating system, the Summus servers themselves, and, of course, the Stylus music-playing software. Is it possible, or even helpful, to hazard a guess as to which makes the greatest contribution to what we are hearing? I think not.

As a reviewer who has the luxury of selecting my subjects, I base my choices on whether the specification or provenance suggests that the product warrants attention. I’ve made some mistakes over the years, but the Euphony Summus servers running Stylus are not among them. At a third of the cost, they outperform network players priced over £20,000. If we are willing to accept the accompanying compromises – a music player interface that is less sophisticated than some alternatives, and the exposure of deep technical settings to both the informed and the uninformed – then they merit the highest sonic recommendation.

Technical specifications

Type: Euphony Audio Summus 2C and 4C
Stylus music player license (first 2 years included with servers) €119
Price: Server 2C €2,980, Server 4C €3,980; Dual PC €6,860
US and UK prices calculated from Euros at time of purchase

Manufacturer

Euphony Audio

euphony-audio.com

UK retailer

Winters Audio

wintersaudio.co.uk

+44(0)1328 878313

Back to Reviews

YG Acoustics Sonja 3.2

One of my consistent equipment references for several years has been a YG Acoustics Sonja speaker. What I find compelling about the YG speakers I have evaluated is their clean, articulate, uncolored sound. All speakers have a sonic signature—a personality, if you will—but the Sonja models have always struck me as keeping their own editorial overlay to the music to a fairly low level. They have proven themselves to be straight-forward conduits of the signal they receive from upstream gear. And, crucially, they do this without scrubbing the ‘soul’ from the music.

Sonja speakers have never sounded musically dry or analytical in my system, rather, they have sounded musically affirming and engaging. They have also checked off a list of analytical listening criteria with aplomb: excellent resolution of fine details, wide frequency range, macro- and micro-dynamic facility, and peer-into soundstaging. With each update over the years, the overall sound quality of the Sonja has improved. The 3.2 under review here follows suit.

Since its founding in 2002, YG’s principal distinguishing technology was called DualCoherent—now updated to Ultracoherent. To simplify matters a bit, both refer to YG crossovers’ ability to simultaneously optimise frequency response and relative phase. Most other designs apparently sacrifice either frequency response or phase coherence for better outcomes in the other. The crossovers in Sonja models have been updated and refined over the years and the resulting sonic improvements have been readily audible. Other enhancements like better cabinet damping techniques and updated tweeters have also contributed to better performance over the years, but Ultracoherence remains a core technology.

Aluminium everywhere!

Upper-level Reference line speakers, which includes the Sonja 3.2, all have YG-made aluminium cabinets and driver cones. The driver diaphragms are machined from solid blocks of aluminium. The company also makes its own custom toroidal inductors, internal braces, joiners, and other components, all manufactured in Arvada, Colorado, near Denver. YG uses high-quality materials for the parts it manufactures and top-quality components, such as Mundorf capacitors, for the parts it sources from others. This emphasis on manufacturing as much as possible in-house and sourcing the remaining specialty components from high-end vendors contribute to the speaker’s price.

The Sonja 3.2 has a main cabinet module attached atop a larger bass module. The upper module has two YG 150mm BilletCore drivers, with “advanced neodymium magnet motors,” and one waveguide-mounted YG Lattice hybrid tweeter positioned vertically in a mid-tweeter-mid configuration. The bottom module has one 260mm BilletCore woofer with a “ultra-high field strength motor.” Together, the two stacked modules weigh a hefty 145kg per speaker and stand 1.3m tall. The cones are milled from aluminium billet and have radial and concentric ribs on the back for low mass and high rigidity.

The Sonja, and all models above it, have cabinet modules with an inner cabinet—complete with its own joined corners—that is carefully inserted into the outer cabinet to form cabinet-within-cabinet modules. This increases rigidity and reduces resonances more than one equally thick-walled or double-walled cabinet would.

Airframe

YG’s new Lattice hybrid tweeter has an ‘airframe’ also milled from aluminum billet, composed of arms that form five, strong, light-weight pentagonal-like support structures. A custom silk-dome membrane is attached over the airframe to form a silk-dome-over-metal-frame hybrid tweeter. The previous version (called BilletDome) used three arms that connected to a triangular support structure. The new Lattice hybrid tweeter dome is presumably more robustly supported and therefore less prone to flexing under extreme conditions like highly dynamic music passages at elevated sound pressure levels. This hybrid tweeter apparently withstands higher acceleration forces—and therefore maintains pistonic motion without deformation—than typical silk-dome tweeters and avoids the ‘metallic harshness’ that is associated with some all-metal tweeters.

If you are a low-bass hound and you find the regular two-module 3.2 to sound a bit soft on bass-heavy music, or you have a large listening room that requires more bass reinforcement, the Sonja can be fitted with a subwoofer module bolted to the bottom of the speaker. (When configured as a three-module speaker, it becomes a Sonja 3.3.) I think most listeners will find the two-module 3.2 to be ‘big’ enough with no need to upgrade to the three-module version. The two-module 3.2 performs its best in a system with at least 100 watts of high-current amplification on tap and situated in a medium/small to medium/large listening room.

Placement

The Sonja 3.2 is easier than most speakers its size to place in an average room. In my 3.8 x 5.2m room, no other speaker near its size has been less fussy about placement. I have heard various Sonjas sound very good in other rooms as well, larger and smaller. All YG Reference speakers are sealed-cabinet designs. There is no port that can add to bass bloat if the speaker placement is not just right. Of course, if you put in the effort to optimise placement for frequency response smoothness, image precision, and soundstage expansion, the Sonja 3.2 will reward you with even better performance than a perfunctory placement process—a ‘start in a reasonable spot, adjust a bit, and start listening’ approach.

The optimal listening area is also large enough to allow you to relax about your head position in the listening chair. Some of my listening room guests have commented on how a reasonable soundstage is still portrayed even when they are seated off the optimal listening axis.

Pride

YG takes great pride not only in its ability to manufacture its products to very tight tolerances but also its ability to use extensive computer power to model multiple performance domains simultaneously. From YG’s white paper: “Since 2020 YG has benefitted from industry-leading computational modeling to support technology development. This includes multi-domain models and large-scale parallel computing. Multi-domain models simply mean modeling several different ‘domains’ in parallel.” Further: “Each part of the loudspeaker is modeled in detail: inside each driver, the cone, surround, suspension, the complex interaction of the magnet and voice coil; each part of the cabinet and the enclosed air volume….”

YG has access to the computing power and knowledge necessary to do this kind of computational modeling through Dr. Matthew Webster, an astrophysicist and co-founder of Cambridge Acoustic Sciences in the UK. Dr. Webster is now the CEO of YG and brings his expertise in multi-domain modeling to technology development and manufacturing techniques at YG.

All-rounder

Turning to sonic performance, I think the Sonja 3.2 will appeal to many music lovers as a high-performing all-around speaker. It is not a specialist. It doesn’t lean in with blazing leading edges or bombard you with overly heavy bass lines. The Sonja 3.2 doesn’t dazzle you with some initially impressive trait like hyper-resolution, only to wear poorly over extended listening. It simply plays music with a verisimilitude that is as close to live music as can be expected in a domestic setting and at its price. As alluded to briefly above, the Sonja 3.2 has excellent articulation of fine details, wide dynamic range, delicate dynamic shading, and nearly full-range frequency response. It doesn’t necessarily draw one’s attention to any one of those elements, though. Music sounds integrated and of a ‘complete whole,’ not a set of listening test criteria.

Soundstaging and imaging are excellent. The entire front of my listing room was filled with a large, focused, realistically proportioned soundfield. Depth was portrayed on a continuum instead of a few layers of partially fleshed-out figures. Individual images had refined boundaries, not fuzzy outlines, and carried a considerable level of solidity and ‘physical presence.’ Imaging, by itself, isn’t all that interesting to me if there is little artistic life in the music. Without enough “musical interest” included with all that spatial accuracy, my mind will wander away from the music content after the second or third return listening—with days in between—of a given music selection. That did not happen with the Sonja 3.2. I got lost in the ebb and flow, the sorrow, the joy, the grand sweep, the unfolding progression—the human element—as evoked by the music tracks.

All kinds of music

All kinds of music are served well by the Sonja 3.2. I spent hours reveling in grand organ pieces by Bach or the Poulenc Concerto for Organ, Stings, and Tympani [Martinon, Erato LP], for example. Music from folks like Radiohead and Beyoncé had wonderful bass support, which lent a sense of power underpinning everything. Thankfully, much of the tizzy quality in the upper frequencies of some recordings were not distracting through the 3.2.

The ability to convey delicate details while at the same time not shouting recording flaws at you is a trait that seems to come from excellent gear: Constellation Audio, Hegel Music Systems, Raidho Acoustics come to mind, among gear I have reviewed in recent years. YG falls right in line here. Small, intimate music from Bobo Stensen on the ECM label was sometimes achingly beautiful through the YG. Hard-driving rock, large symphonic works, small jazz combos, massive electronica, choral music, male and female vocalists…the Sonja 3.2 did it all.

New vs old

So, how does the current 3.2 compare to the preceding 2.2i? In broad terms, the newer model sounds more liquid, more coherent, and more resolving of fine details. These distinctions are not overwhelming, but the sum of the new version’s sonic differences is significant enough to merit mention. The new Sonja has the same perceived bass extension, but it sounds more robust in the bass in a general sense—fuller, if you will. This greater bass heft and the new hybrid tweeter’s smoother response lends a feeling of a more relaxed presentation.

The neat thing about what YG has done here is subtle details in the music are not sacrificed to deliver all the enjoyable, musically affirming qualities I have been carrying on about. The newer Sonja seems to calm down a layer of underlying noise so that more subtle details are allowed to emerge more intact.

Calmer

It is possible that some listeners might miss some of the perceived transient snap of the previous 2.2i. I hear the newer 3.2 as simply having more precise upper-frequency behavior, and this helps to make everything sound a bit calmer and clearer overall. Sometimes, less precise can sound a little more exciting because it adds a bit of extra ‘zing’ to things.

I identify with YG’s apparent emphasis on technology, science, and manufacturing acumen in service to music listening in the home rather than audiophile brinkmanship. At the end of the day, producing a speaker that delivers so much realism without sounding stilted in an audiophile way is a great accomplishment. It is not easy to ‘simply play music.’ My listening experience with the Sonja has been one of musical immersion and exploration. I respect the Sonja 3.2 for its realism and thoroughly enjoy it for its ability to communicate the human element in recordings. Highly recommended.

Review first published in Issue 361 of The Absolute Sound.

Technical specifications

Driver complement: One 25mm YG Lattice hybrid tweeter, two 150mm YG BilletCore mid/woofers (main module), one 260mm YG BilletCore woofer (bass module)
Frequency response: 20Hz to 40kHz
Sensitivity: 88dB
Impedance: 4 ohms average, 2.8 ohms minimum
Recommended amplifier power: Minimum, 60 high-current watts
Crossover points: 90Hz and 1.85kHz
Cabinet: Aircraft-grade milled aluminium
Finish options: black or silver finish as standard; custom color matching available for an extra charge
Dimensions (WxHxD): 33 x 130 x 64cm
Weight: 145kg
Price: £110,000, €135,000, $99,000 per pair

Manufacturer

YG Acoustics

yg-acoustics.com

UK distributor

Cambridge Acoustic Sciences

cas.audio

+44(0)1223 398600

Pricing & availability:

Driver limitations

Overused analogy alert

Science: the Bedrok of good sound

Long stroke

Happy puppy

Furious!

Beethoven to Skrillex

Distortion logjam

The ecosystem

Technical specifications

Manufacturer

Slim, yet heavy

Macro G In Action

Brighter picture

Conclusion

Price and contact details

Manufacturer

Constant directivity

Say that again?

Predictable interactions

Untroublesome

Just one sentence

Profound music

Extreme times

Technical specifications

Manufacturer

UK distributor

Nod to history

Frame structure

Absolute clarity

Long, broad and flat

Carefully neutral

Coherent

Don’t touch me!

Technical specifications

Manufacturer

UK distributor

Major Innovations

Mastered Technologies

Unique French Savoir-Faire

A Sculptural, Timeless Design

Natural Synergy with Naim Electronics

Pricing and Availability

Earthing, grounding or ‘magnetics’?

System matching

If I Didn’t Know Better

Welcome distraction

Easy

Price and contact details

Manufacturer

UK distributor

Enlightened wallet

Indignity

Software

Plug and play?

Isolated

Devilment?

Supper time

Three elements

Technical specifications

Manufacturer

UK retailer

Aluminium everywhere!

Airframe

Placement

Pride

All-rounder

All kinds of music

New vs old

Calmer

Technical specifications

Manufacturer

UK distributor

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