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Edifier Stax Spirit S3: The battery lasts HOW long??

Edifier Stax Spirit S3’s battery life will keep you listening for a long time.

In this episode of Tea Time with Alan and Pete, hi-fi+ Editor Alan Sircom and Publisher Pete Collingwood-Trewin talk about the Edifier Stax Spirit S3 headphones and their incredible battery life.

For a more comprehensive review, check out the October issue of hi-fi+ magazine, or get a digital subscription by following this link.

For more information about this product, click here.

You can see this video and more on the Hi-Fi+ YouTube Channel, such as Tea Time with Alan and Pete.

Hi-Fi+ Editor Alan Sircom and Publisher Pete Collingwood-Trewin talk about what’s happening in the high-end audio world.

Tea Time with Alan and Pete is just one of several new series on the Hi-Fi+ YouTube channel designed for audiophiles of all levels.

Another series is History of Audio, which aims to teach viewers a little about the History of Audio, which might be a trip down memory lane for many. It also hopes those who watch will learn from the varying experiences of other audiophiles through their trials and tribulations with different equipment.

While you’re on our YouTube channel, be sure to check out our Audio Basics series. So far, this series has covered what makes a great stereo system and how to find a great stereo system.

Soon, you can find reports from manufacturers at audio shows from around the world. You can see the likes of Aurender, Focal Naim, AudioThesis, Schiit Audio, and Magnepan, just to name a few. Right now, you can see what debuted at AXPONA 2022 and a bit from the Texas Audio Roundup, including background on the Magnepan LRS+. You can also see videos from Pacific Audio Fest in Seattle, and soon you can catch videos from CEDIA 2022 in Dallas.

You can also see product reviews on the hi-fi+ YouTube channel coming soon.

Be sure to subscribe to the YouTube channel so you don’t miss any episodes!

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NuPrime Evolution DAC

Spoiled! That’s how many audio reviewers get, me included. Only last month I was putting the finishing touches on two DAC reviews of products costing in the mid £20,000s, so it could be so very easy to take an “I don’t get out of bed for less than £10,000” approach to digital audio. But if you do go down that rabbit hole, you’ll miss the NuPrime Evolution DAC, which is the kind of product that punches so far above its weight, it could give those more expensive DACs a damn good thrashing. Or at the very least, stand its ground.

The Evolution DAC is a slim, elegant, extremely well-built DAC, with a tasteful laser-cut logo cut into the top of the chamfered edge of its thick aluminium top-plate. The controls are on the face of things simple, with one knob selecting the input as standard, the other adjusts volume if not set to full output. These also control power and mute functions and select and navigate the menu options. These options are replicated on a solid remote handset, but this has individual buttons for each function. The handset is large enough that it isn’t festooned with tiny, unintelligible functions, and yet fits well in the hand. It’s also beefy enough for hand-to-hand combat should the need arise… if someone is hogging the music server, for example.


The menu and day-to-day functionality are navigated by means of the central panel, which combines a two-deck simple text display and a remote eye behind blue glass. In regular use, the top line displays input and output level, the bottom displays format and sample rate: while in menu mode the top line shows what you are adjusting, and the bottom line shows status.

NuPrime Evolution DAC

We’re so used to multi-use digital devices today, it’s nice to see a DAC that is just a DAC sometimes. The rear panel is a giveaway; the Evolution has a Type 2 USB, two coaxial and two optical S/PDIF inputs, an AES/EBU balanced input a HDMI socket for I2S-based sources. This last one is designed for NuPrime’s own digital front ends, and users of other I2S-supporting sources (PS Audio, Rockna) will need to check whether their HDMI pinning matches that of the NuPrime. Fortunately, it’s clearly marked in the manual, which is available online. As ever, high-resolution USB is available off the shelf for Mac users, while Windows 10 users must download a driver from NuPrime’s own site. Anyone using a Windows computer with an earlier version of the operating system misses out as they are unsupported. If you are still using a Windows 8 PC, there’s almost a decade of wonders to show you!

Although it’s nice to have a DAC that doesn’t have a streamer or a headphone amp thrown in, that’s not to say the DAC is inflexible. The single-ended and balanced outputs of the DAC can be used in fixed output mode, or they can be used in variable output, making the Evolution DAC a preamplifier in its own right. I would argue that to get the best from the DAC it should be used with a separate, high-quality line stage preamplifier, but using it as a DAC-meets-preamp hub is very acceptable sounding. The key to that being a fine preamplifier is it acts in the analogue domain, running from a high-performance power supply, instead of bit truncation. While ‘bit-chopping’ is now well out of its infancy and can sound good, at the present it’s often bettered by a good analogue line stage.

Taking the job seriously

The way NuPrime handles its power feeds shows just how advanced the company is, and how seriously it takes its job. The power inlet is immediately filtered to reduce high-frequency and radio-frequency interference from the mains itself. That cleaned up power is then fed into two separate C-core transformers; one for the digital domain, the other for the analogue stages, with each being designed in part to meet the demands and requirements of that section and to maintain a degree of aloofness and isolation that would normally require multiple boxes. Make that ‘meet and comfortably exceed…’ because with a bank with nigh on 70,000µF of reservoir capacitance in the preamplifier stage, it has greater power reserves than many integrated amplifiers.

NuPrime’s beating heart is a popular choice among high-end digital brands; the 32bit ES9038PRO Sabre DAC. This is one of the highest performing ‘off the shelf’ converters currently available, but NuPrime links it to the company’s own PSRC IC chip that provids sample rate conversion (both up and down) from PCM and DSD sources. You can upconvert 44.1kHz PCM to 768kHz and DSD64 to DSD512 and can convert between PCM and DSD at your leisure. The NuPrime also supports MQA and MQA Studio files.

Drilling down into the menu system allows a wide range of adjustments, including channel and phase inversion, three output level and two brightness levels and the choice of seven different digital filter shapes (fast and slow minimum phase, fast and slow linear phase, fast apodizing, a fast hybrid filter and the standard brickwall option). I’m normally a ‘set and forget’ guy when it comes to filters, but in this case, I found the difference between formats made a big difference… I preferred the hybrid setting for lower-quality online streams and fast minimum phase for the rest. You may find a different result, but the options are easy to access. The only things missing from the menus are the ability to name inputs and possibly greater granularity in the output and brightness levels, but these last are probably splitting hairs.

Audition demanding

This is a DAC that demands audition, but demands that audition after a week or more of burning in. Listen to it cold and it sounds pretty good, but there is some dramatic transformation that happens sometime at the end of week one and the start of week two that turnes it from something good into something wonderful. During that conditioning process, things tend to oscillate between good and bad, which makes me think this might be down to that reservoir capacitance in the analogue section taking its merry time to saturate. In this respect it’s a little like a classic Naim Audio amplifier; like a Naim amp what you end up with bears little sonic resemblance to what you get mid-way through that breaking in process, and like a Naim amp it means the NuPrime is probably best left constantly powered and in standby.

There are times when as a reviewer you get a spot of ‘ennui’; having to use ‘music’ in your day job can make you less likely to play music during ‘downtime’. What resets that is something good sounding, easy to use, good sounding, not terminally expensive, good sounding, sensible, good sounding, and good sounding. It also must sound good. Well, guess what? The Evolution DAC sounds damn fantastic!

I’ve been using the NuPrime Evolution DAC as my prime converter for some weeks now. That’s ‘prime’ in two senses; both the device under test and comparison, and the thing that primes my listening, both critically and for enjoyment. In each case, it’s the degree of transparency that shines through. There’s not simply an honesty to the sound; there’s a near-total absence of ‘sound’ imposed on the music by this converter. Where this scores so highly is that it has the same ‘let the music through unsullied’ response to the humblest file formats as it does the best. OK, so the Evolution DAC will lay bare the worst examples of sample and signal compression, but what’s surprising is just how many times I played such music and found it didn’t matter… unless it was Oasis, when compression was just a good excuse not to like Oasis.

Clearly transparent

As I moved around my music, it became, er, clear this transparency applied universally; soundstaging, inner detail, soliditiy, vocal articulation, dynamics… everything. Music always sounds fliud and never boring, even on recordings I thought a bit ‘meh!’ New albums like Ludovico Einaudi’s Underwater [Decca] sound like old friends, while those that are old friends [Ed Bickert’s Out of the Past on Sackville] are heard and enjoyed anew, without any of the digital ‘baggage’ than normally comes with those recordings.

NuPrime Evolution DAC

The NuPrime Evolution DAC came as a surprise to me, it costs less than the power cord a top-class DAC might use but goes toe-to-toe with the best of them. If you aren’t obsessed by superannuated electronics wizards that have been making audio devices since the fall of the Roman empire or fixated on having a price tag that wouldn’t look out of place on a private jet, the NuPrime Evolution DAC is the one to beat.


  • Type: DAC/digital preamplifier
  • Inputs: USB, HDMI (for I2S), coaxial RCA (x2), Toslink (x2), AES/EBU
  • Outputs: RCA stereo pair (single-ended), XLR stereo pair (balanced), fixed or variable output
  • Frequency response: 20 Hz–20 KHz / ±0.3 dB. SNR: >110 dB
  • THD+N: < 0.0003%
  • Dimensions (W×H×D): 43 × 5.5 × 31.5cm
  • Weight: 5.2Kg
  • Price: £2,950




UK Distributor:

ADMM (Audiophile Digital Music Masters Ltd)


Tel: +44(0)1252 784525

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Cyrus i9-XR

Just as you’re unlikely to mistake a Vivienne Westwood design for anyone else’s work, it seems doubtful you’d ever confuse a Cyrus product with any other brand’s output. Even if it didn’t realise it at the time, the company has been all over the ‘lifestyle’ market since the off, thanks to the distinctive half-width chassis into which it’s squeezed pretty much every product that isn’t a loudspeaker since 1984’s ‘One’ amplifier.

Demands on and expectations of the integrated stereo amplifier have increased more than somewhat in the four decades since the ‘One’ established Cyrus as a bright young thing of British hi-fi, of course. Which brings us, far from coincidentally, to this: the Cyrus i9-XR integrated stereo amplifier.

Start from scratch

At a glance you wouldn’t know it, but with its new ‘XR’ range of electronics Cyrus has pretty much started from scratch. Yes, it looks only and always like a Cyrus product – but the i9-XR features plenty of fresh engineering as well as some ergonomic upgrades, all intended to bring Cyrus into line with some (arguably) higher-profile rivals.

The real headline (as far as real-world consumers are concerned, at least) is the appearance of five digital inputs (two S/PDIF via RCA, two optical via Toslink, and one USB input, all leading to the second generation of Cyrus’ QXR DAC) alongside four line-level analogue inputs and a moving-magnet phono input. The USB-B is capable of handling digital audio files up to 32bit/384kHz and DSD up to 512, while the other four digital inputs are useful up to 24bit/192kHz. So high-resolution digital audio is just as firmly on the menu as is the analogue equivalent.

Cyrus i9 XR internal

As well as these nine inputs, the (unsurprisingly crowded) rear panel also hosts connections for two pairs of speakers, two pairs of RCA stereo outputs (one in case you wish to deploy a power amp, the other for use with a recording device) and for Cyrus’ eminently capable PSU-XR power supply. Then there’s MC-Bus in/out connections, in case you’d like to daisy-chain your Cyrus equipment together so that it all functions via one remote control (the i9-XR is supplied with the iR14 full-system remote control that’s this close to being coherent – a big step on for the brand) and, of course, a socket for mains power. And in a move that’s almost the exact opposite of ergonomic good sense, the rear panel is also where you find a 3.5mm headphone output.

I’m speculating here, but if you run cables to all nine inputs, both pairs of speaker terminals, a PSU-XR power supply, a recording device and a pair of headphones, you’ll probably need to weigh the front of your i9-XR down to keep it flat on the shelf.

Twist and Push

At the front of the little box, meanwhile, there’s a monochrome display that’s strongly dependent on being viewed on-axis. In conjunction with a positive-feeling twist-and-push control dial, where you select volume level and so on. It also allows access to seven different digital filter alignments that can alter the way the digital inputs sound. There are a smattering of physical controls here, too – ‘power on/off’, ‘input selection’ and what-have-you. They’re both touch-sensitive and responsive – neither of which could be said about the physical controls on previous Cyrus amplifiers.

On the inside, things have similarly advanced. There’s a new high-speed analogue buffer at the DAC input stage. The analogue pre-amp is a short-path design featuring relay input selection and an overspecified gain stage derived from the new Pre-XR preamplifier. The power amplification section (which generates either 89 or 91 watts of power per channel, depending on which bit of the Cyrus literature you read) is responsive beyond 100kHz – ample dynamic headroom and basically flat frequency response are the aims here.

All of which looks impressive – laudable, even – when written down. But get some music playing (the i9-XR is attached to an Apple MacBook Air via its USB-B input, a Cyrus CDt-XR using an Atlas Voyager digital coaxial cable and a Clearaudio Concept turntable using a pair of QED Reference Audio Evolution analogue interconnects, and then to a pair of Acoustic Energy AE1 Reference Series mkIII loudspeakers on Atacama Moseco 6 stands using QED XT-400 speaker cable) and it quickly becomes apparent that not everything has changed in Cyrus-land.

With a CD-borne copy of Pharoah Sanders’ Thembi [Impulse!] delivered to the i9-XR digitally, the resulting sound is not simply Cyrus-like; it’s unmistakably Cyrus-y. Anyone with a passing acquaintance with the brand at any point in its history will be primed to expect a lean, detailed sound – and the alacrity with which the i9-XR serves up the recording is definitive in its Cyrus-ness. It’s the antithesis of ‘meaty’ sounding but that doesn’t mean the i9-XR is in any way short of punch or low-end presence. It’s just that it draws such straight edges at the attack and decay of individual bass notes, allowing absolutely no overhang, that its speed and momentum might initially be confused with a lack of substance. Dialling through the available filter options delivers some very mild changes in emphasis (‘steep/linear’, gentle/linear’ and ‘brick wall’ are probably the most overt in their influence on the sound you hear), but I doubt the digital filter has been invented that can make a Cyrus amplifier sound anything but the audio equivalent of a well-trained greyhound.

Switching to a vinyl copy of PJ Harvey’s To Bring You My Love [Island] only makes the point more forcefully. If it’s rapidity you want, along with great big fistfuls of detail and the sort of deep-breathing dynamic ability that can make the harmonic variations in an analogue keyboard just as apparent as the switch from ‘whisper’ to ‘scream’, the i9-XR could be just the ticket. Its ability to pick apart a recording in order to make every individual strand available for inspection, without in any way affecting its unity or sense of performance, is rare at any price.

Throughout the frequency range, nothing is overstated and nothing is under-represented. Tonality is equally well-judged – the line between ‘crisp’ and ‘hard’ where treble sounds are concerned can often be wafer-thin, but the i9-XR treads it confidently. And in the midrange, Polly Jean’s voice is eloquent, characterful and explicit in its motivations – so when she piles on the malevolence (as she is never far from doing on this album) it can provoke an involuntary physical response.


A FLAC file of serpentwithfeet’s Bless Ur Heart [Secretly Canadian] proves further vindication of the decision to fit as capable and accessible a DAC as possible to the Cyrus. The alacrity and manoeuvrability demonstrated by the i9-XR’s other inputs is present and correct via the USB-B, and the level of straightforward immediacy given to the vocal is little short of thrilling. Those low piano notes and the dry kick-drum might seem to lack a little on first acquaintance, but never fear – it’s just the Cyrus doing its ‘float like a butterfly, sting like a bee’ thing.

Cyrus i9 XR rear

At its heart, then, the i9-XR is just like every other Cyrus integrated amp since day one’s One. Which is not meant as any kind of criticism or put-down, you understand – at this sort of money, the i9-XR is spectacularly short of alternatives that can rival its level of insight, its well-controlled perkiness or its out-and-out fidelity. The addition of all those digital inputs is a fine and sensible idea, and the quality of its phono stage is not up for question.

Admittedly, being ‘better than previous Cyrus amps’ where ergonomics are concerned is definitively not the same as ‘having good ergonomics’ – but I guess we should applaud Cyrus for making some progress on that score. And anyway, the last thing anyone wants is Cyrus turning into a ‘me too!’ brand of convenience and simplicity. Far better it sticks to what it’s known for, both aurally and visually – because the up-sides outweigh the downs to a significant degree.


  • Type: Integrated stereo amplifier with high-resolution DAC
  • Analogue inputs: Four single-ended line‑level inputs (via RCA), single-ended MM phono input (via RCA)
  • Digital inputs: Two S/PDIF inputs (via RCA), two digital optical inputs (via Toslink), USB-B input
  • Analogue outputs: Line-level pre‑out (via RCA), fixed-level output (via RCA), PSU-XR, 3.5mm headphone output
  • Input impedance: 40 kΩ
  • Power Output: 89wpc @ 6Ω
  • Bandwidth: not specified
  • Distortion: THD < 0.002%
  • Signal to Noise Ratio: 105dB
  • Dimensions (H×W×D): 75 × 215 × 365mm
  • Weight: 5.9kg
  • Price: £3295



Cyrus Audio

Tel: +44(0)1480 410900


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EgglestonWorks Nico Evo

EgglestonWorks. The name conjures up a product that emerges, dusty and rusty, from a foundry in West Yorkshire (perhaps adjacent to the Sugden amplifier mines?), not a high-end loudspeaker manufacturer from Memphis. But 25 years ago the home of Elvis Presley, and the innumerable legends of Sun Records, Stax Records and Gibson guitars begat another musical hero in the form of EgglestonWorks’ first offering, the Andra. I first encountered them in the UK a decade or so ago and was struck by the big hearted, dynamic sound, but rather more by the candy apple red and emerald green high gloss paint finishes of the demo models on show. And EgglestonWorks still make a thing of offering these auto paint finishes, to special order, so if you want your speakers to match your lipstick pink Rolls Royce or your purple metalflake Bugatti, give these guys a call.

EgglestonWorks Nico Evo

The Nico Evo is the only standmounting loudspeaker in the range, and priced as the entry level product at £6,000, including a pair of substantial, and heavy, metal stands. However, and somewhat pervesely, there are a few dealers who view the (£7,500) Emma Evo floorstander as the entry point to EgglestonWorks’ range – given the Nico is the only standmount on offer it sometimes gets put in a different category entirely. This might give the designers a little latitude, perhaps there’s less expectation that the standmounters will conform to any ‘house sound’ and they can perform in their own terms. Having said that, EgglestonWorks themselves say that their design objective is just to make each model the best it can be for its price, there’s no pressure to compromise just to integrate a model into a range, nor are they benchmarking against competitors’ products. So this one is designed to give the user the benefits of a standmounting loudspeaker, not merely to enter the market at a price point.

Mid Sized

The Nico Evo is a mid-sized design, recognisably an EgglestonWorks product from the metal plate and sloping front baffle (for a measure of time alignment); clever cabinet design reduces the sense of visual mass, keeping the volume where it is needed, around the 150mm bass/mid driver and rear-facing slotted reflex port. The cabinet tapers towards the top in a boat-shaped form, what top plate there is, is small, with a significant downward slope toward the rear. A recess in the baseplate fits snugly over the top plate of the supplied stands, but the base is rectangular so most aftermarket stands are usable. I used both the supplied stands and a pair of considerably lower mass stands of a similar (600mm) height.

It’s no surprise that the first impression on moving from my Amphion Argon 7LS floorstanders is of the reduced heft in the lower bass. EgglestonWorks’ own measurements reflect this, an in room usable bottom end at around 40Hz is entirely in keeping with a standmounting design of this size. First impressions are usually valid but not definitive, though, and what you get in return here is vivid imaging and arrestingly convincing vocal portrayal. In fact, vocal and instrumental timbres are generally rendered very convincingly indeed, guitar is almost uncannily ‘guitar’, piano is natural, rich and sonorous, and if it lacks the ultimate degree of bottom-end weight and power, it more than makes up for it in speed, agility and tunefulness. It’s a bit like the difference between a 9’ Steinway, and a 7’6” Steinway that’s just been prepped by the best piano technician in town.

Relish The Power

The speakers do seem to relish a bit of power. EgglestonWorks give a recommended minimum, but no upper power handling limit. The drivers are, they say, ‘robust’. I used them with a 180W Accuphase E470, and a 250W Hegel H390 and they absolutely sang when I turned the wick up a bit. There’s clearly plenty of headroom here, no sense of compression or shoutiness at really quite antisocial volume levels, they just go louder without apparent strain. It’s a genuinely impressive trait and I think you could use these in quite a large room and not feel short-changed; these are clearly not standmounters designed just for a modestly-sized domestic setting.

EgglestonWorks Nico Evo

This all seems to translate readily into the way the speakers depict the performance. Phrasing is both easy to follow and entirely unforced; if the musicianship is there the Nico Evos can bring it to you. Dynamics feel largely free and unconstrained, despite the modest driver size. Stanley Clarke’s ‘Bass Folk Song No 6’ from The Stanley Clarke Band [Heads Up], the instrument is vivid, colourful and beautiful, but the striking thing is the degree of insight into his playing, the phrasing, his style and technique. The music was just more enjoyable and enthralling. I’ve heard deeper bass, sure, but there is real quality on display here, taut and fast and tuneful, and rather better behaved than many ported designs I’ve encountered. The lucid, limpid presentation and the absolute level of communication of that musical intent, and how it was realised in the performance, was easily worth the trade in that bottom octave. I was reminded of EgglestonWorks’ own aim, to make each speaker the best it could be for its price. They could probably make this box go deeper, but if that meant losing some of this agility and communication, then the speaker would not be the best it could be. As it is, the bass response is deep enough, and so fast, solid and tight so you just don’t miss the stuff that isn’t there.

Spatial Detail

Smaller cabinet sizes also seem to help with imaging, and the Nico Evos excel at projecting a clearly delineated image, whether a small jazz trio, or a symphony orchestra and chorus. The spatial detail they evoke, and the stability of the soundstage they project is up there with the better box loudspeakers I’ve encountered. They do have that lovely habit of just disappearing – one of the main benefits of standmounting designs in my experience, but one seldom achieved quite as convincingly as this. The drivers used here are very similar to those employed in the larger, often much more expensive models, and their quality is apparent since they just don’t seem to draw attention to themselves. Timbres and textures abound, from the sheer variety of different marimba voices conjured up on the title track from Simon Haram’s album Frame [Black Box], to the interplay of sax, guitar and tabla on Andy Sheppard’s toe-tapping ‘Peshwari’ from Learning to Wave [Provocateur Records], and all helped by that uncanny way with imaging that larger, floorstanding speakers so often struggle to emulate.

But sometimes, not everything gelled quite so well. Take ‘Roxanne’ from Sting’s live album All This Time [A&M], his bass playing, never shy at the best of times, became intrusive, the timing was slightly off and its tunefulness a touch vague; similarly on ‘Brand New Day’ the pulse of the bass was ever so slightly behind the beat, but not in the deliberate way that a good jazz musician might play with the rhythm. Vincent Charbonnier does it subtly and effectively for the Jacques Loussier Trio, try ‘Pastorale in C Minor’ from Plays Bach [Telarc], and it really contributes to the groove. The Nico Evo’s gave me most of that, but something wasn’t quite right.

Stands and Sting

Given the quality of almost everything else, I suspected the speaker wasn’t entirely to blame here. Substituting a pair of relatively lightweight stands was revealing. Sting’s bass playing now took its proper place and everything locked in as it should. Even tracks that had previously impressed, were better. Back to Stanley Clarke, this time ‘Bass Folk Song no.10’, electric rather than acoustic bass now, and there’s a highly dynamic whipcrack riff which, on the supplied metal stands, had lacked that ultimate degree of impact and emphasis, the leading edge of the note didn’t pin you back in the seat quite as much as I know it can do. Overall, the funkiness and the groove had felt a little bit forced, it didn’t strut, or push the beat in quite the way I expect. The bass playing came across as clever, rather than musically relevant and engaging. But change to lower mass stands and the musicianship is clear, compelling and draws the listener in, the speed and agility takes a significant leap forward and any suggestion that the playing was a little prosaic is quickly banished. I’m inclined to think that this is a truer representation of the abilities of these increasingly engaging speakers.

EgglestonWorks Nico Evo

EgglestonWorks hasn’t gone for a niche in the market – a standmounter for places where their floorstanders won’t fit. It has instead taken the opportunity to deliver what a good standmounting loudspeaker does best, be that imaging, coherence, speed, or intimacy. And it can go loud and drive hard without obvious signs of strain, so it’s clearly not just a smaller speaker for smaller spaces. I could well imagine this as a winning solution for a larger, but acoustically ‘difficult’ room. Subject to my reservations about the supplied stands, I think EgglestonWorks have largely succeeded in their aim to let the Nico Evo be the best loudspeaker it can be for its price.


  • Type: 2-way stand mounting, reflex-loaded loudspeaker with rearward-facing slotted port
  • Driver complement: 1× 25mm soft dome tweeter, 1× 150mm poly composite mid/woofer
  • Power handling: minimum 50W recommended, no upper limit specified
  • Crossover frequency: 2.3kHz
  • Crossover type: Single-wired, low pass and high pass crossover 4th order Linkwitz Riley Acoustic slope via a 2nd order electrical circuit
  • Frequency response: (in-room, typical) 38Hz–25kHz +/-3dB
  • Impedance: 8 Ohms nominal, 6.8 Ohms minimum at 180Hz and 4.5kHz
  • Sensitivity: 87dB for 1 Watt at 1 Metre
  • Dimensions (H×W×D):
    480 × 210 × 400mm (cabinet)
  • Weight: 13 Kg each
  • Finishes: white, silver or black high gloss finish. Any automotive paint colour by arrangement (extra cost option)
  • Price: £6,000/pair, including stands




UK Distributor:

Auden Distribution

Tel: +44(0)7917 685 759


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Melco N50 HDD hits price/performance sweet spot

New Melco N50 HDD hits price/performance sweet spot

*From the Melco Audio news release

Tokyo, Japan, 27th September 2022: Melco Audio, the Japanese digital music expert, has announced a new full-width HDD model that perfectly bridges the gap between the entry-level N100 and the compact N1Z, whilst offering a sizeable 6 TB audiophile-grade drive.

Handcrafted in Japan, in line with all of Melco’s music libraries, the new N50-H60 offers key performance upgrades over Melco’s most affordable music library, the half-width N100, whilst benefitting from greater accessibility over the N1Z/2EX-H50; all three are HDD-based.

A full-width design, the high-capacity N50-H60, which is available in silver or black, enjoys the classic aesthetics of Melco’s full-width predecessor, the N1A, with wide-ranging internal upgrades to power supplies, circuity and drive unit performance. The N50-H60 retains the 1.7 mm-thick chassis, IEC power inlet and noise filter and timeless Melco appearance.

Key to the performance of the new N50-H60 is an enhanced main circuit board with a specially selected, generous capacity 6 TB HDD drive coupled to a brand new rigid HDD mounter carefully floated inside the chassis for greater isolation. Additional audiophile-quality storage capacity can also be added with Melco’s E100 3 TB HDD drive.

The new model also adds a new dynamic PSU with 25 % more output, plus re-engineered isolation feet for additional protection from unwanted vibration.

The new N50-H60 also offers Melco’s famous ease of use and operation. Accordingly, the rear panel includes four specific USB ports: USB 3.0; EXPANSION; BACK UP; plus a dedicated USB DAC output for USB convertors and USB DAC-equipped amplifiers/active speakers.

The USB suite enables connected devices to operate effortlessly (without any configuration) offering: importing/playback from memory devices, HDD/SSD drives and CD drives/rippers; capacity expansion with Melco’s E100 (or other) storage drive; plus easy back-up.

Melco N50 HDD

In line with Melco’s trusted audiophile credentials, the back panel also includes a key Melco USP: dedicated dual Ethernet ports which provide a dedicated PLAYER port in addition to the LAN port, to minimise the unwanted effects of noise on the music signal and present network audio players with a direct, high data-integrity connection.

The N50-H60 can be connected to a streamer (via Ethernet) using the PLAYER port, or used as a local player with the dedicated USB DAC output.

The N50-H60 benefits from a high-quality OLED display with push-button control, plus Melco’s Intelligent Music Library suite comprising MinimServer and SongKong software.

The library is Roon Ready, DSD compatible and offers app control via DLNA/UPnP (in USB DAC mode) with support for TIDAL, Qobuz and vTuner streaming. Qobuz Downloader and also enable direct, high-res downloads without the need for a computer.

The new HDD model follows the October 2021-announced N50-S38 (£4,999) which is differentiated by the use of a high-performance SSD drive for improved sound quality.

Price and availability

The Japanese-made N50-H60 is available now in silver or black, priced at £2,999.

Melco N50 back

About Melco

Melco (Maki Engineering Laboratory Company) was established by Makoto Maki in 1975 in Japan. Maki, an enthusiastic audiophile, established the company to design and manufacture the finest audio components of the time; the undoubted masterpiece of the Melco line was the turntable (introduced into the UK in 1980) which set new standards in music reproduction.

From those early beginnings, Melco developed into the largest computer peripherals manufacturer in Japan (Buffalo Inc.), offering advanced products based on rigorous R&D. These included wireless routers, Ethernet data switches and storage devices such as NAS drives. Now, the company is proud to revive the highly respected Melco brand, offering discerning audiophiles high-technology network audio components in the spirit of those much-revered early Melco products, while incorporating the very latest research into reliable, high-performance networked devices and storage.

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iFi Neo streamer brings versatility, performance

iFi Neo Streamer is the latest device to join iFi’s mid-level NEO Series is a music streamer/DAC that delivers class-leading versatility and performance

*From the iFi news release

Southport, England –Digital streaming is now the primary method by which music is consumed, whether from online services or locally stored files. There are various ways to invite network music streaming into one’s home, from Wi-Fi-equipped smart speakers tha tcan cost less than £50, to more expensive all-in-one streaming systems, to multi-component separates systems. As with physical formats like CD and vinyl, building a system from well-chosen separates–for example, matching a music streamer with an amp and a pair of speakers–will achieve the best sound quality.

iFi’s new NEO Stream is built from the ground up to deliver optimal versatility and sonic performance. It combines the latest version of iFi’s exceptional network streaming engine with a superbly engineered DAC stage; combine it with the amp and speakers of your choice and it will deliver a level of audio streaming performance previously unattainable without spending much more than its £1,299 price tag.

The NEO Stream is distinctly different from other music streamers on the market, thanks to its clean-sheet design and raft of proprietary tech. Most manufacturers ‘buy in’ streaming platforms and hardware to incorporate in their music streamers; this means there is little to choose between them in terms of functionality and performance. Some tie you down to a ‘walled garden’ approach, limiting you to a specific control app and/or partnering equipment. The NEO Stream completely removes these limitations, both functionally and sonically. It’s the ideal streamer for passionate music lovers who want to access their music through their choice of control app or music platform, and always experience exceptional sound quality, without the exorbitant price tags of other high-end streamers.

NEO by name –and by nature

The NEO Stream is the second device to join the NEO Series–iFi’s mid-level mains-powered range for home use, sitting between the ZEN Series and Pro Series. The name ‘NEO’ was chosen because the first device in the series, the NEO iDSD, featured an all-new design and several features new to its product category. The NEO iDSD –a DAC/headphone amp with USB, S/PDIF and Bluetooth connectivity –remains current, but while it may be tempting to assume the NEO Stream is a NEO iDSD with a streaming module added and the headphone amp removed, this assumption would be inaccurate.

The NEO Stream’s desktop-size chassis and aluminium casework clearly resembles the NEO iDSD. But while its circuitry builds on existing iFi designs, its internal architecture and attendant attributes are unlike anything else on the market. This is a new kind of music streamer, built by passionate enthusiasts, expressly for passionate enthusiasts.

Open-source architecture –audio streaming unleashed

Many audio streaming devices lock users into a specific platform. That is not necessarily a problem, assuming the facilities on offer are in line with the user’s requirements and they are happy with the interface. But, if they want to select their preferred streaming platforms and apps without restriction, with the ability to adapt and evolve as requirements change, a device with an open-source architecture offers clear advantages.iFi has developed its own streaming engine, purpose built to deliver flexibility and performance. Its open-sourcenature, built on a powerful quad-core ARM Cortex processor and Linux-based operating system,enables it to evolve over time, whilst ensuring users are not locked into a specific platform. You choose the way you want stream, select yourfavourite app or streaming platform, and rest assured thatmusic will be delivered at the highest possible sound quality, however your system is configured.Left The NEO Stream’s neat, compact form belies the sophistication of its purpose-built, high-performance circuitry and versatile design

3Crucially, iFi’s streaming engine has been designed from the ground up for the sole purpose of high-quality audio streaming. The hardware has been built to deliver the best possible sound quality, working in harmony with iFi’s in-house software development. From the device drivers, to the kernel (the heart of the operating system), to the shell (which interfaces with the kernel), to the applications and the user interface, everything is fully optimised for seamless operation and excellent sonicperformance.The firmwareat the heart of this bespoke streaming engine was first utilised inthe ZEN Stream–a ‘streaming transport’ that launched in 2021 –and has evolved significantly since. ZEN Stream users have already benefitted from updates to improve performance and functionality; the NEO Stream combines the latest version of this firmwarewith enhanced hardware to deliver something truly special.

For more, click here.

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Vertere Acoustics announces new white DG-1S record player

New DG-1S now available in white

*From the Vertere Acoustics news release

Vertere Acoustics, Park Royal London. Monday, 26th September 2022. Touraj Moghaddam, founder and chief executive of Vertere, announced that the new DG-1S record player is also available in white from early October 2022.

Traditionally product development at Vertere comes from two sources: A tranquil eureka moment for Touraj or conversations with distribution – a Push or Pull approach. This product came by a chance conversation between Touraj and Chelsea – Vertere’s marketing specialist – where she expressed a desire for a white finish DG-1S. It all went quiet until the next meeting, where Touraj proudly displayed the white DG-1S.


There was immediate consensus that the white DG-1S had to be immediately made available.

The white version utilises two polished soft-look cast Perspex sheets sandwiched around a constrained transparent Perspex inner. If you thought the black looked good, you have to see the white.

The white or black finishes will cost: £3550 (€4148, $4995, Aus$7000), including Magneto cartridge. And up to £4950 including Redline cable, Sabre cartridge, Technomat, and Iso-Paws.

Summary of the DG-1S Improvements – White or Black

Improved platter bearing – The precision machining and polishing operations have a higher tolerance, with the variation halved statistically. The super smooth finish bore with the precision Tungsten Carbide interference fit ball delivers lower noise, lower rumble, a lower effort for the motor and less rotational variability.

Groove Runner S tonearm – constructed from a five-layer polymer laminate bonded to a second five-layer polymer laminate, the arm beam includes the PCB flex signal carrier between the two laminates. In addition, the profile of the arm and bearing has improved the counterweight/bearing/headshell/cartridge alignment.

Improved tonearm bearings – The Vertical Kevlar thread bearing is now adjustable for tension and azimuth. The Horizontal nylon thread bearing is now fitted with greater precision to ensure even greater consistency.

New Motor Drive software allows separate adjustment in two steps, initially the sine wave voltage and then the cosine wave adjustment at the final stage for the absolute lowest noise and vibration.

Improved coupling between the three plinths – improves resistive damping and reduces noise.

Background to the design

Vertere Acoustics is best known for its extreme high-end designs loved by audiophiles worldwide. The Reference RG-1 Turntable and the Reference Tonearm compete on equal terms with the world’s best.

The new DG-1 S Dynamic Groove Record Player targets a less extreme customer driven by performance who almost needs Plug and Play setup. From Vertere’s research, this customer wants ease of setup and use but not at the expense of future upgradeability.

To design a record player that will sell for £3550 including Magneto cartridge when the brand’s existing designs can sell for £200k requires a back-to-fundamentals approach. Taking his existing ideas, reducing material quality, and slackening tolerances would not be the Touraj way.

Back to fundamentals involved examining every design element, rethinking the way turntables work, and removing every superfluous element that got in the way of the ultimate aim: getting the listener as close as possible to their music.

Everything has been redesigned and re-engineered, from the plinth to the arm and its bearings, developing some of the basic principles of a record-playing system while completely rethinking others.

Touraj Moghaddam The result is an elegant turntable that looks like no other. It draws on the engineering of the reference models to deliver outstanding performance and ease of operation at a newly affordable price.

“The job of a record player is very simple and very linear,” says Touraj Moghaddam, “the most accurate measurement of something going past the stylus and throwing it from side to side over 1000 times every centimetre.”

The new DG-1 S design in detail

  • Advanced, improved, microprocessor-generated electronic motor drive for the best possible drive
  • Fully Programmable and Copper/Stainless Steel shielded Motor Drive PCB – allowing for future upgrades

Low voltage 24 Pole Precision Synchronous Motor, with its dedicated motor drive supply precisely adjusted for lowest motor noise and vibration

  • Improved super-accuracy polished stainless steel, high aspect ratio, main bearing spindle and main bearing housing with Tungsten Carbide super-precision Ball
  • High precision CNC machined aluminium alloy drive pulley
  • High Precision Machined Aluminium Alloy Platter with bonded PETG Record Interface Mat and Cork/Neoprene/Nitrile bonded underside plus resonance control disk
  • Noiseless and Stiction eliminating Thread Tonearm Bearings, each made up of hundreds of 3 microns thick twined Nylon 6.6/6 strands horizontal and two Kevlar threads vertical
  • Twin Bonded five-layer Polymer sandwich non-resonant Tonearm Beam
  • One piece, Gold Plated Flexible PCB Tonearm Internal Wiring
  • Stainless Steel Main Balancing Counterweight and Tracking Adjustment Weight with azimuth adjustment
  • Three new design adjustable feet with Resistive Felt Pads
  • Non-resonant, triple sandwich Cast Acrylic Main and Sub Plinth structure with improved intercoupling and coupling to the steel main-chassis for rigidity and structural support
  • Low frequency compliant, Tuned Silicone rubber integrated isolation system
  • Bespoke clear precision silicone rubber round ‘belt’ – stable with temperature and humidity
  • Programmable Standby light
  • 33/45 touch button speed selector
  • Non-resonant clear Polycarbonate dust cover with elegant Integrated hinges
  • Multi-voltage, Multi-plug Mains Power Adaptor – suitable for almost any region or can be upgraded with the Challenger power supply

The core elements in more detail

The Motor

The motor is the most crucial part of any turntable: it’s the only source of energy for the signal generated by the cartridge and fed out to the amplifier, so quality and accuracy are vital. The DG-1 motor system is derived from that developed for the flagship RG-1 Reference Motor Drive: it uses the most advanced motor drive, delivering the best possible performance. The motor itself is a low voltage 24-pole Precision Synchronous design, individually tuned for the lowest noise and with an offboard power supply. An addressable microprocessor PCB controls it during manufacture to ensure accuracy and programmability for future upgrades. A copper and stainless-steel cover provides shielding from both inward and outward interference.

The Platter assembly

Drive to the platter is via a precision machined aluminium alloy pulley on the motor and a bespoke silicon rubber drive belt, with electronic speed change for ease of use. The platter is also a precision machined alloy, bonded to a PETG record interface mat, and, on the underside, a cork/Neoprene/nitrile disk bonded to control platter resonance.

The Bearing

The platter fits onto a super polished stainless-steel spindle that rides in the main bearing housing on a super precision tungsten carbide ball. The complete main bearing assembly is long-term lubricated for longevity and ease of use. This avoids regular repeated recharging of the bearing lubricant, which is essential to prevent premature wear and damage—another example of simplifying this turntable to optimise performance. In addition, the new super-precision bearing delivers lower noise, lower rumble and lower rotational variability.

The Groove Runner S Arm The DG-1 S arm is uniquely Vertere and differs from conventional thinking in its use of a flat profile in place of the usual tube. Conventional arms use tubes for stiffness, but these can bring all kinds of problems with high Q resonances and thus the need for critical damping – costly and complicated. The DG-1’s bonded double five-layer, non-resonant tonearm beam avoids these problems. In addition, in place of conventional tonearm cabling, a flexible PCB is sandwiched into the arm to carry the signal from the cartridge to the output terminals. Completing the arm are a stainless-steel counterweight with azimuth adjustment and a fine adjustment tracking weight, giving a total solution that’s as simple and elegant as it is innovative.

Thread bearings

Many solutions have been sought over the years for precise bearings, but for the DG-1, Vertere has developed a very simple solution: twisted nylon (hundreds of 3 microns thick twined Nylon 6.6/6 strands) and Kevlar threads– one for movement in the horizontal plane, and two Kevlar for the vertical axis. These threads have many advantages, not the least of which is simplicity: they exhibit none of the Stiction – or initial resistance to movement – of conventional bearings, are super-light and noiseless, and the twist of the thread controls and damps the movement of the arm.

The Plinth

Like the tonearm, the DG-1 plinth is a sandwich construction, using non-resonant cast acrylic to form the main plinth and the sub-plinth for a clean and sophisticated look. This three-layer design incorporates the control button, the speed indicator and the user-selectable standby mood-lighting, as well as the silicon rubber isolation between the plinth and the platter assembly. The whole assembly sits on a steel chassis, chosen for optimal stability, housing the motor drive circuit and the motor, all supported by three new-design adjustable feet with Resistive Felt Pads.


The DG-1 S comes with a non-resonant Polycarbonate dust cover, where its hinges are integrated into the plinth for a sleek and modern profile.

Touraj explains the source of some of his background knowledge

“Our collaboration with music industry engineers has given us invaluable insights into the art of cutting. This knowledge has enabled us to advance our record player design in many ways to extract the maximum from vinyl records.

For example, with his recent remixes of the Beatles albums, Giles Martin – son of the late Sir George – used a Vertere MG-1 record player, including SG-1 tonearm and PHONO-1 preamplifier throughout, to check and approve the acetates and the test pressings.

And we’ve worked closely with the multi-award-winning mastering engineer Miles Showell: since February 2017. Miles has been using his own extensively customised Neumann VMS 80 lathe, incorporating Vertere cables, to cut normal and half-speed masters for the likes of ABBA, Cream, The Police and The Rolling Stones, and also the 50th-anniversary release of The Beatles’ Sgt Pepper’s Lonely Hearts Club Band and The Beatles (otherwise known as ‘The White Album’).

Working closely with Miles has led to the first releases on our record label Vertere Records. Releases: a three-track EP and a first album by Scottish band Caezar, and the first album by Dutch singer/songwriter Elles Springs, which was specially tape-transferred, and then half-speed mastered and cut by Miles for our label.

By involving ourselves at every stage of the record-making process, we can ensure our players bring you as close as possible to what the artists and engineers wanted you to hear.”


About Vertere

Reducing engineering to its fundamentals, to get you even closer to the original recording.

When aiming to reproduce the complexities of music, it’s all too easy to introduce even more significant complication in the engineering of audio equipment, putting in place one element to solve the problems until the whole design escalates into something fiendishly intricate – and expensive.

That’s not the Vertere way: coming at the whole problem with decades of audio and mechanical engineering experience, plus close collaboration with the recording and mastering industry, we step back, take a long hard look at the fundamentals, and look for simple, elegant solutions.

That may sound like a simple ‘less is more’ philosophy, but we prefer to look at it this way: the best audio equipment shouldn’t add anything to or remove anything from the original recording. Instead, it should affect it as little as possible; bringing the listener ever closer to what the artist, producer and mastering engineer wanted you to hear.

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Auris Audio Nirvana IV brings big bass to headphones

The Auris Audio Nirvana is one of those amps that performs great with every single headphones you throw at it, from the most easy driving – dynamic to the hardest, planar magnetic, and the other way round.

*From the Auris Audio news release

The range of supported headphone impedances is huge – from 32 to 600 Ohm. Apart from the fact that it’s maybe too powerful, there absolutely isn’t a single thing you don’t like about the amplifier. It looks stunning and the separate power supply gives it an extra classy look. The external PSU, which delivers the best possible constant power (no AC) to the amp section – the safest choice when trying to achieve an audiophile performance.


Nirvana proves that bass performance from headphones can match the quality and the quantity of bass-via-massive-woofers. No loss of details, perfect clarity, precision and airiness with all the headphones plugged into it. In the matter of sound, Nirvana represents a blend of Auris Ha2 and Headonia amplifier, in the way that it takes the best of both. Balanced mode reveals many hidden layers of music and the reproduction becomes slightly more detailed.

It sounds like you’re in heaven with a dynamic, wide and very well layered sound with a good amount of warmth and tube smoothness. The Nirvana gets sound (and looks) just right and it simply is impossible not to like.

Auris Audio Nirvana IV rear


In technological terms, Nirvana qualities are reflected in:

  • Carefully selected and pre-tested tubes – should last for 10.000 hours. It is powered by iconic EL34 by Electro Harmonix, a most common pentode found in British amplifiers. The drive tube is ECC82 by Tung- Sol, popular in audio world as low-noise tube for most popular amplifiers circuits.
  • Transformers – manually wound on double C core and manufactured in-house in compliance with strictly defined requirements.
  • High quality components – branded Mundorf, Rubicon, Wima etc…


Nirvana has evolved into a robust and durable aluminum case.
It is a piece of stylish design with an external power supply unit, attached to the main amplifier via a high quality 1m long umbilical cord.

  • Two transformers on the top of the amp are noticeable with a glass protection for tubes
  • Tubes are inserted into easily-accessible sockets on the top
  • The backlit VU meters and two headphone outputs ( 4-pin XLR + 6,3mm stereo )
  • Three dials/selectors for output impedance, volume and inputs
  • Two pairs of RCA inputs with a pair of 3-pin XLR power input on the back panel
  • Pre Out RCA output
  • PSU is made of aluminium chassis with a cord wrapped with a proper strain relief
  • Supported input voltage selector 110V/220 V


Total Nirvana dimensions are 312mm ( W ) x 332mm ( L ) x 220mm ( H ) with weight of 11,4 kg.  PSU with 144mm ( W ) x 204mm ( L ) x 74mm ( H ), allows users to place it next to the amp or on a distance of 1m at most, considering to the length of interconnect cable.


Nirvana comes in a large and hefty box. Unit is protected with a plenty of foam inside the box. The package includes full set of stock tubes, user manual and warranty card. Power cables are not included. The package weight is 17 kg, in total.

Read more.

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Magellan Duetto 40th Anniversary edition

The Duetto 40th anniversary speaker offers a really clear sound and puts the music forward.

*From the TRIANGLE news release

Liveliness and dynamics are trademarks of TRIANGLE’s sound, and they are packed into this gem, the Duetto, a compact 2-way bookshelf speaker.

Superb piece of engineering, its horn-loaded tweeter TZ2900 is equipped with a next generation dome in magnesium alloy. This transducer highlights the finest details of your recordings and brings out the subtlety of the upper harmonics.

Its full-range 16 cm midrange/bass driver produces rich bass details. It features a new paper cone that reproduces any vocal register with great neutrality without the slightest coloration. The Duetto speaker offers a really clear sound and puts the music forward.

Its elaborate crossover, equipped with high quality components, optimizes the bass and treble phasing for an outstanding transparency.

This compact speaker fits perfectly in rooms of less than 30m2, a technological achievement for a speaker consisting of only two drivers, The Duetto is supplied with an accessory box for an adapted decoupling. The S08 speaker stand, designed specifically for this model, is available as an option.

Speaker stands: S08

Designed for the MAGELLAN Duetto 40th, these top-of-the-range stands incorporate a locking system that ensures the speaker is held securely in place. Positioning your speakers perfectly at ear level, the S08 ensure excellent sound reproduction. With their high stability, the stands absorb unwanted vibrations, thus preserving the neutrality and sound precision of your speakers.

duetto 40th speaker stand

The S08 have watertight tubes in which you can add granular sand or tiny steel balls to ballast the foot and increase stability. The stand is decoupled by three metal spikes, which are easily adjusted from the top. The center spike features SPEC technology for optimal vibration dissipation.

A cable management system at the back of the stand hides cables for a harmonious integration of your system in your living space.

TZ2900PM-MG tweeter

with a magnesium alloy dome

A major innovation of this 40th anniversary edition, the TZ2900PM tweeter is equipped with a next generation dome in magnesium alloy providing a significant improvement in terms of linearity and consistency.

Its horn is shaped to limit directivity, i.e., off-axis drop in high frequency level. Together with the phase plug, this pairing allows the frequency response to be linearized.
We also added a counter-cap to the motor to reduce rear waves reflections, limit distortion and control the upper end of the sound spectrum. The TZ2900PM-MG tweeter provides an exceptionally smooth and fluid musical quality whilst ensuring accurate sound reproduction.

Midrange/bass driver

with a paper diaphragm

With a cellulose pulp diaphragm and its “progressive” suspension, the midrange/bass driver has that rich, natural sound the brand is known for. Thanks to its suspension, there is no clear separation at the cone attachment, resulting in a seamless mid-range. The diaphragm houses an ultra-light anti-vortex polypropylene cone covered with a latex damping material to limit end of band irregularities.

duetto speaker midrange bass driver
Featuring a powerful motor and a perfectly matched voice coil, this driver is capable of reproducing firm and dynamic low frequencies while maintaining remarkable clarity and finesse in the vocal register.

For more information, click here.

Launch info

Product page

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B.amp mono features special circuitry launches B.amp mono

*From the news release

Specialist of high end audio electronics, the French manufacturer introduces its new reference mono power amplifier. The B.amp mono features all the technological innovations that have proved their worth on the B.amp stereo, in an exclusively symmetrical monophonic declination.

The B.amp mono is a class AB power amplifier that delivers 500W under 4ohm and 300W under 8 ohm. It is based on a special circuitry which reduces the crossover distortion below the measurement threshold. This makes it possible to enjoy the same sound quality at every volume level, while keeping a reasonable level of heat dissipation and power consumption.

b.amp mono rear view

The B.amp mono is available for sale immediately.


The operating scheme is the result of numerous computational simulations, followed by intensive listening tests. In particular, the Intelligent Output Drive (IOD) technology -which optimizes the use of local feedback at the most critical stages – allows perfectly linear operation under all working conditions.

To ensure perfect immunity towards loudspeakers-generated return currents, a specific design has been developed, which uses a class-A push-pull driver stage fitted with 6high performance transistors. This results in excellent accuracy in sound reproduction,while the over-sized output transistors provide a large power reserve.

For more information, click here.

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What’s new with the latest Audience 1+1?

Senior Reviewer Steven Stone gives an update on the changes the Audience 1+1 loudspeaker has undergone since its first iteration.

You can see this video and more on the Hi-Fi+ YouTube Channel, such as Tea Time with Alan and Pete.

Hi-Fi+ Editor Alan Sircom and Publisher Pete Collingwood-Trewin talk about what’s happening in the high-end audio world.

Tea Time with Alan and Pete is just one of several new series on the Hi-Fi+ YouTube channel designed for audiophiles of all levels.

Another series is History of Audio, which aims to teach viewers a little about the History of Audio, which might be a trip down memory lane for many. It also hopes those who watch will learn from the varying experiences of other audiophiles through their trials and tribulations with different equipment.

While you’re on our YouTube channel, be sure to check out our Audio Basics series. So far, this series has covered what makes a great stereo system and how to find a great stereo system.

Soon, you can find reports from manufacturers at audio shows from around the world. You can see the likes of Aurender, Focal Naim, AudioThesis, Schiit Audio, and Magnepan, just to name a few. Right now, you can see what debuted at AXPONA 2022 and a bit from the Texas Audio Roundup, including background on the Magnepan LRS+. New videos from Pacific Audio Fest in Seattle are also being uploaded every week.

You can also see product reviews on the hi-fi+ YouTube channel coming soon.

Be sure to subscribe to the YouTube channel so you don’t miss any episodes!

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Shure releases Special Edition Purple SE215 Sound Isolating earphones

LONDON, September 20, 2022— The wait is over! Fans of the anticipated Shure Special Edition Purple SE215 can now purchase the Sound Isolating earphones online and via select retailers for £109 (UK RRP).

The purple colour was selected after a global vote across 60 countries, enabling the voice of every fan to be heard. By adding the purple earphones to the 215 lineup, listeners can express themselves with this trending colour, whether they are listening to music during their daily commute or on stage.

The Special Edition SE215 purple colour variation provides the same amazing audio quality and comfortable fit as the SE215 in other colour variations. Delivering clear sound and deep bass, along with Shure’s esteemed sound isolating design, the earphones keep noise out and provide an immersive audio experience in any location. The Special Edition purple SE215 earphones are also equipped with wired to wireless flexibility to ensure they fit users’ needs. 

About Shure

About Shure Shure ( has been making people sound extraordinary for nearly a century. Founded in 1925, the Company is a leading global manufacturer of audio equipment known for quality, performance, and durability. We make microphones, wireless microphone systems, in-ear monitors, earphones and headphones, conferencing systems, and more. For critical listening, or high-stakes moments on stage, in the studio, and from the meeting room, you can always rely on Shure.Shure Incorporated is headquartered in Niles, Illinois, in the United States. We have nearly 40 manufacturing facilities and regional sales offices throughout the Americas, EMEA, and Asia.