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Warsaw Audio Video Show 2025

The annual Warsaw Audio Video Show is the last great European audio event of the year. Falling at the end of October and spread across two hotels and the country’s main sports stadium, it’s vast and impressive… and extremely well attended. And, perhaps more importantly, those attendees are a generation or two younger than those turning up at other shows in Europe and the Americas. It even has a ‘lads and dads’ contingent rarely seen in audio events elsewhere.

The show was larger than ever this year, with half a floor of larger rooms added to the stadium. With Munich High-End moving to Vienna in 2026 (and having to move from May to June for its first year in the new venue thanks to Austria winning Eurovision), there is fight for dominance between the two shows. Although there are fewer international representatives at Warsaw, those that attend are pleasantly surprised by the event and try to put it in the calendar every year.

A lot of this comes down to the quality of the organisation, and that results in the outstanding promotion that the show receives within Poland. There can’t be many audio shows where the country’s President rocks up to listen to a LampinzatOr DAC, or where national TV news turns up to cover ‘best in show’ products. The results came in a few days later: 14,881 visitors, seeing 230 exhibitors in 188 rooms, and 71 international press in attendance.

In fact, it’s such a success, it makes one person covering the entire event extremely difficult. Not only are there hundreds of rooms stretched halfway across Warsaw, but also during each day, the sheer number of people crowded into each room makes navigating the show virtually impossible during its peak hours. However, from a manufacturer or distributor’s perspective, that’s the kind of ‘impossible ‘you want! However, do note that many prices are quoted in PLN; we have tried to convert where no Euro, US dollar or Pound Sterling price was forthcoming. Here are some of the high points of the show…

Advance Paris

Setting a trend of products first shown at Munich High-End 2025 and demonstrated at Warsaw, the A-i190 Nova is the flagship integrated amp of Advance Paris’ new Nova series. A dual-mono, 190W per channel Class AB amplifier, the new design features a two-deck readout, a hybrid preamplifer stage (with tubes on show), a pair of chunky VU meters on the front panel and a quad ESS Sabre ES9017S DAC with custom DSP. All for €5,000.

Amphion

Unlike many brands that go with an ostentatious display at a show, Amphion took a more laid-back approach. The company had the simplest of demonstrations, with just the new €3,750 per pair Argon 3X stand-mount perched atop a pair of the new €5,000 per pair Argon 3LX, all running from a laptop into a SPL Phonitor x headphone amp (as preamp) and unnamed power amp. No fancy cables, no excessive room treatment, and no loudspeaker stands for the bookshelf speakers. Just a good, basic system to showcase the similarities between two pairs of speakers. And yes, they were very similar, both with the characteristic Amphion studio-clean sound and with the 3LX having a shade more bass. As it should be.

Audio Group Denmark

Taking two rooms, one to show the more affordably priced Axxess loudspeakers and electronics, the other to showcase the more upscale Aavik, Ansuz and Børresen systems, the two Audio Group Denmark spaces were packing in the crowds across all three days. The most notable part of both demonstrations; filling a huge room with sound, using a pair of €35,000 Børresen T1 stand-mount loudspeakers and a pair of the company’s unique A3 bass modules (€18,000 each).

AVID, B.audio, Intrada

The Polish Intrada loudspeakers move fast. I was sitting listening to a system with a pair of the 29,400PLN Erik, and by the time I reached for the camera, the company had unhooked them and were wheeling out the 131,000PLN Maurice. The Erik sounded really good, however, aided by the 38,680PLN AVID Relveo turntable and Altus tonearm, with Goldring MM cartridge into an 22,360PLN AVID Accent phono stage. Digital and amplification was supplied by B.audio with the 85,950PLN B.dpr EX streaming DAC preamp and B.amp mono at 120,350PLN. All sitting on the excellent AEON Light X stands by Bassocontinuo.

Bona Watt

Like most new products at Warsaw, the Polish-based Bona Watt company launched its €9,995 Triton integrated amplifier at Munich High-End 2025, but was on demonstration here. The hybrid 250W amplifier combines an all-tube preamplifier stage with three RCA inputs and a resistor ladder volume control, a Class D power amplifier stage, and two expansion slot for an array of digital, phono and line-level expansion cards made by MugzAUDIO. Judging by the sound it makes from a LampizatOr DAC and through Oephi speakers and cables, Bona Watt is bona fide!

Crystal Cable and Estelon

Polish distributor Nautilus had two vast demonstrations at the Golden Tulip hotel. One featured an Ayon system with Lumen White Light III, while the other sported Estelon’s X Diamond Mk II floorstanding loudspeakers, driven by Kondo electronics. Both systems used Transrotor turntables with ZYX cartridges, with the Estelon/Kondo-based system running the mighty Orion Reference FMD turntable.

This system – one of the most expensive in the show – was topped off with almost €200,000 worth of Crystal Cable and Siltech cables, with Crystal Cable’s new Infinite Dream cable on display. First shown at Tokyo earlier this year, Infinite Dream interconnects start at a cool €34,000 for a 1m pair.

DALI

Sadly only on static display, but DALI’s new Kupid stand-mounts are taking the world by storm. Priced at just €338 per pair, these tiny two-ways are said to defy their size thanks their ability to entertain. They are also praised for their ease of set-up. For those who think audio is getting ever more expensive, these loudspeakers – coupled with something like the Eversolo Play (€699) or the WiiM AMP Ultra (€599) – make a refreshing and strong argument for low-cost, high-performance audio.

Delta Audio

Delta Audio, distributor for a range of products, had a fine system playing. With the Gold Note Mediterranneo X turntable and Donatello cartridge playing through a full top-line front-end comprising PH-1000 phono stage, CD-1000 disc player, and DS-1000 EVO DAC/Streamer. The DS-1000 EVO was connected to the network thanks to a Network Acoustics Tempus switch, Origin power supply and muon pro Ethernet filter. This was all hooked to a Mastersound Spazio valve preamplifier, a pair of Mastersound PF 200 litz power amplifiers, Brodmann Acoustics VC 7 loudspeakers, powered by a Tsakiridis Super Athena mains conditioner, Magaudio absorbers, and a combination of ZenSati and Titan Audio cabling. This was a fine example of each company bringing its A-Game products and creating an A-Game system.

Diapason

Thanks in no small part to loudspeaker design guru Paolo Tezzon – who joined the company earlier this year – the new €59,000 Didascalìa flagship from Diapason was one of the stars of the show. A two-way floorstander with twin side-firing racetrack shaped passive radiators, the Didascalìa uses real-wood side cheeks a cleverly designed crossover that can match bass to room and ‘floats’ on its four outrigger feet. Sonically, it has a lot in common with the classic Sonus faber Extrema stand-mount, and looks set to be a tour de force in the high-end loudspeaker world.

Dream Audio

One of several ‘open your wallet and repeat after me… help yourself!’ systems at the newly expanded PGE Narodowy national stadium, high-end distributor Dream Audio presented a truly international take on top-end audio. The pan-European side was taken up by a Taiko Olympus server (from the Netherlands), Ypsilon Electronics Silver Edition amplifiers (from Greece) and the world premiere of the Kroma Atelier Maribel floorstanding loudspeakers (from Spain). This was topped off by Stage III Concepts cables and Carbide Audio Isolators (from the USA) and rounded off by Telos Audio Design power products (from Taiwan) and a HIFISTAY rack (from Japan). The price? Don’t ask… and was in PLN. As a rough translation, the new speakers were around €425,000 per pair…

Dynaudio (Nautilus Poland)

Nautilus Poland (Dynaudio’s distributor) went bold this year. Taking several rooms, the star of the show was the vast London A room at the PGE Narodowy national stadium. Alongside the Confidence 60, the company played the stunning Contour 20 Black Edition in a room that should be far too large for a two-way stand-mount design.

However, aided by a Silent Angel digital front end (comprising Munich, Rhein, Forester, Genesis, and Bonn) and amplifiers from Polish company Circle Labs; the €5,490 P300 line preamplifier and the new M500 hybrid mono power amplifiers capable of delivering 600W into an eight-ohm load. There was also a new 75W AS100 integrated amplifier. Prices of these amplifiers are still to be determined.

EMM Labs, Magico

One of the nicer sounding rooms in the show – and one prepared to play more than just the standard audiophile musical options – Dwa Kanały’s larger room featured several prototype EMM Labs products alongside the mighty Magico S5 That being said, the company’s smaller room, featuring the Magico S2 with MSB and Pilium electronics was no slouch either. The EMM TXi CD transport fed the new DA2i DAC into the new PREi and MTRX2 V2 mono power amps. This was one of the most effortless and controlled sounding systems at the show, as reflected by the more varied musical being played. With the only colour coming from the dark wood and aluminium uprights of the finite elemente stands, this was also the ultimate in ‘none more black’ systems, perfect for playing some Spinal Tap…

ELAC/Linn

ELAC’s Concentro M807 (195,998PLN) loudspeaker was launched earlier this year. Featuring ELAC’s Jet 6 AMT-style tweeter, surrounded by six 40mm high-midrange drivers. This array is flanled by two 115mm low-midrange drivers, while bass is taken care of by dual 250mm, side-firing aluminium sandwich bass units. The speaker was partnered with Linn’s LP12 Selekt turntable and Selekt DSM Edition hub, and a pair of the new Klimax 500 Solo mono amps, as well as IsoTek’s V5 Aquarius conditioner and EVO 3 Optimum power cord, as well as Audioquest Pegasus and Thunderbird cables.

Eversolo

It’s easy to dismiss Eversolo as a low-end brand thanks to products like the €699 Play getting all the attention. Scratch the surface and there is a lot more depth to the company. The DMP-A10 is a perfect example; this €3,800 streaming preamplifier is the company’s flagship product is extremely comprehensively equipped, includes room correction software, an ESS chipset, large touchscreen and more. To get a similar specification would have been impossible a few years ago, and to find it from a European or American brand would likely cost many times more. One to watch.

Fezz Audio

The Fezz Audio Luna Mini EVO has no reason for being as good as it sounds! Replacing the Polish company’s Silver Luna integrated amplifier his simple, all valve design sporting two 12AX7 input double triodes and a pair EL34 power pentodes, the 10W per channel design is priced at 6,500PLN, or roughly €1,550. Playing through a pair of €1,400 Pylon Audio Diamond monitor 15 mk II stand-mounts, when you could get into this packed room, that was €3,000 worth of clean, dynamic magic!

Franco Serblin

The great man may no longer be with us, but Franco Serblin’s legacy lives on in the brand that carries his name. The new Accordo Unica (€39,000) is a three-way, four-driver loudspeaker capable of delivering down to 27Hz in room. It was sounding excellent on a Jadis JP80MC Mk II preamplifier and a JA200 Mk II mono power amplifier, all driven by a Revox B77 Mk III. The system had the perfect blend of old and new from a sonic perspective.

hARt Lab Tune Six

The new €26,000 Tune Six is the first integrated amplifier from the Athens-based tube-amp experts hARt Lab. The hybrid 150W amplifier comes with four line level inputs, a streamer and a headphone amplifier as standard, with a twin-input MM/MC phono module and twin input DAC module as optional extras. Its unique user interface allows precise control of the amplifier’s basic and deeper functionality, while its relay-based attenuator, zero feedback MOSFET output stage without transformers or coupling stages in the signal path makes it the amp to watch.

The amplifier was seen in two rooms; the first with a Reed front-end (more on Reed later) and Aretai Contra 100S loudspeakers. The second was featured in one of two Oephi rooms… and more on Oephi later, too.

Heed Audio

Those with unfeasibly long and detailed audio memories might recall the diminutive ION Systems Obelisk amplifier from the 1980s and early 1990s. The ‘transcap’ RC-coupled amplifier passed from Ion Systems in the UK to Heed Audio in Hungary. Both the Obelisk Is and two Obelisk power supplies – in the distinctive half-width case – are still in production to this day, but that narrow case prevents the Obelisk from answering the call of the modern audiophile. The new, full-sized Obelisk has sufficient space to include a streamer, a DAC, a headphone amplifier and a home theatre loop alongside the 2x50W Obelisk amplifier circuit. The new Obelisk will come in two guises; a €3,500 standard version, and a ‘Super’ version with a beefier PSU for €4,300.

Holborne

Swiss turntable maker Holborne has come back from the brink… literally. The original founder of the 35 year old brand had decided enough was enough, and having stalled the brand about five years ago. He was in the process of throwing out the original plans when he got a call from two people interested in restarting the company. The new owners – Swiss Analog – have made essentially the same Analog 2 and Analog 3 turntables, DualPivot Mk II tonearm and H1 moving coil cartridge. However, where possible they have simplified and refined the original designs; for example, offering aluminium as well as carbon in the tonearm, and more advanced electronics. They retain the unique floating point bearing (or ‘Sway Free Tip Bearing’) in the turntables.

New for Warsaw, the Holborne Analog 3 is available to Gold status (costing around CHF10,000, as opposed to the CHF8,250 of the Silver and CHF6,350 of the Black). The difference between each model is in improvements to arm and bearing materials.

Ideon Audio

Greek digital experts Ideon Audio were flipping between the company’s its all-in-one IΩN DAC and preamp and trio of EOS digital devices (DAC, Clock, and Streamer), with a ∑igma Wave USB isolator (passing into the preamp section of the IΩN into a suono Mk2 25W amp by Lab12 and hORNS Symphony 10 horn speakers). This effectively meant the difference between a €20,000 DAC (in the IΩN) compared to €6,000 worth of EOS DAC, plus a €6,000 clock. The EOS system more than held its own against the higher-end IΩN. And, from experience, both get close to the Absolute range from Ideon Audio.

Innuos

You might have thought, with its ZEN replacements and its new Nazaré flagship, Innuos would not have time to develop other products, but 2025 was a bumper year for the company and its Stream series was launched at AXPONA 2025. Stream1 and Stream3 are the company’s new entry-level streamer/servers. The Stream1 starts from €2,250, the Stream3 starts from €5,800, and the LPS1 linear power supply is €1,150 as a standalone or €950 if purchased with the Stream1. Apparently, they’d prefer us not saying too much about them because they can’t build them fast enough to meet demand, but the demonstration at Warsaw gave a pretty good explanation why that is!

Lockwood Loudspeakers

Scottish brand Lockwood Loudspeakers began making pro audio loudspeakers in the 1930s and many classic British albums from the 1960s onwards (including Let It Be and Dark Side of the Moon) were monitored and mastered using Lockwood LSU10 loudspeakers. A fire in the 1980s destroyed the factory but the brand resurfaced in 2017 (run by Daniel Timms, the grandson of Lockwood founder, Stanley). Where in the past it used Tannoy Dual Concentric drive units, Lockwood has switched to custom design Volt drivers made to the company’s Lockwood Green specification in all of its models. Lockwood recently took over Tannoy’s Hamilton factory and took on many staff from that 99-year-old brand.

Warsaw saw the brand add a new, smaller loudspeaker to the hitherto five-strong line-up; the new Mini-Major features a five-inch Lockwood Green point source driver with an Alnico magnet, stands smaller than ever and is priced at around €5,000 per pair.

OePhi

Alongside the company’s ever-expanding and highly-prized range of loudspeakers and cable systems, OePhi showed a prototype streamer and power conditioner at Warsaw. Details are ‘sketchy’ (as they are both works in progress and the end result isn’t finalised yet) but the as yet unpriced two wood-fronted boxes sounded good in both of OePhi’s rooms; one of which featured a Doshi Audio Evolution pre/power system and OePhi Immanence 2 stand-mount speakers, the other with a hARt Lab Tune Six integrated amp and Oephi Ascendance 2 stand-mounts, with OePhi Kala cables throughout. This last might seem like an imbalanced system (every other part of the system was more expensive than the loudspeakers) but both rooms worked extremely well.

Oneiros Audio

Oneiros Audio is a new British high-end company… sort of. The brains behind Falcon Acoustics – Jerry Bloomfield and Graeme Bridge – have moved up a notch from making LS3/5a into designing a three-way floorstander with twin 10” bass drivers, twin three-inch midrange and a one-inch diamond dome in a unique carbon-fibre monocoque enclosure. The £500,000 loudspeaker was being driven by a VPI Vanquish turntable and rack with a Fatboy arm, a DS Audio Grand Master cartridge with TB100 tube equalizer, Audio Research Reference 10 preamp and 330M mono power amps, all fed by Mythical Beasts – Dragon cables by Audioquest. The Oneiros team were playing complete albums from beginning to end, so the usual demonstrations do not apply, but people sitting and listening to a whole album at an audio show is a rare event, so they were clearly on to something.

Pylon Audio

Pylon Audio first showed the Amethyst Gamma at Munich High-End 2025, alongside the €65,000 Fezz Audio Supernova Line of amplifiers and the mighty LampizatOr Pacific 3 DAC and KBL Extrema cables. The company replicated that system in Warsaw. The smallest of three models in the Amethyst line, the uniquely-shaped three-way floorstander uses top, custom-specified Scanspeak drivers, a sandwich-like construction. If this is the ultimate expression of Polish high-end audio, it’s certainly looking good and making all the right noises!

Raidho Acoustics

Raidho Acoustics showed two models, not seen in European shows before. The €21,000 Anniversary Edition X2t celebrates a quarter of a century of the brand (above right). It sports an upgraded crossover, one of three unique finishes, Furutech connectors and a Serial Number plate. Just 100 pairs will be made and they sounded great played through MOON by Simaudio‘s 681 Streaming DAC preamplifier and mono 761 power amplifiers from its North Collection. The Anniversary Edition X2t may have been ideal for the small room, but they were dwarfed by the new TD3.10 flagship (above left). First shown at this year’s Munich High-End, these €125,000 giant three-way, five driver full-range loudspeakers sounded fun and fast even when pounding out the bass!

RCM Audio

RCM Audio frequently takes the Platinum room at the Golden Tulip hotel, and that’s fitting because the company’s systems are always gold and platinum-class. These are profoundly – but not exclusively – analogue systems, fielding top-end turntables and extremely well thought-out systems from RCM Audio’s extensive high-end portfolio. The main room featured turntables from SME, Kuzma and TechDAS, with MySonic, Kuzma, and DS Audio cartridges and RCM Audio’s own phono stages, including Theriaa Mk II owned by this reviewer. Digital and amplification came from Vitus Audio and ended with a pair of Hailey 3 loudspeakers from YG Acoustics. Once again… effortless. This was matched by a second room that featured Thrax Audio electronics and Gauder Akustik loudspeakers. RCM is a distributor of depth and understanding, helped by the fact that RCM owner Roger Ademek doesn’t know how to make a bad-sounding system!

Reed

Reed’s new SF cartridge is the Lithuanian company’s €8,850 take on the optical DS Audio cartridge concept, coupled with a €29,500 DS Audio ready Reed EQ phono stage and matching power supply. Playing through a twin-armed Muse 3c turntable into a hARt Lab pre/power and Aretai floorstanders, this gave listeners a unique chance to compare convention MC and optical designs directly. The optical has the edge on detail, clarity, accuracy and lower noise floor, although, in fairness, some preferred the ‘romance’ of moving coils.

Revox

Announced at Munich this year, the 16,995 Revox B77 Mk III is a true rebirth of the iconic open-reel analogue tape recorder. The new version uses original Revox motors and tape heads improved and designed for long service life. The Mk III also sports all-new electronics to bring a design first seen in 1977 bang up to date. Revox can still service, repair and restore original A77 and B77 tape decks (and even older models), but for the latest in reel-to-reel technology, brought from the last quarter of the 20^th century into the second quarter of the 21^st, form an orderly queue, because just 20 of these future classics can be made each month.

Silent Pound

Last year, Silent Pound wowed us with its prototype of the Bloom stand-mount loudspeaker. This year, the €14,999 three-way constant directivity loudspeaker with its unique midrange enclosure that makes the loudspeaker almost act like a point source is in full production. Partnered with Metronome source components and a Vitus Audio integrated amplifier, these loudspeakers show a lot of promise. Silent Pound demands listeners sit in line with the sweet-spot (as befits a panel-type speaker) but the sound was great around the room.

Sound Club

Top-end high-end systems abounded at the PGE Narodowy national stadium. One of Sound Club’s mightiest systems comprised a complete Wadax Reference Server and DAC for digital, a Brinkmann Taurus with a 12.1 arm and Air Tight PC-1 Coda cartridge into a Soulution Audio 757 phono stage, with Soulution Audio 727 preamplifier and 717 stereo power amplifier.

This passed, via a series of Jorma cables and Franc Audio platforms, to a pair of Göbel Divin Noblesse floorstanding loudspeakers and Divin Sovereign subwoofers. The system was capable of spell-binding, captivating sound. Price? As it’s dependent on the cables, who knows… but it’s a lot!

Storgaard & Vestskov

Founded just two years ago from an island in Denmark, SV-Audio (also known as Storgaard & Vestskov) has developed a commanding reputation for making a trio of ultra-high performance loudspeakers. Warsaw this year was no exception. The company’s middle model, the €18,995/pair Gro loudspeakers, are a two-way, three driver rear ported loudspeaker use a HDF cabinet coupled with a machined aluminium front baffle, and the result is a loudspeaker that sounds far bigger than it has any right to, and is not troubled by rooms large or small. The Gro (and €15,750 Frida two-way stand-mount loudspeaker) were used with an impressive combination of dCS Lina and Accuphase electronics on a NEO stand and almost €200,000 of Zensati sILENzIO cables.

Technics

This was the big one at Warsaw! Technics called time on the evergreen SL-1200/1210 turntable with a final flourish!

Except for the four-year hiatus from 2010-14, the SL-1200 has been continuous production from the early 1970s to 2026. More than three million direct drive turntables bearing the 1200 banner have been sold and a MK2 is on display as one of the pieces of technology cited as ‘making the Modern World’ in London’s Science Museum. However, some externally-sourced components are no longer available, making the end of the SL-1200 inevitable.

Technics couldn’t just quietly drop this iconic turntable, so has instead announced the final version; the SL-1200/1210 GME, or ‘Grand-class Master Edition,’ The GME is a synthesis of all Technics direct drive turntable developments in one turntable include Delta Sigma drive and the latest power supply, and the Bulk Moulding Compound/Die-Cast chassis adding a lot of mass to the design. With a gold-plated magnesium tonearm and numbered limited edition plate, just 1200 of the silver SL-1200 and 1210 of the black SL-1210 will be made. With a price expected to be around €5,499 get in quick when the order book opens early in 2026!

Triangle

Although playing its Magellan 40^th Anniversary through some excellent Canor components (Gaia C2 DAC and A3 Virtus integrated amp) and Melodika cables, Triangle (in the Rafko room) was showing its new €2,499 Capella Wireless 2 wireless loudspeaker, with matching Stereo Hub 2 preamp/streamer. The Capella 2 uses the company’s 25mm horn tweeter (this time a magnesium/aluminium alloy dome) and 165mm mid-woofer, a down-firing port and Triangle’s own Driver Vibration Absorption System. This is coupled with the new, colour-matched Stereo Hub 2 with a more powerful ARM processor. It comes in five new finishes, and we love the English Green!

Triode

In a not unexpected twist, the Triode company makes valve amplifiers, many of which use – you guessed it – triodes! What is surprising, however, is this range of integrated and headphone amps, pre/power designs, and both a phono stage and CD player, are all relatively affordable… and made in Japan. The company has been in business since the early 1990s, and if products like the €19,000 Junone 845SE integrated amp are anything to go by, they deserve more attention. This 845-based, 22W per channel has five line inputs (including one ‘main’ input), and remote, a dot display… and the most glorious piece of ‘Japlish’ mis-translation; a ‘ham balancer volume’. You may not want to balance any pork products through the Triode Junone 845SE, but it makes excellent sounds, especially through a pair of Peak Consult Sonora loudspeakers.

Unison Research and Opera

Unison Research’s Unico brand had two new models with a new look. But this is not some rebranding exercise; Unison Research has been working with the electronics engineering department of the University of Padua to create a new form of sliding Class A/AB operation, creating a Class AB design with almost zero crossover distortion (like Class A… but without the heat). The valve-based Unico Pre cost 24,999PLN and the 220W Unico DM costs 34,999PLN. Integrated amplifiers and streaming DACs will follow in this new range. There was also a new version of the Opera Grand Callas floorstander.

Vivid Audio

Quietly, Vivid Audio reworked its popular and distinctive Giya G1 for only the third time in its 18 year production life. The new G1 Spirit Cu features copper-clad midrange assemblies, a reworked cabinet that’s both lighter and stiffer, and improved grilles. Played through EAT and CH Precision sources and Mola Mola amplifiers, this new version sounds every bit as good as we’ve come to expect from Vivid, but it’s been some time since I heard a Giya G1 to compare. Vivid is unlike most companies in the audio business, as the new model does not come with a price increase!

WK Audio

We’ve been following WK Audio‘s cable systems for some years. The company’s top TheRed cable is one of the hidden gems in audio, and its speaker cables have recently been completely upgraded with better spacing systems. It might not be the smallest or most discrete cable on the planet, but it is one of the best, and in Warsaw it showed why once again. This remains one to watch!

There were many more. We try to focus on rooms where there is something new (or new to us), but there were dozens of other rooms making good or great sounds that therefore slip under the radar. Some of these were top-end systems. The dCS, D’Agostino, Wilson Audio combination is a well-trusted, good sounding system for a reason and nothing changed that at Warsaw. Similarly, the one-make high-performance system from Gryphon shone bright. And systems from Chord Company (with Audiovector), Cambridge Audio, Esoteric (with Fyne Audio), Hegel (with Indiana Line loudspeakers) and more were doing excellent service. And there were also local heroes like Unitra and more. The brand most seen in the widest number of rooms was (perhaps unsurprisingly) local hero LampizatOr. But this wasn’t just Polish people supporting Polish brands… it sounded consistently good too!

Warsaw Audio Video is one of the last shows in the European audio calendar… and what a great way to sign off the year!

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Eversolo DAC-Z10 Unveiled — Precision Engineering for Authentic Sound

31 October 2025: Recently, renowned Hi-Fi manufacturer Eversolo unveiled their latest product, the DAC-Z10, a high-resolution audio DAC and headphone amplifier. Designed to “rediscover the true sound,” it employs precision engineering to reconstruct the signal path and refines every detail with musical warmth, bridging digital and analog with precision.

The DAC-Z10 is built on Eversolo’s proprietary Fully Isolated Architecture (Eversolo FIATM), which fully isolates the digital and analog domains to minimize interference and preserve signal purity.

The internal layout of the DAC-Z10 is meticulously engineered, featuring three custom linear power supplies dedicated to the left channel, right channel, and system circuitry respectively, each fully isolated to minimize interference. This innovative design delivers an exceptionally clean soundstage with precise imaging.

Another core element of the FIA design is the DAC-Z10’s dual AKM decoding modules. Each channel is handled by a dedicated set of AK4191 + AK4499 chips, meaning the left and right digital signals remain completely separated from input to conversion. This design not only eliminates channel crosstalk but also enhances dynamic range and resolution. Combined with AKM’s Velvet Sound™ technology, the DAC-Z10 delivers audio that is both precise and delicate. Even at high specifications—DSD512 and PCM 768 kHz/32‑Bit—it maintains ultra-low distortion (THD+N 0.00008%) and wide dynamic range (DNR 130 dB), letting the music flow with the energy and presence of a live performance.

The concept of “independent left and right channels” extends to volume control. The DAC-Z10 employs a high-precision R2R resistor network, with separate R2R modules for each channel. Unlike conventional digital volume, which can introduce quantization loss, the R2R network preserves signal integrity and phase alignment at every step. From very low to high playback levels, the sound remains pure and full, with every knob adjustment resulting in precise analog-level changes. This is the essence of the DAC-Z10—capturing every nuance of the music with the purest analog precision.

The DAC-Z10 also features a high-performance fully balanced preamplifier, supporting left and right channel XLR and RCA analog inputs/outputs, and offering +10 dB analog gain. Paired with the R2R volume control network, it delivers ultra-low distortion and a wide dynamic range. This makes the DAC-Z10 not just a DAC, but also a high-quality preamplifier capable of directly driving power amplifiers or active speakers.

The clock system is one of the most subtle yet critical components in any audio setup. The DAC-Z10 features the Eversolo Precision Core™️, a high-precision clock system composed of an OCXO temperature-controlled crystal oscillator, PLL(phase-locked loop) technology, and an FPGA clock reconstruction technology. Additionally, the DAC-Z10 supports external high-precision clock input.

The OCXO crystal oscillator is temperature-controlled to eliminate environmental effects on frequency, ensuring long-term clock stability. Meanwhile, the PLL technology provides secondary jitter suppression during signal reconstruction, achieving femtosecond-level clock precision. For audiophiles, this translates to more accurate phase, more natural transients, and significantly enhanced depth and imaging in the music.

Furthermore, the DAC-Z10 supports external high-precision clock inputs at 10 MHz and 25 MHz, with both 50 Ω and 75 Ω impedance options. For users with high-end master clock systems, this allows the DAC-Z10 to seamlessly integrate into larger audio setups. Such an external clock provides an even more accurate timing reference, further reducing system jitter and delivering a clearer soundstage. The impedance options ensure flexible compatibility, making it equally suitable for high-end home systems or professional studio environments.

The Eversolo Precision Core™️ features a built-in FPGA that handles clock reconstruction and IIS data shaping. Before digital signals reach the DAC chips, the FPGA precisely aligns their timing and phase. This processing ensures cleaner, more effortless decoding downstream. For high-resolution playback, this step is critical: it “cleanses” the digital signal, leaving only the purest musical information for conversion.

The DAC-Z10 offers extensive connectivity options to meet the demands of high-end systems. It features USB Audio in, dual coaxial in, dual optical in, IIS in, AES/EBU in, and HDMI ARC input. The USB input employs a multi-core audio processor, supporting DSD512 Native and PCM 768 kHz/32‑bit lossless transmission. The IIS input provides eight customizable modes to ensure compatibility with a variety of sources from different brands. All inputs use electrical isolation to fully eliminate ground loop interference, delivering every signal in its purest form.

The DAC-Z10 features a dedicated headphone amplifier module with a 6.35 mm output, capable of automatically detecting headphone impedance and adjusting gain accordingly. In high-gain mode, it delivers up to 1 W (16 Ω) and 1 W (32 Ω), easily driving even high-impedance planar headphones.

For home systems, the DAC-Z10 also supports HDMI ARC and eARC, allowing direct connection to TVs or home theater setups. It seamlessly integrates audio from movies, music, and games, extending the Hi-Fi experience from your desktop to the living room. Additionally, the built-in Qualcomm QCC5125 Bluetooth module supports high-resolution wireless streaming, delivering high-quality playback from your mobile sources.

The DAC-Z10 features an 8.8-inch IPS touchscreen with electromagnetic shielding. The interface is free of cumbersome menus, offering intuitive operation. Multiple VU meters and dynamic spectrum displays are built in, allowing you to choose between vintage or modern styles at will. In addition, the DAC-Z10 offers customizable knob colors—a small detail that reflects Eversolo’s commitment to aesthetics and user experience.

The DAC-Z10 supports remote control via smartphone or tablet. Using the Eversolo Control App, you can adjust volume, switch inputs, and manage all on-device settings directly from your mobile device.

The DAC-Z10 embodies a complete philosophy of sound—precision, warmth, purity, and balance. These are not mere adjectives in its design but an attitude. It shows that digital music can still have soul, and that behind every bit of engineering, emotion can resonate.

Eversolo DAC-Z10, rediscover the true sound with precision engineering.

Suggested Retail Price: 1980 USD / 1980 EUR.
The official on-sale date is coming soon. Learn more at: www.eversolo.com

Ultrafide Audio makes exceptional audio even more accessible with its state-of-the-art SP500 amplifier

31 October 2025: Ultrafide Audio is taking its pro sound, homebound revolution one step further with the launch of its SP500 stereo power amplifier, which is being officially launched at 2025’s Edinburgh HI-AV Show, 8-9 November.

As teased earlier this year, the SP500 is a sleeker, more compact and more affordable addition to Ultrafide’s range – but with the same power output, warm sonic purity and music-first ‘power with emotion’ engineering excellence Ultrafide is becoming known for.

Retailing at £3,990 (incl VAT) – SP stands for ‘squaredPOWER’ and a nod to MC²’s approach, the SP500 features Ultrafide’s Ultra Sigma output topology, the company’s premium in-house design that was first introduced in the U500DC – it delivers superior audio performance to rival anything on the market.

Its elegant, minimalist design and compact straight edge casework means that the SP500 seamlessly integrates with other hi-fi components and mixed systems, and is also perfectly suited to studio, reference, and residential applications with its ability to be rack mounted.

DC coupling input to output ensures clean and accurate signal transmission, a PURE timbre sonic signature: providing an incredibly transparent, but musically engaging experience. It also offers flexible configuration with RCA and XLR inputs, XLR passive link outputs, and both binding post and speakON outputs. A true nod to classic MC² Audio thinking!

Ultrafide stands for ultra-fidelity audio and following parent company MC²’s pioneering work in live and studio sound for three decades, it is now laser-focused on the domestic market. No application constraints, no logistical hurdles, no compromises – just the best engineering, design and components to bring the finest possible sound to the home.

Lead product designer, audio engineer and pro audio legend Alex Cooper was given a blank canvas with which to operate for Ultrafide products and freedom to over-engineer, with the sole goal of audio quality, sonic purity and unrivalled stereo image – resulting in astonishing results, leaving plenty of headroom and delivering unparalleled high-end definition and low-end response.

Mark Bailey, product specialist at Ultrafide Audio and MC², said:

“The SP500 is everything that’s loved about our U500DC Ultra Sigma amplifier, but with a more minimal approach to its casing that we really like and have been asked for on numerous occasions. We’ve added the additional ability to rack mount, and made some clear I/O connection differences to make it even more flexible and applicable to CI, studio, cinema markets, as well as traditional Hi-Fi. The internals of the SP500 are almost identical to that of the U500DC, with just a subtle change to input/output circuitry, so the performance is equally breathtaking.

“We can’t wait to formally unveil the SP500 at this year’s Edinburgh HI-AV Show and will have more exciting news within the region coming soon…

“Remember, Pro sound is homebound!”

Alongside the SP500, Ultrafide will be setting up with Kudos 505 speakers at the Edinburgh HI-AV Show, forming a compact but formidable and high quality set up for visitors to the room to enjoy.

For more information on Ultrafide Audio, and where to buy from its expanding dealer network, please visit https://ultrafideaudio.co.uk.

British-made Fell Audio available at lowest ever prices this Black Friday

30 October 2025, Carlisle, Cumbria: Fell Audio, the British hi-fi manufacturer, today announced unprecedented pricing for its Fell Disc CD player and Fell Amp integrated amplifier as part of the November Black Friday retail period. https://fellaudio.co.uk/

The promotion will be available across a broad seller network, including leading UK retailer Peter Tyson’s three stores and website, Amazon UK, and, for the first time, the eBay platform, providing consumers with various purchasing options to suit their needs.

The Fell Disc CD player and Fell Amp integrated amplifier will be offered at their lowest-ever prices, including a groundbreaking bundle price for customers purchasing both units together.

From 31 October until the beginning of December, the pricing structure will be as follows:

The Fell Disc CD player will be reduced from £499 to £399
The Fell Amp integrated amplifier will be reduced from £599 to £499

Customers purchasing both components will benefit from a packaged price of just £849, representing a saving of £250 on the usual prices. The bundle promotion makes Fell Audio’s offering, which remains the most affordable British-made system available in the UK, accessible to a wider audience.

The pricing strategy puts Fell Audio’s hallmark made-in-Britain build, class-leading sound, and industry-leading five-year warranty, within reach of more customers than ever before; put simply, there has never been a better time to buy Fell Audio.

Commenting on the new Black Friday sale pricing, Fell Audio’s design team said, “At Fell Audio, we know that Black Friday is a crucial time for audio enthusiasts to invest in new hi-fi components. Although we’re a new company, we’ve always been committed to delivering the value our customers deserve and by participating in Black Friday events, we ensure everyone has the opportunity to experience our British-made quality and make Fell Audio their next hi-fi upgrade.”

More about Fell Audio

Launched in November 2024, the family-owned-and-run start-up Fell Audio debuted with two new products: the Fell Disc CD player and a feature-packed integrated amplifier, the Fell Amp. A matching music streamer is set to follow.

The company differentiates itself by offering British manufacturing at an entry-level price point, affording it a competitive advantage in terms of quality control. With unparalleled affordability and great sound, Fell Audio’s offerings are compelling for newcomers and established audiophiles alike.

Price and availability

The Fell Disc (£399*) and Fell Amp (£499*) are available in the UK only (European and wider international availability is planned for 2026) via the Fell Audio website, Peter Tyson (online, in-store, and via telesales), Amazon UK, and eBay.

*Special time-limited Black Friday event promotional pricing

Sonus faber Sonetto III G2

‘Sonus’ is Latin for sound. ‘Sonus faber’ translates to ‘handcrafted sound’ or ‘artisan of sound’ in Latin. Additionally, ‘sonetto’ is Italian for ‘little sound’ or ‘little song’; the English word ‘sonnet’, meaning ‘lyric poem’, is derived from ‘sonetto’. Meanwhile, ‘G2’ is universally understood marketing terminology for ‘second generation’.

The second generation of Sonetto loudspeakers from Sonus faber consists of a seven-model range, including a pair of stand-mounters, three floorstanders, a centre channel, and an on-wall design. Among them, the Sonetto III G2 stands out as the smallest and most affordable floorstander—though at £4,000 per pair, the term ‘affordable’ warrants careful consideration. Presumably, Sonus faber has its £100,000 Aida floorstanders in mind when it uses the word to describe the Sonetto III G2.

Flower Power

This speaker features a 2.5-way design, with a 28mm silk-damped apex dome tweeter positioned above a 165mm mid/bass driver and an identical-sized bass driver. Each of the larger drivers showcases the distinctive ‘flower’ pattern first introduced in the extraordinarily high-end Suprema loudspeaker system (yours for £695,000 – which we can all agree stretches the definition of ‘affordable’ beyond sensible limits). Each driver includes an aluminium demodulation ring, shares a 2700Hz crossover (hence 2.5-way), and is housed in a specially designed, die-cast basket.

The tweeter and mid/bass driver are housed in a discreet enclosure that features a rear-facing bass reflex port. The tweeter employs a closed motor system designed to prevent the mid/bass driver’s activity from affecting it. The enclosure itself boasts an organic, irregular shape and is made from recycled cork; Sonus faber is confident in the acoustic properties of this material, particularly regarding midrange fidelity. The bass driver, conversely, is situated in a separate enclosure and incorporates a bass reflex port that vents downwards onto the fixed boundary provided by the concrete plinth to which each speaker is attached.

According to Sonus faber, this arrangement results in a loudspeaker boasting a frequency response of 38Hz to 40kHz, 88dB sensitivity, and a nominal impedance of 4 ohms. The company is confident that any amplifier with over 50 genuine watts of power should have no difficulty driving the Sonetto III G2.

Unusual Concrete

Concrete is undoubtedly an unusual choice for a plinth, but elsewhere, it’s the usual high-quality cabinet work from Sonus faber. As these are relatively affordable speakers, the cabinets (in the brand’s preferred ‘lute’ shape) are made from MDF. However, the wood veneer finish—available in walnut, wenge, or high-gloss black—is applied beautifully, giving it an undeniably luxurious appearance.

Measuring 1068 x 287 x 350mm (HxWxD), the cabinet is well-proportioned, achieving a pleasing balance between ‘purposeful’ and ‘elegant,’ with a touch of luxurious decadence evident in Sonus faber’s signature leather driver surrounds. The quality of construction and finish is, as is typically the case with Sonus faber, beyond reproach.

It’s fair to say that the Sonetto III G2’s sound is as recognisably ‘Sonus faber’ as its aesthetic. In the least prejudicial way, these speakers remain utterly faithful to the sonic philosophy that the company has devoted the last four decades to defining and refining.

Untroubled

The Sonetto III G2 is unequivocal. It is driven by a Cambridge Audio Edge W stereo power amplifier, with a Naim Uniti Star functioning as both preamplifier and network streamer. A Clearaudio Concept turntable (with a Chord Electronics Huei) and a Rega Apollo CD player offer alternative sources. The type of music you choose to listen to, the format in which it is stored, and its resolution do not seem to concern them. In every circumstance, they deliver a thoroughly musical account of themselves.

A vinyl copy of Everybody by Ezra Collective [Partisan Records] enables the Sonus faber to exhibit a notably deep, richly textured, and impressively detailed low-frequency response. The bass presence is substantial, and the Sonetto III G2 addresses the low end with genuine determination, yet there is control accompanying all the drive. The onset and decay of individual bass notes are keenly observed, resulting in speakers that present rhythms effortlessly. The balance they achieve between momentum and sheer impact is both assured and convincing.

Circumspect

The opposite end of the frequency range is somewhat more circumspect, though this does not imply it is in any way tentative or lacking in presence. It attacks just slightly less forcefully than the low end, and when the music demands it—such as when listening to a TIDAL-derived 24-bit/96kHz FLAC file of Al Green’s I’m Still in Love with You [Hi Records], for instance—the Sonus faber can invoke genuine bite and top-end crunch. However, even if you opt to turn the wick right up, the tweeter remains composed and controlled; there is no indication that the shine is ever likely to become edgy or harsh.

It’s in midrange reproduction, however, where the Sonetto III G2 reveals itself to be genuine contenders for the fiercely contested ‘Best £4K-ish floorstanding loudspeakers’ crown. From the exquisite tone and technique of Al Green to the deliberately assertive amateurism of Mark E. Smith in The Fall’s I’m Going to Spain [Permanent Records], through to the forthright, close-mic’d imprecations of Roots Manuva’s Clockwork [Big Dada Recordings], the Sonus faber communicates eloquently and in an utterly naturalistic, unforced manner. Each of these vocalists possesses character and attitude in their own right, and despite their very different approaches, each aims to make a point. When provided with the Sonetto III G2 as a platform, their intentions are always clear.

Silky Conviction

The resolution and integration of the entire frequency range are achieved with silky conviction, likely aided by the shared crossover points of the two larger drivers. Nothing is exaggerated in the name of excitement, nor is anything diminished in the name of good taste; rather, the entire frequency range coalesces in a balanced and persuasive manner. Tonality, too, is strikingly believable; if any coloration is present, it is exceedingly mild. The Sonus faber are adept at identifying the fundamental tonality of an instrument or voice and presenting it without embellishment or omission.

These speakers are equally adept at extracting and contextualising the subtle harmonic variations expressed by a voice or instrument in real time. The dynamic fluctuations evident in an unaccompanied piano, even from keystroke to keystroke, are given due weighting, which enhances the impression of true musicality that Sonus faber conveys.

Investing around £4,000 will significantly enhance the dynamic range regarding the broader ‘small/BIG’ or ‘quiet/LOUD’ variations that nearly every ensemble recording includes to varying extents. However, the Sonetto III G2 is certainly not lacking in power or straightforward ‘push’. That said, if you desire an element of shock and awe when a symphony orchestra ramps up into full ‘attack’ mode, you may find these Sonus faber somewhat more reserved and less vibrant than some similarly priced alternatives.

Compact

You might find their presentation somewhat ‘compact’ as well. The soundstage created by the Sonetto III G2 is solid, well-defined, and entirely credible. The spaces between elements in recordings are considered just as significant as the elements themselves. Control is undeniable, and even large-scale recordings provide the necessary breathing space to avoid sounding cramped. Yet, somehow, the Sonus faber do not quite transcend the limitations of their cabinets as readily as some competitors—there’s a subtle but unmistakable ‘in the box’ sensation that prevents them from sounding as expansive or open as the very best of their similarly priced counterparts.

However, if you’re prepared to accept that nothing is perfect, regardless of how much you might be spending, then the Sonus faber Sonetto III G2 has a great deal to recommend it. Beyond their balanced, insightful, and thoroughly musical presentation, they rival any alternatives in terms of build quality and finish for your investment. Moreover, they make a strong case for being more decorative as furniture than any other £4K floorstander I can think of. The Sonetto III G2 is admirable in many respects, and they undoubtedly warrant your attention if you’re in the market for floorstanding speakers at this price point. This holds true in any language you wish to mention.

Technical specifications

Type: 2.5-way; dual bass reflex port
Driver complement: 1 x 28mm silk damped apex dome tweeter; 165mm ‘flower’ mid/bass driver; 165mm ‘flower’ bass driver
Frequency response: 38Hz – 40kHz
Crossover frequency: 2.7kHz
Impedance: 4 Ohms nominal
Sensitivity: 88dB/W/m
Dimensions (HxWxD): 31068 x 287 x 350mm
Weight: 25.8kg/each
Finishes: High gloss black; wenge; walnut
Price: £4,000, $4,499, €4,499 per pair

Manufacturer

Sonus faber

www.sonusfaber.com

UK distributor

Fine Sounds

www.finesounds.uk

+44(0)1592 744710

Linn Klimax Solo 500

There is an unspoken but evident rule in audio: devices tend to become larger as you spend more money on them. Raising your budget typically leads to bigger and heavier equipment. Even seemingly small items like cartridges and headphones often increase in size as their price rises. Companies that ignore this trend risk provoking the subconscious ‘is that it?’ reaction from customers, who expect to encounter a slight effort when they pick up a device.

Linn has consistently challenged expectations over the years. Their LP12 turntable adds very little mass and size as its specifications grow, and their electronics are designed on a scale that reflects a different philosophy of producing high-end equipment compared to most rivals. Even the flagship Klimax Solo 800 (tested here), although not pocket-sized, can be moved without requiring a sack barrow.

Still substantial

The Solo 500 shown here is a more compact version of the technology that debuted in the 800, featuring a further reduction in size. It’s important to emphasise from the start that, although the power output is lower than the flagship, it remains quite substantial. Linn quotes 250 watts into 8 ohms, and this figure doubles as impedance halves. This is still a powerful amplifier.

The amplifier that delivers this output uses the same Adaptive Bias Control as the Solo 800. Instead of employing a fixed bias value on the output stage—usually specified by the designer—the Solo 500 features a continuously adjustable system. The current supplied to the eight output devices is constantly monitored, sampled, and digitised. This data is then sent to an FPGA, which determines the necessary bias at that precise moment. It accomplishes this by implementing a digital control loop to adjust and maintain the bias current at its optimal level for the transistors.

Linn explains that doing this guarantees that bias remains consistently accurate at any given moment and can also accommodate performance changes in components as they age. Specifically for Linn and their active systems, the benefit is that multiple Solo 500s can operate optimally, further improving the system’s cohesion. Linn also highlights that this is essential in maintaining a low noise floor. This is further supported by the company’s Utopik high-speed power supplies, which are now included in several models. These supplies employ multiple feedback loops to compare output against input at each stage, filter out mains-borne noise, and eliminate hum.

Not a hotplate

Of course, packing this many amplifiers into a relatively small space presents its challenges. To ensure that the Solo 500 doesn’t double as a £23,500 hotplate, Linn has worked hard to ensure the cooling arrangements are adequate. The system is called a Hybrid Cooling Matrix (another piece of recent Linn terminology that avoids using a ‘K’), and it combines passive and active elements to work together.

The passive element is quite straightforward. The main parts of the amplifier are mounted on a sub-chassis made from a highly conductive, hard-anodised aluminium block that is attached to a thermal plate. This sub-chassis disperses heat from the electronics below and is isolated from the amplifier’s main casework. During most of my use of the Solo 500, this was all that was required.

The Matrix Reloaded

Lean more on the Linn and request an additional 250 watts; the other part of the Matrix then reveals its presence. Once temperatures rise to a certain level, the Solo 500 will switch to using cooling fans. Instead of a standard single-speed fan, this one is managed by its own FPGA chip, which continuously monitors how much effort it needs to exert to push air through channels under the top plate, drawing heat away from the internals. I have triggered the fans a few times, but unless I press my ear against the casework, I would have found it difficult to notice.

Connectivity is straightforward and consistent with a mono power amplifier. Each amp offers both balanced and unbalanced inputs, which can be chosen with a push-button control. It also includes matching looped outputs for multiple speakers on one side, along with high-quality speaker terminals that accommodate your preferred termination. I’m not a fan of the lip over the inputs at the back; I believe all designers who include one should be available at eight hours’ notice to visit customers’ homes to make the connections that are hard to see, but overall, the layout is logical.

Impossibly small

All of this cleverness is housed within a chassis that is 35 centimetres wide and just over 364mm deep. The Solo 500 feels almost impossibly small for a device that delivers such output. What is truly impressive, however, is that the Linn avoids the usual regret felt by those missing the heft. You don’t need any audio knowledge to understand that the casework of the Solo 500 cannot be made for anything less than a substantial sum. The power buttons are designed for a more important, globally significant function than simply switching the amplifier on and off. This isn’t a large device, but it certainly feels like a very special one.

There’s something else as well. When I have looked at Linn products before, the company has asked what I plan to use them with and offered the help of other Linn devices to assist me. In this case, they have been entirely relaxed about the Solo 500s being used with various different equipment – in fact, no other Linn devices have been involved. This reflects a level of confidence that, in turn, inspires the user.

Well-founded confidence

The confidence is well-founded, though. I have used the Solo 500s with several different components. Still, most of the testing was done with the Doshi Evolution Line Preamplifier, once I confirmed that it would work alongside my primary power amplifier. It’s reasonable to assume that the engineers at Linn are unfamiliar with Doshi as a company, let alone the specific preamp, yet the two devices worked together seamlessly. Some of this is undoubtedly due to Doshi’s excellent performance, but the Solo 500 more than reciprocates.

Partnered with the resident Kudos Titan 505, almost certainly an undermatched target for the Linn but still a speaker that benefits from being driven rather than powered, the Solo 500 demonstrates a masterclass in how to make them sing. It grips the isobaric enclosures with a tenacity that I don’t believe even my experiments running the speakers in an active configuration have been able to match. Listening to the relentless flurry of deep bass strikes that is ‘Telephasic Workshop’ on Boards of Canada’s Music Has The Right To Children [Warp], the Linn reproduces them like a boxer working a bag. Each bass strike arrives instantly, hitting with a force that you feel as well as hear, before stopping and letting the next one through. The transient speed on offer here is truly outstanding.

Higher up elements

Luckily, the elements higher up the frequency response are just as valuable. This isn’t an amplifier that adds drama or extra colour to a performance. Instead, it consistently reveals and conveys the emotion within the material itself. When Leila Moss vents her fury in ‘Dark Kitchens’ on Transparent Eyeball [Mother Figure], you can feel the vitriol and passion driving it, clearly expressed in every syllable. What you hear is accurate, tonally convincing, and infused with the album’s dark, brooding production, creating a perfect sense of the emotions behind it.

Neither is the Solo 500 plagued by the ability to reflect misery as accurately as DH Lawrence. The exuberant joy of ‘St Louis Slim’ on Seasick Steve’s Started Out With Nothin’ [WM] is delivered in precise yet abundant bursts of joyful energy. Having spent a fair amount of time with the Linns, I am inclined to say that this is probably the most enjoyable device to display a Linn badge I have tested. What I find notable about this is that this enjoyment isn’t the kind of ‘not accurate but makes the head nod’ engagement I once experienced with the heavily worn eighties vintage LP12 I owned for a few years, but rather a laser focus on emotional content that results from delivering a recording almost perfectly.

Surprisingly forgiving

Like anything that has this level of focus and detail retrieval, the Linn is obliged to highlight the limitations of less-than-perfectly recorded material. Still, the way it does so is surprisingly forgiving for something that, when fed truly superb recordings, can sound excellent. These aren’t amplifiers that will cause parts of your collection to become dusty. Instead, you’ll appreciate them less for ‘warts and all’ as if they’re not wearing a couple of layers of foundation. In the time they have been here, nothing has been entirely unplayable.

Much of this ease and sophistication comes from the abundant power available. It’s easy to overlook the formidable output it can deliver. Most users will not come close to exhausting the Solo 500’s capabilities. By scarcely pushing the performance boundaries, the level of refinement and control remains impressively high. At some point, someone somewhere will reach the Linn’s output limits, and I’m pretty sure I’ll notice it from my lounge when that happens.

One final attribute of the Solo 500 is no less critical. When you don’t need 250 watts, in fact, you barely need ten of them, the Linn is every bit as capable at sounding small as it is at delivering biblical scale. When you play Tori Amos’ Little Earthquakes and wind your way to the end tracks, the Linn delivers small-scale intimacy with all the same assurance as it does bombast and impact. ‘Me and a Gun’ needs to sound almost oppressive in its delivery. Giving Amos a vast scale is to rob the piece of a great deal of its power. In this instance, the Solo 500 is every bit as good at being a small amplifier as it is a big one.

Burly chassis?

Of course, you can reasonably argue that £23,500 per channel is far from cheap and, if you don’t need the chassis to be this compact, some amplifiers can match at least a significant portion of what the Linn does for less money. It’s only fair to point out, of course, that relatively fewer of those notional rivals offer the level of finish the Solo 500 does as a matter of fact. Also up for debate is whether they’ll be looked after with the same diligence as Linn has generally done with its products over the years.

What’s more, this review genuinely should not be seen as one solely of interest to existing members of the Linn ecosystem. This is a superb mono amplifier full stop. It doesn’t need the caveat that it requires a supporting cast of Linn stablemates to excel, as this test process, entirely devoid of other Linn products, hopefully demonstrates. The Solo 500 challenges conventions about mass versus value, but even more importantly, it breaks new ground in how we should regard Linn amplifiers in the broader market.

Read more about the technology that goes into the Linn Klimax Solo 500 here.

Technical specifications

Type: Mono power amplifier, with Adaptive Bias Control
Inputs: 1x single-ended (RCA), 1x balanced (XLR)
Passthrough: 1x single-ended (RCA), 1x balanced (XLR)
Outputs: binding posts/banana/spade-lug (x2)
Max Output: 500W into 4Ω, 250W into 8Ω
Max Input: 1kW
Output Impedance: 0.01Ω at 1kHz
THD+N: 0.0005% at 1kHz, 500W into 4Ω. 0.0004% at 1kHz, 250W into 8Ω
Finish: Silver or black anodised
Dimensions (WxHxD): 35×8.9×36.4cm
Weight: 10.6kg
Price: £23,500, €27,950, $29,500 per amplifier

Manufacturer

Linn

www.linn.co.uk

+44(0)141 307 7777

Tech Talk: Linn

The Linn Klimax Solo 500 ranks among Linn’s most ambitious projects so far. It integrates much of the engineering from the larger Klimax Solo 800, but in a more compact, shelf-friendly design. It also succeeds one of Linn’s most celebrated products, the Klimax Solo, which had been in production for twenty-five years. That’s quite an achievement.

We spoke to Alastair Bennett, Senior Mechanical Design Engineer at Linn, and Dan Wareing, one of the company’s electronics engineers tasked with the Klimax Solo 500 circuit architecture, about the development of this revolutionary amplifier.

AB: The Klimax Solo 500 is a complete redesign based on the fundamentals of our most successful amplifier ever – the Klimax Solo. We have maximised the use of every available space within its machined-from-solid enclosure to create a product that surpasses its legendary predecessor in every aspect, while still maintaining a compact form factor.

We have leveraged our flagship amplifier and power supply technologies to develop designs that fit within a sleek, minimalist casing, ensuring that Solo 500 is a significant upgrade. It serves as an ideal drop-in replacement for existing systems that include either the original Solo or third-party amplifiers, and its compact size makes it especially suitable for active setups and environments with limited space.

Solo 500 performs optimally from the moment it is powered on and continues to do so throughout its lifetime, thanks to our Adaptive Bias Control system. It has immense available power, an extraordinarily low noise floor, and 85 times lower distortion measurements than its predecessor.

Adaptive Bias Control

Linn’s Klimax Solo 500 follows the Klimax Solo 800 and 360 loudspeakers in using Linn’s Adaptive Bias Control technology to adjust the biasing of the amplifier’s output stage optimally.

DW: The output stage of a Class AB amplifier is responsible for providing the necessary power to the loudspeakers. It consists of two sets of high-power transistors—one managing the positive side of the signal and the other handling the opposing side.

The smooth transition from one device to the next as the signal crosses zero is essential for the performance of a class AB amplifier. To ensure a seamless switch, a bias voltage is applied to the output transistors, causing a small bias current to flow through them. This current must be optimised at a specific level to minimise distortion.

However, the relationship between the applied bias voltage and the resulting bias current isn’t constant – it varies significantly with the temperature of the output transistors and over their lifetime.

Conventional class AB amplifiers employ techniques to compensate for some variations, such as slow temperature changes. However, these methods are ineffective against rapid temperature shifts caused by large transients in music, as well as changes in transistor properties over time and differences between individual transistors. The accuracy of such correction also tends to drift over time. Consequently, an amplifier’s performance may decline throughout its lifespan and differ between units in a single setup.

With our Adaptive Bias Control, we continuously monitor the amplifier’s output current, digitise it, and then apply digital signal processing to extract the instantaneous bias current. We can then compare this to the ideal level we are targeting and correct any errors in real-time.

This method overcomes the issues associated with more traditional techniques. Both slow and rapid temperature variations can be measured and corrected, and changes in the device’s characteristics over the amplifier’s lifetime are managed through the digital correction method. Additionally, any other potential sources of error and long-term variations are addressed by calibration routines performed during startup.

Overall, this ensures an amplifier that will always perform optimally throughout its entire lifetime, from the moment it is switched on. And each Solo 500 in your system must perform identically to the others.

Hybrid Cooling Matrix

AB: As with any class AB amplifier, we must dissipate the heat generated during use to enable it to perform at its best, and managing this within a compact form factor is a challenge.

In Solo 500, we have employed a hybrid cooling system designed to be equally effective at passively cooling the system at lower temperatures and actively cooling it at higher temperatures when the amplifier is pushed hard.

When cooling passively, heat is transferred and spread through our machined thermal plate into a series of fins that radiate the heat away into the air. However, when the active part of the cooling system begins, air is pressurised and evenly distributed through the channels between those fins. As the air moves along each of the channels, it removes the heat from the fins and exits through the top and rear of the amplifier.

The cooling fins, with their zig-zag shape and limited openings, are designed to maximise the amount of heat the air removes as it flows through each channel. The openings in each channel help to equalise the pressure and airflow across the cooling plate, while the zig-zag profile of the fins promotes turbulence and enhances the interaction between the moving air and the fins.

The design of this thermal plate was optimised through computer simulation to achieve the best combination of uniform heat distribution, pressure equalisation, airflow, and maximising the passive and active cooling provided by the fin matrix.

For Solo 500, we introduced a new intelligent fan control system to regulate the amplifier’s cooling. Besides monitoring the product’s temperature, the control system also measures the real-time signal level entering the amplifier. These readings are then combined to adjust the speed of the low-profile fans, which are mounted deep within the chassis to minimise noise. During quieter sections of music, when the input signal drops below a set level, the fans are turned off entirely and remain inactive until the signal level rises above the threshold for a specified period.

Extensive thermal testing was conducted to develop a control system that delivers the necessary cooling for the product at any given moment, using the minimum active cooling required.

When everything aligns, it creates a cooling system that enables the amplifier to perform optimally while occupying minimal space.

Utopik

DW: Another critical aspect of the amplifier’s thermal performance is the new Utopik power supply, which has been specially designed for this model. It is like the supply in Solo 800, but is scaled down to meet the power requirements of Solo 500.

As well as having extremely impressive efficiency across all conditions, another key feature of the Utopik supply that contributes to the thermal performance of the amplifier is its ability to vary its output voltage.

These ‘auto-voltage rails’ enable us to adjust the Utopik’s output voltage to match the audio signal, ensuring it only delivers the necessary power based on the content and volume. This prevents excess power from being generated and wasted as heat – thereby improving overall amplifier efficiency and resulting in a much cooler-running amplifier.

This feature is only possible because Utopik is a switched-mode power supply, which could not be achieved with the traditional linear power supplies found in many other amplifiers.

Linear power supplies also require massive transformers, which significantly increase their overall size. Because Utopik is a switched-mode power supply, we avoid the need for a large transformer. As a result, the size of the power supply and the amplifier overall is much smaller – this is one of the main reasons that allows Solo 500 to be so compact.

Industrial design

AB: Solo 500’s overall aspect is one of minimalist and sophisticated beauty, with a seamless construction of precision-machined pieces, which gives the impression of a single aluminium mass. Upon closer inspection, you see the machined-from-solid casework, with its combination of clean lines and elegant curves, is punctuated by finely designed and characterful details:

• Vents: The vents on the top surface, with their crisp outline and smooth catchlight surface, disguise the openings for air to exit the cooling system.

• Front face: The front face of Solo 500 features a beautiful, smooth swept surface, which meets with the lower section through an elegant fillet, which evolves and varies depending on lighting conditions. The lines of these faces lead your eye to the centrepiece, the roundel.

• Roundel: The roundel at the centre of the front face revolves when viewed from different angles. Its steel body and glass front surround the beautiful radial chrome detail behind, with the Linn logo illuminated during operation. Framing the roundel, the recessed groove illuminates during operation, and adds playful character when powering up, entering and exiting sleep mode.

Manufacturer

Linn

www.linn.co.uk

+44(0)141 307 7777

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GIK Acoustics Introduces the Sound Block StackPack

Atlanta, GA, USA — GIK Acoustics introduces the Sound Block StackPack, a bundled acoustic solution offering scalable, high-performance control for critical listening environments. The StackPack combines three purpose-engineered GIK Sound Blocks into a single, space-saving vertical array, suitable for professional studios or audiophile listening rooms. The StackPack delivers targeted acoustic control in a convenient tower format, reducing clutter while enhancing both performance and aesthetic appeal.

Comprehensive Acoustic Control in a Compact Design

Each StackPack comprises:

Two scattering Sound Blocks fitted with wooden accent plates, designed specifically for high-frequency diffusion.
One Sound Block featuring GIK’s patented FlexRange Technology for powerful low-frequency absorption, effective down to 50Hz.

Crafted with premium Camira acoustically transparent fabric, these units are available in three distinctive styles — Beech Noir, White Hot, and Dusky Fawn — providing seamless aesthetic integration into diverse interiors.

Modular and Flexible System

The modular design of the Sound Block StackPack makes it an exceptionally versatile system, offering users the flexibility to position units in multiple configurations — behind speakers, on the back wall, side walls, or any other strategic location to optimize acoustic performance in various room setups.

“The Sound Block StackPack is a super-efficient way to drop serious freestanding coverage into your room without overthinking it,” states Paul Bishop, GIK Designer. “With these three striking finishes, you’ve got a ready-to-go solution that looks sharp and performs even better – no need to configure a custom stack, and the discount makes it even easier to say yes.”

Key Features

Space-saving vertical layout.
Combines broadband absorption, precise bass control, and targeted sound diffusion.
Modular and pre-configured for easy setup.
Effective full-range acoustic treatment for compact spaces.

Purchasing the Sound Block StackPack provides customers with a 15% saving compared to individual Sound Blocks, offering an efficient and cost-effective acoustic treatment solution.

Complimentary Acoustic Consultation

GIK Acoustics also provides complimentary acoustic consultation services for personalized room analysis and recommendations. Learn more at gikacoustics.com/acoustic-advice.

See the StackPack in Action at GearFest UK 2025

Visitors to GearFest UK 2025 on July 19th at Tileyard London can check out GIK’s Sound Block StackPack at the SX Pro stand, located in the Café area (Front).

About GIK Acoustics GIK Acoustics is a global leader in acoustic treatment solutions for recording studios, home theaters, listening rooms, and commercial spaces. Combining innovation, craftsmanship, and performance, GIK helps customers achieve superior sound in any environment.

TRIANGLE Unveils CAPELLA 2: The Next Generation of Premium Wireless Speakers

Soissons, France — October 2025 — French loudspeaker manufacturer TRIANGLE proudly announces the launch of CAPELLA 2, the new generation of its acclaimed active speaker system. Building on the success of the original CAPELLA, this latest evolution offers greater versatility, improved connectivity, and enhanced musical performance—all made in France.

An All-in-One Wireless Hi-Fi System

CAPELLA 2 combines TRIANGLE’s renowned acoustic expertise with cutting-edge digital technologies to deliver a seamless, high-fidelity listening experience. The system pairs two active loudspeakers with the new Stereo Hub 2, a wireless network player and transmitter powered by WiSA technology. This ensures high-resolution, zero-latency sound transmission with complete freedom of placement—no speaker cables required.

Stereo Hub 2: Smarter and More Powerful

The redesigned Stereo Hub 2 features a sleek, minimalist look that complements the speakers while adding numerous improvements:

Dedicated subwoofer output (adjustable via the CAPELLA app)
RJ45 Ethernet port for a stable network connection
Native support for Spotify Lossless, Tidal Connect, and Roon Ready
Rechargeable USB-C remote control
Cortex A53 Quad-Core processor (1.5GHz) for faster, smoother performance

Versatile Connectivity for Modern Listening

CAPELLA 2 supports Bluetooth 5.2, Wi-Fi, AirPlay, Chromecast, Spotify Connect Lossless, and Tidal Connect, allowing effortless streaming from any device up to 24-bit/192kHz resolution.
Audiophiles will appreciate Roon Ready certification and UPnP/DLNA compatibility for local playback.

Wired inputs include HDMI ARC (CEC), RCA, coaxial, optical, USB-B, and 3.5mm jack—ensuring seamless integration with TVs, turntables, and traditional hi-fi setups.

Precision Sound, Tailored to Every Room

Using the TRIANGLE CAPELLA App, listeners can fine-tune their system or use automatic room calibration (via iOS or the optional ZEN microphone) for optimal performance in any space. Each speaker delivers 100W RMS through bi-amplified Class D circuits, controlled by a dedicated DSP for ultra-precise signal management.

Designed and Made in France

Assembled in TRIANGLE’s Soissons facility, just 100 km from Paris, CAPELLA 2 reflects over 40 years of French audio craftsmanship. The speakers feature TRIANGLE’s signature 25mm horn tweeter with a magnesium/aluminum dome and a 165mm natural cellulose mid-woofer for lifelike vocals and dynamic bass.

Elegance in Every Detail

Beyond its acoustic excellence, CAPELLA 2 shines with refined finishes and premium materials. Anodized aluminum accents in a Champagne hue complement the high-gloss lacquered cabinets, available in Space White, Astral Blue, Space Black, English Green, and Oak.

Pricing and Availability

CAPELLA 2 will be available from early 2026, priced at €2,499, including:

Two active CAPELLA 2 speakers
Stereo Hub 2
Accessories box

Optional add-ons include:

TRIANGLE S05 speaker stands (€279/pair)
TRIANGLE LUNAR 3 turntable (€699)

The Renaissance Roadshow: The Finest Hi-Fi, On Tour

17 October 2025 — United Kingdom: Starting this autumn, the Renaissance Roadshow will once again tour the UK, celebrating the arrival of two of the most exciting high-end audio products of the year: the MOON 371 Network Amplifier and Audiovector R 10 Arreté loudspeakers.

A series of exclusive in-store launch events will take place across the UK, with each event focusing on one of these outstanding products. Attendees will enjoy a lively and informative presentation from the Renaissance team, followed by an unforgettable listening session. Warm hospitality, friendly conversation, and audio revelations are guaranteed.

Discover the MOON 371 Network Amplifier

The MOON 371 Network Amplifier challenges conventional expectations of what an audio system can be. Far beyond a typical integrated system, the 371 seamlessly combines the functions of an amplifier, state-of-the-art network player, DAC, preamplifier, and phono stage in a single, beautifully crafted unit.

MOON’s industry-leading hybrid MHP power supply and advanced MDCA amplification technology combine for exceptional performance, while the flexible MiND 2 streaming platform enables seamless connectivity to leading music services.

Introducing the Audiovector R 10 Arreté

The Audiovector R 10 Arreté is a no-compromise floorstanding loudspeaker that redefines what’s possible in audio design. Handmade in Denmark, it features the latest generation of Audiovector innovations — including the newly developed Dual Air Motion Transformer.

Working in harmony with Audiovector’s Soundstage Enhancement Concept (SEC), it delivers an exceptionally open, precise, and three-dimensional treble, allowing music not only to be heard but truly felt. A new benchmark in craftsmanship and acoustic engineering, the R 10 Arreté is designed to enthrall the most discerning of listeners.

Kicking Off in Glasgow – Loud & Clear – 23 October

The Renaissance Roadshow kicks off at Loud & Clear Glasgow on Thursday, 23 October 2025, where guests will have the opportunity to hear the MOON 371 in action.

The event will include a short technical presentation, an extended demo, and plenty of time to chat with the Renaissance team and fellow enthusiasts.

The Roadshow will continue throughout the autumn and winter, with further stops planned at leading hi-fi retailers across the UK.

👉 For the full schedule and more information, visit: www.renaissanceaudio.co.uk/roadshow

Introducing the Clearaudio Mini Toolkit: Your go-bag for perfect vinyl sound

Erlangen, Germany 21 October 2025 – German analogue audio specialist, Clearaudio has launched its Mini Toolkit: a compact yet comprehensive collection of precision tools designed for the meticulous setup, maintenance, and care of high-end turntables and vinyl records. Housed in a robust, elegantly finished metal case, the Mini Toolkit places every essential for optimal vinyl playback neatly within reach.

From the precise installation and alignment of cartridges to the fine adjustment of tonearms and gentle cleaning of records, the Mini Toolkit neatly unites all the indispensable tools for system optimisation and vinyl care. It would make the ideal gift for any analogue enthusiast.

Clearaudio CEO, Robert Suchy, says: “Our Mini Toolkit gives you everything you need to optimise performance but also extend the lifespan of your turntable and records. Precise setup prevents tracking errors and wear, while regular maintenance ensures long-term reliability and sonic excellence. Every vinyl lover should own this box of tricks!”

The Clearaudio Mini Toolkit includes:

Cartridge Alignment Protractor – ensures ultra-accurate cartridge setup for optimal tracking and channel balance.
Smart Weight Watcher Digital Stylus Gauge – measures tracking force with milligram precision.
VTA & Azimuth Adjustment Tool – enables perfect calibration of vertical tracking angle and azimuth.
Smart Test Vinyl – for system testing and setup verification.
Mini Spirit Level, Bubble Level, and Screwdrivers/Hex Keys – for comprehensive leveling and adjustment.
Headshell Cable Set and Cartridge Mounting Screws – for secure and reliable signal connections.
Stylus Cleaning Brush and Pure Groove Record Brush – to preserve stylus and vinyl integrity.
Two Single Adapters – for practical use with 7-inch records.

Each tool has been carefully designed to meet Clearaudio’s exacting engineering standards, helping enthusiasts achieve and maintain the highest possible sound quality from their analogue systems.

The Clearaudio Mini Toolkit is available now, with a suggested retail price of £270/$350/€290.

Seismion Reactio 2

The principles of isolating audio equipment and decoupling it from its immediate surroundings are well understood. They have been a meaningful part of system building for many years. For the most part, isolation platforms are passive devices, relying on some form of dampening material between the platform surface and what it is placed on. Some of these can be comparatively sophisticated in terms of how they go about this process. It wasn’t too many issues ago I was looking at magnetic levitation. Yet, it is passive, nevertheless.

The Reactio 2 from Seismion takes an entirely different approach to the business of isolating components. The Hannover-based company specializes in building isolation devices for scientific and engineering applications where mechanical isolation is vital. This is not merely desirable. Rather than employing a passive system, they have developed an active system. It measures external vibration and applies specific counteraction based on those measurements.

Sensitive sensors

This is achieved by extremely sensitive piezoelectric sensors, which detect any external vibrations. An all-analogue electronic control circuit generates the required compensation forces to a top plate. This top plate is large enough to support most bits of audio equipment it is likely to encounter. The 65kg weight handling should be sufficient for most components. An XL version is available with a higher weight handling still. This would be sufficient to isolate a complete rack if you were inclined to do so.

One other aspect of the Seismion’s design is going to be appealing to anyone looking for a means of isolating a turntable. When the device is powered up, the Reactio establishes a ‘baseline’ for external interference. It then judges the weight and balance of the device on the top plate and self-levels it. Seismion claims that the measurement is accurate to a repeatability of 25 µm, which is likely to be better than what most of us will achieve with a spirit level.

No less usefully, if you need to adjust the device placed on the Seismion, the top plate can be locked. This means the sensitive hardware inside isn’t put under any unwanted strain. This also speaks to a certain confidence on Seismion’s part. They believe you will hear the benefits of what their equipment can do when it is powered on. Power is supplied via an external PSU. The platform is locked and leveled via a single button on the front.

Unobtrusive

While the engineering involved is unquestionably thorough, the Reactio 2 is not the most spectacular-looking object you can lavish the best part of ten grand on. It’s unobtrusive to the point of dull. While it unquestionably feels well-made, it doesn’t have the gloriously overbuilt feel we can associate with the high end. Nevertheless, with Seismion claiming -10dB of noise reduction from 1Hz (and up to 20dB by 5Hz), you’d need to be very confident in a passive system to claim anything similar.

For testing the Seismion, I elected to make use of the various turntables I had on hand. They are the most receptive devices to isolation. Valve-based electronics would also benefit, but none were available simultaneously. The most testing has been done with a Rega Planar 10 on account of its design. Beyond a tiny degree of pliancy in the feet, the Planar 10 is entirely rigid and designed for use on a wall shelf. Parking it on my rack near a speaker on one side yields respectable but not outstanding performance.

Tightening up

Placing the Rega on the locked Seismion has the immediate benefit of tightening up the bass response. The massive drum used in the ‘Sort of Revolution’ on Fink’s Wheels Turn Beneath my Feet [Ninja Tune] gains both depth and definition. This improvement is repeatable across both percussive and non-percussive bass. The Reactio 2 is providing a degree of decoupling in all states.

Switching the platform on makes a significant and immediate change. What is interesting is that the point where the Seismion makes the most profound difference is the upper midrange. With Christine and the Queen’s Chris [Because Music], where vocals are competing with heavyweight electronic underpinnings, the result is dramatic. With no outside interference hitting the cartridge, the jump in tonal realism, detail, and three-dimensionality is significant. This particular Planar 10 has been on hand since 2019, and I can confidently say that I’ve not heard it perform better than this.

More pliant

Running the same tests with an AVID Ingenium Twin (also unsuspended but with more pliant feet) reveals a similar benefit. The reduction in interference affecting the playing surface enables both cartridges in use on the AVID to achieve considerable gains in clarity and realism. Interestingly, the AVID does not demonstrate the same improvements in its bass response. This might be due to the role its feet play in its overall performance. The final turntable used, a Vertere MG-1 MkII, yields the most mixed results. Unlike the other two designs, the Vertere has internal isolation, which is partly in conflict with the Seismion. The benefits to vocal and instrumental performance are still readily apparent, but some of the flow and rhythmic energy of the Vertere is lost when the Reactio 2 is powered up.

While it might be best not to view the Seismion as a panacea, the effect on unsuspended turntables is genuinely impressive. The price gap between the Planar 10 and the Vertere in the configuration they were tested in is around ten grand, or the price of the Reactio 2. The platform narrows the gap between them to something approaching subjective preference. For turntables of this nature, the effect is sufficiently big that, even at its significant asking price, the Seismion is something you should consider as an upgrade path. This is the cleverest and most carefully thought-out device of its type I have yet to test. It offers huge system upgrade potential.

Read more about Session’s approach to active isolation here.