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Johnny Cash: Songwriter

Down a tiny and narrow street in Copenhagen hangs a handwritten poster in a window with the headline “15 reasons why Johnny Cash is the coolest man in the world.” I agree. He is pretty damn cool; his voice, the musical style, his life, his love, and that whole ‘The Man in Black’ thing he did so well. So, anytime more of his previously unheard recorded music is released, it’s good for Cash fans everywhere, which brings us to Songwriter.

Of course, most of us know his hits. The Walk The Line movie made him famous to a new generation of listeners. And the Rick Rubin recordings are all great as well. And now John Carter Cash, Cash’s son, has dug out some recordings Cash did in 1993 that were never released because Cash started working with Rick Rubin.

But unlike the Rubin recordings, these are all original songs entirely written by Cash himself and much akin to the kind of style we know from his previous recordings before Rubin. The lyrics are straightforward and the salt of the earth—Americana at its roots. My streaming services keeps playing Country music after the Cash album ends. But I don’t consider Johnny’s music ‘Country’. Not his previous stuff and not the new album either. Granted, my perspective might be skewed by ‘Bro-Country’, but I’ve always felt Johnny Cash was Americana before there was Americana!

No interpretation is necessary to understand his lyrics. Johnny Cash shoots the story straight, without any frills or decorations. There are a couple of songs about the Vietnam War, which he might have written those lyrics earlier. There are several songs describing his other great love—besides music—his wife June Carter. They are very sweet and ring true.

Like all his previous music, this album features Johnny’s typical infectious locomotive rhythm, his deep resonant voice, and sparse and simple backing instrumentation. However, we don’t know the original style of these recordings; his son John, who co-produced with David ‘Fergie’ Ferguson (a producer who previously worked with Johnny Cash) peeled the recordings back to just Johnny’s voice and deep vocals. They then invited a select group of musicians, all of whom had played with Johnny Cash previously, to keep the music rooted in his spirit.

The opening track, ‘Hello Out There,’ is a sort of appeal/hymn/warning about where our world is headed if we don’t wise up, with spiritual connotations, so it is pretty much even more relevant now than ever. Meanwhile, the first single from the album ‘Well Alright’ is probably my favourite. It is a song about finding love in the most unusual places and how that is “Well, alright” for Johnny Cash. The final time he sings the words “Well Alright” in the song, his voice rises through the registers and brings back his old classics to mind. So, too, does the great rhythm of the track.

The many tracks about June Carter and their love are lovely and reveal Cash’s feelings about his wife. They are almost like stumbling over love letters he might have written her back in the day.

The Vietnam track ‘Drive On’ is encouraging despite its grim theme. Finally, ‘Like A Soldier’ is a confession. It is a very personal and honest song about his long struggles with addiction and his eventual triumph over it.

Songwriter paints a beautiful landscape of the American heartland. Johnny Cash followed his heart in his musical choices as much as in his personal life. This album reflects his legend, visions, and love for the places and people he loved. This might not be my favourite album by Cash, but it is Johnny Cash nonetheless, so, of course, it’s good. It is also an absolute must for Johnny Cash fans. And if you have never really listened to Cash, you should get this album. Cash was a great songwriter, and the tracks on this album seem very personal and close to the great man’s heart, and his fantastic voice echoes that throughout.

Bristol Hi-Fi Show 2025: Part One

The annual Bristol Hi-Fi Show took place on the last weekend of February 2025. Last year, the hotel changed its name from the Marriott Bristol City Centre to The Delta Hotels by Marriott Bristol City Centre. The carpets are newer, and the fixtures and fittings are more modern. However, the brutalist concrete architecture stays the same!

Bristol Hi-Fi Show 2025 focused more on quality than on quantity. Although exhibitor and visitor numbers appeared slightly lower than last year, the new product launches were as strong as ever. The Bristol Hi-Fi Show, organised by the UK audio retail chain Audio T, reflects the company’s friendly, down-to-earth approach. While a few brands ventured into high-end territory, this show emphasises affordable and accessible audio. The exhibitors, their products, and most of the launches at the show were all within those price points.

A show report can become repetitive quickly. So, instead of the usual solo exploration through the halls, I tasked a few of our reviewers with creating a top five list of products seen in Bristol. I deliberately asked them not to discuss the task with one another to determine if there were any overlaps. This week, it’s the turn of Paul Soor and Alan Sircom.

Alan Sircom

Lindemann Audio Woodnote:Combo and Revival Audio Sprint 3

We appreciate a system that outperforms expectations. The combination of Lindemann Audio’s new £2,250 Woodnote:Combo 2x50W streaming DAC amplifier (pictured on the left rack, 4th from top) and £990 Revival Audio’s Sprint 3 bookshelf loudspeaker achieves just that. The new Woodnote range offers high-performance 24bit, 384kHz PCM/DSD 256 digital audio and an innovative Power DAC design. Meanwhile, the rear-ported Sprint 3, with its 28mm soft dome tweeter and 180mm basalt sandwich woofer, is perfect for filling small rooms with sound.

Morgan Acoustics 1012

Designed by a Scottish designer living in Bristol, Morgan Acoustics’ 1012 floorstander is the culmination of five years of listening and fine-tuning. It features an AMT ribbon tweeter paired with a 6.5” midrange in a top box, along with an enclosed 10” mid-bass and a ported 12” side-firing woofer for the bass. With a sensitivity of 93dB, this loudspeaker design is just a few finishing touches away from becoming a potential world-class contender.

REL No 31s

Not all systems at Bristol Hi-Fi Show 2025 are affordably priced. REL decided to demonstrate what it can achieve when the gloves are off. The system included an Innuos Statement Next Gen paired with an Audio Research DAC 9 converter, a Reference 6SE, and – shown for the first time in the UK – a pair of Reference 330M mono power amps driving Stenheim Alumine Five floorstanders. Every cable was top-of-the-line Chord Company. IsoTek brought its state-of-the-art power products.

Why this high-end system? Two stacks of three REL No 31 subwoofers were arranged in a line array. That’s a cool £42,000 of low-end power and control at the end of about £240,000 of audio electronics. John Hunter of REL explained – and demonstrated – why these subwoofer stacks make a difference. This was one of the best sounds ever heard in the 35 years of Bristol Hi-Fi Shows!

Ruark R610 and Sabre-R

First presented in prototype form at Munich High-End 2024, the £699 Sabre-R represents Ruark’s return to its roots. From 1985 to 2006, the brand focused on high-performance small loudspeakers, including the original Sabre. Since 2006, the company has shifted its focus to portable DAB radios and, more recently, integrated music systems. The new Sabre-R is a compact two-way bookshelf speaker designed to work with the company’s £1,200 R610 music console. This system can include Ruark’s matching £250 RCD100 USB CD player and has MM phono inputs for a turntable. This makes it an ideal option for a second system, student setup, or bedroom use (although it currently lacks a clock-radio feature).

Wilson Benesch Horizon

Launched at the Bristol Hi-Fi Show 2025, Wilson Benesch’s new £25,995 Horizon floorstander is part of the company’s popular Fibonacci series. Positioned between the A.C.T. 3Zero stand-mount and Discovery 3Zero floorstander, the Horizon utilizes the company’s Tactic 3.0 drivers, Fibonacci tweeter, and a highly advanced carbon composite monocoque enclosure for ‘unparalleled’ rigidity and damping. It is said to reduce noise significantly compared to similarly sized wooden cabinets. When played through an excellent CAD front end – showcasing the first appearance of the new CAD 1543 Mk III digital converter – the Trilogy Audio 915R preamplifier, and a pair of the new 994 mono power amplifiers, the entire system delivered exceptional control and detail while maintaining a strong sense of musical energy and enjoyment.

Paul Soor

Sennhieser 620S

I’m in the market for headphones. I recently realised I’ve had a world-class headphones system in front of me for the last ten years, and I have not inserted a single headphone. That was mainly because the system was miles away, but now it is next to me.

I went straight for the Sennheiser 820S (close back) and loved them from the first note—a delicate, considered sophisticated sound from the off. Nothing was exaggerated. I like that. I then tried the new, much cheaper 620S, also close back. It is engineered to be close to the characteristics of the 660s, which major on neutrality. Wow! It succeeds. Even straight after the 820S, I did not feel short-changed. At under £300, it is top VFM.

Lyngdorf Audio FR-2 with TDAI-1120 streaming amplifier

Thin speakers pressed hard against the wall? Like old Linn and Naim models? But the Lyngdorf sounded ‘correct’. I’d be intrigued to review this system. This £ 6,000 two-box system (comprising £2,000 TDAI-1120 streaming amplifier and £4,000 FR-2 loudspeakers, shown for the first time at Bristol Hi-Fi Show 2025) offers a taste of high-end audio without the disadvantages of space, cables, racks, etc. I’d be interested in reviewing it. I’d use it as intended, with the little amplifier on an adjacent sideboard.

Fyne Audio Vintage Classic Gold VIII SP

Straight away, there was an engaging, sophisticated, top-end sound from Fyne Audio‘s Vintage Classic Gold VIII SP. First dips, please! The music was spacious and effortless. The voices weren’t exaggerated but very real. There was no sense of overbearing bass despite the size. I was captivated. That might work in a small or medium room… like mine! Fyne was also showing off the new F500S series, but more on that later!

Wiim audio – WiiM Vibelink Amp

I wasn’t expecting the new WiiM Vibelink (shown for the first time at the Bristol Hi-Fi Show 2025) to be detailed yet quite sophisticated (at that price) and engaging at low volume—a whole system for around £1200, including nice speakers. I want to review this ‘simple’ system as a reality check in the high-end world I take for granted. It could be a great system for the next generation of Audiophiles.

Leema with Serhan Swift mµ2 Mk II speakers

The Leema room was impressive, with small Australian Speakers—Serhan Swift mµ2 Mk II. I love small speakers. These had an excellent leading edge yet a refined top end—not tizzy at all, which is what I’ve been hearing at the show. The speakers were reassuringly expensive! I want to review these, too!

Bristol Hi-Fi Show 2025: Part Two

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Stenheim Alumine Two.Five

One of the highlights of reviewing is an unexpected opportunity to spend time with a kit from companies you have admired but not had a chance to get in-house. That opportunity arose with a call from our editor to see if I was interested in reviewing the new Stenheim Alumine Two.Five floorstanding speakers. Stenheim speakers had always caught my ear at shows. They were always precise, coherent and seemingly able to pair well with any quality gear they were shown with. If I was unable to go to the canton of Valais in the Swiss Alps to visit Stenheim, then a small piece of Switzerland could visit me in Wisconsin.

I first encountered the Alumine Two stand-mount speakers ten years ago at Axpona. The room was not large, but the soundstage was well-defined, and the overall presentation had me sit down for an extended listen. I had not encountered them previously, and I came to find out the company had been started only four years before, in 2010, with the Twos arriving on the scene in 2011. An auspicious debut, to be sure.

Pay attention

Someone else was paying attention to this nascent company. Jean-Pascal Panchard was an engineer at Nagra. He also owned an audio store and was a long-time member of an active Audiophile club. As a lifelong audiophile, he took notice of the Alumine Twos when they were showcased early on at one of the audio club’s events. Jean-Pascal was so impressed that he acquired the company and is now the CEO and chief designer for Stenheim.

Getting to the heart of Jean-Pascal’s attraction, the Alumine Twos were a simple design that delivered a supremely coherent sound with smooth delivery. Their use of aluminium for the enclosures in panels brought a few advantages. First, they had very little enclosure vibration compared to other speaker cabinet materials. Next, the aluminium did not add any coloration to the sound. Coloration hides the information in the music. Finally, the aluminium panels were thick enough to be inert yet not so heavy as to be impractical.

Fives and Threes

The Stenheim line grew to include the Reference Line and the Alumine Fives and Threes. There was, however, room for one more speaker in the Alumine line. Enter the new model Stenheim Alumine Two.Five! Jean-Pascal and the team asked what if they took the primary Alumine Two stand mount design and crossover and added more cabinet space to enhance the bass response. During the design process, they added a second bass driver while retaining the two-way crossover to reduce complexity.

The ported design choice echoed Stenheim’s other speakers, allowing for greater bass extension without the additional engineering challenges of sealed speaker designs. The careful decision allowed for an additional 10dB in bass response versus the Alumine Twos and created a very room-friendly sized tower design that can blend into nearly any room. Colour choices include Dark Grey, Light Grey, Black, Ivory and Mocca, allowing easy integration with various décor.

Design magic

Part of design magic is knowing where to make critical choices. The decision to stay with a Two-Way crossover in the Stenheim Alumine Two.Five is one thing. Not compromising on parts is another. Each part choice involved decisions on quality (always high!) and sonics. Listening tests were required for each choice throughout the design process. The Two-Way option may have led to a simpler design but never to a compromise on sound quality or coherency. The drivers are manufactured to company specifications, and they are paper for the bass drivers and silk for the tweeters. Paper is used for its comparatively light weight and rigidity.

Each driver is specially coated with a company-specified chemical treatment to achieve the desired performance goals. The placement of the drivers is also not in the centre of the speaker front. They are each slightly offset toward the inside of each speaker. There is a specific Left and Right speaker in each pair. The bass ports are also off-centre towards the outside as the enclosure design uses their placement to optimise the bass response and functionally reduces any port noise to zero.

The speakers are shipped with floor spikes and floor saver discs to allow room coupling and adjust the listening angle as needed. The spikes and discs came with installation tools and were installed easily. At 45kg each, the Alumine Two.Fives are easily manageable for two people to set up. Given their high build quality and solid aluminium enclosure, the Alumine Two.Fives are built to last. The warranty is five years; however, the expected lifespan is much longer.

Revealing

Getting down to some listening, I queued up, via Qobuz, Sophie Zelmani’s ‘All About You’ from her 2011 album, Soul (Epic). This well-recorded song features gentle acoustic guitar work, laid-back drums, and bass guitar backing Sophie’s soft vocals. The Stenheim Alumine Two.Five disappeared as the intimate club space revealed itself. Fingerwork on the guitar strings was complimented by subtle Hammond B3 keyboard playing. The depth was remarkable, and the band members’ physical location was clear. You could sense the spotlight on Sophie and the smoke from the ashtrays from nearby small tables. When a recorded song becomes a performance, a ‘you are there’ experience is rare and beautiful.

Next up was George Benson’s ‘Turn Your Love Around’ from his George Benson Collection vinyl record (2009 Rhino/Warner Records). This song brings the dynamics. Brass and backing vocals surround George’s beautiful tenor voice on this US top-five hit. The stage was filled with a who’s who of top session musicians and an all-star group of solo performers. George’s voice was delicate and soulful during the verse, and the full stage of singers and musicians launched the chorus’s crescendo. Brass came through with the brash tone expected of top trumpet and flugelhorn. There I was, sitting in the tenth-row centre, enjoying the show. It was a satisfying presentation.

SACD switch

I switched to SACD and selected the title track from Donald Fagen’s Morph The Cat (2006 Reprise). The bass line in this classic track drives the tune, and I enjoyed how solid and impactful the bass was presented from these slender, smaller tower speakers. At a specified 35Hz low end, the bass was solid and well defined. The sax solo had the necessary rasp and timbre. As I moved through various musical genres, I continued to appreciate the versatility of the Stenheim Alumine Two.Fives. Each was represented well by soft, dynamic, solid grooves and vocals, and the recording space was always as well-defined spatially as the recording could offer. The Alumine Two.Fives were not so much an interpreter of the music as a window to the recording, allowing me to appreciate what each artist wanted to convey fully.

Moving on to rock with a dose of metal, I put on the Redbook CD of Beauty and Rage from the band Red (2015 Essential Records). Track three, ‘Shadow and Soul’, is a great example of orchestral metal featuring the band backed by a full string section of violins, violas and cellos. While you get the crunch of rock guitars, they are framed by sweeping strings and piano. It is a vast and wonderful sonic envelope offering great scale and volume. Mike Barnes goes from crooning to screams as the song progresses.

Never flinching

The Stenheim Alumine Two.Five never flinched presenting the instruments with clarity. Strings came through as textured, and the vocals were clear and strident as intended. This is a dense track, and I kept thinking about the primary precept of Stenheim, which is a commitment to coherency. Tracks like this would suffer if there were anything ‘off’ about crossover design, driver specification, or cabinet stability. Instead, the song came through as a tapestry of sound. A complete work where you could appreciate the whole or the parts with equal pleasure. Bravo Stenheim!

Wrapping up the listening, I turned to the DVD-Audio title track of Linda Ronstadt and the Nelson Riddle Orchestra disc, What’s New (2002 Elektra). Ronstadt, a transcendent vocal talent whose career was cut short by illness, is at her peak in this recording. Backed by a superb touring orchestra, she presents the song with nuance and power. Centred in front of the stage with the orchestra surrounding her, the song is beautiful, and the sonic presentation is a masterclass in how to ‘mic up’ a singer and orchestra.

The instruments frame her vocals, and she becomes the peak of the musical mountain, her clear and powerful voice delivering as beautiful a presentation of this song as I have heard. Clear, coherent and inviting, I was drawn into the music. I stopped enjoying the moment the disc had run its course, with all nine songs having been thoroughly appreciated. Originally recorded in 1983, it is as stirring today as it was when it was released. Enjoying it on the Alumine Two.Fives was a special treat.

Power agnostic

Deciding on a new speaker involves so many choices to be considered. Not the least is how much power they require to offer their full capability. Fortunately, the Alumine Two.Fives are an easy 8 Ohm load with a sensitivity of 93dB and can be powered by as few as 10 Watts per channel. They can also thrive with big amps like the Sanders Sound Systems Magtech, offering up 500 Watts per channel into 8 Ohms of fully regulated class AB power. This almost power-agnostic aspect of the Alumine Two.Fives makes them an available option for nearly any amp choice. Listening to them with my Cary Audio CAD-300 SEI’s 15 Watts per channel of class A triode 300B tube power proved very satisfying. The Atma-Sphere Class D mono’s offering up 100 Watts per channel also paired beautifully with the Alumine Two.Fives.

Rarely have I encountered a loudspeaker that was so wonderfully adaptable when paired with various quality power amps. Both the Sanders and the Atma-Sphere amps ran through my Pass Labs preamp. Shiny discs were all played on my Oppo-205 via the Geerfab Audio D.BOB into a Cary Audio DMS-700 DAC/Streamer.

Stellarly

It mattered not to the Alumine Two.Fives, whose electronics I paired them with, presented stellarly in all cases. Many speakers require more careful gear matching. Stenheim Alumine Two.Fives are less concerned with who they work with and will deliver the best of what you give them. This is a speaker to build your forever system around.

Slightly more than a decade after its founding, Stenheim has won many awards for Best of Show and Design Innovation. Their most recent successes were Best of Show awards at Axpona and Munich in 2024. What is most impressive for me is that they gather accolades for their flagship Ultime Reference line and across all of their offerings. Each model is important as its own unique entity. Each model receives special attention to achieve the Stenheim level of quality. Whatever model you select carries the full weight and pride of the Stenheim brand. That is the key, as the Alumine Two.Fives are the single best pair of speakers I have ever auditioned in my listening room, regardless of price or system pairing. Yes, they are not inexpensive, but you very much receive the commiserate quality you are paying for. Highly recommended.

Technical specifications

Type: Passive two-way floor-standing speaker
2x 16.5cm (6.5”) woofers, 1x 2.6cm (1”) soft dome tweeter
Front bass reflex design
Full aluminium construction
Crossover employing high grade, audiophile components
Sensitivity: 93dB SPL, half-space
Power handling: 125W RMS, 250W Peak
Minimum recommended power: 10W
Frequency response: 35Hz to 30kHz
Nominal impedance: 8 Ohms
Dimensions (HxWxD): Height 94.5 x 23 x 27.5cm
Weight: 45kg each
Available in metallic Light Grey or Dark Grey with black front and rear
Warranty: 5 years
Price: £24,950-£26,750, $23,500-$25,200, €25,800-€28,100 depending on finish

Manufacturer

Stenheim

www.stenheim.com

Supplied in the US by

Nexus Audio Technologies

www.nexusaudtech.com

+1-781-775-5650

UK distributor

Audio Art

www.audio-art.co.uk

+44(0)203 745 8450

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Network Acoustics eno2

Hi-fi products often emerge from a ‘Eureka!’ moment for their designer. For Richard Trussell of Network Acoustics, this happened with the original eno ethernet filter. A trained electronics engineer, he retired from the IT industry and started selling hi-fi from home. His ‘Eureka!’ moment came when he discovered that a better-quality ethernet cable could improve the sound. This piqued his curiosity to find out why. The Network Acoustics eno2 is the latest development from that ‘Eureka!’ moment.

In 2019, Rich partnered with advertising creative and part-time cable maker Rob Osbourn. The two friends set about honing Rich’s prototype ethernet filter to produce the original eno. They formed a lockdown startup and christened it Network Acoustics. The eno2 I am reviewing here is a reworking of that original model. It’s redesigned to be compatible with 1Gb/s or 100Mb/s networks. It has an aluminium case instead of a plastic one. Network Acoustics also ditches the captive output lead, allowing users to choose their cable. It comes with one of Network Acoustics’ high-quality 0.75m streaming cables. It’s also available as a Streaming System, including an additional 1.5m cable.

Doubters gotta doubt

Trussell says some doubters will tell you the ethernet signal is digital and thus incorruptible. Still, he points out that it is, in fact, an analogue waveform, a bit like a sine wave. That noise can get into the cable, mix with the signal and adversely affect the sound. This noise is mainly RF, coming everywhere from sources such as wi-fi, mobile phones, TVs, satnav, Sky and many more. This noise, he says, can get onto the earth plane and interfere with the timing of the conversion process in your DAC.

The eno2 is a purely passive device. It uses a new version of its proprietary eight-core electronic filtering technology. The Network Acoustics eno2’s filter targets the electrical noise without interfering with the ethernet signal. Trussell found that the thickness of the aluminium case could also hamper the filter’s effectiveness. He tried many variations until he found the thickness most effectively shielded the circuitry from external RF interference. The box sports two high-quality Neutrik RJ45 ethernet sockets, and the 0.75m cable supplied uses high-purity silver/copper alloy.

As recommended, I connected the eno2 in the preferred configuration between my English Electric network switch and the Innuos Zenith MkIII streamer. Even though a network switch re-clocks the signal and has a degree of galvanic isolation, Trussell says they can add electronic noise, hence the need for a filter further down the signal path. I played the Innuos through a Pro-Ject PreBox RS2 Digital DAC, Avid Accent amplifier and Russell K Red 120Se speakers.

Dramatic Tutu

I started with a little Miles Davis and searched Qobuz for the title track from his Tutu album. The difference the Network Acoustics eno2 made was dramatic. Instantly, the soundstage opened out; the bass line with its typical Marcus Miller growl was tighter, more tuneful and easier to follow. Davis’s trumpet had more presence, with a better insight into how he shaped and crafted each note in his devastatingly understated style. Percussion and drums were better focused and sharper, and they provided more insights into how the drummer hit the skins and cymbals. In other words, it all hung together better and made more sense musically.

You can’t beat a beautifully recorded vocal, so I turned to ‘Build Me Up From Bones’ from the Sarah Jarosz album of that name. Straight away, I could hear so much more detail in her mandolin play, its attack, body, note shape, and volume, while her voice took on a presence, openness and solidity that made her sound more like she was in the room. There was better separation, definition and voicing of the plucked and pizzicato violin backing, while the cello had more weight and bowing detail.

Presence and dynamics

I then searched Qobuz for one of my favourite guitarists, Peter White, and played the title track from Groovin’. The difference the eno2 made to the sound of his guitar was huge. It had so much more presence and dynamics, and there was a greater insight into his masterful technique and how he played each note. The trumpet in the background was also much better separated and easier to follow, while the reggae-style bass line was tighter and moved better. On the Network Acoustics eno2, you could explore each musician’s contribution to the piece.

I am a massive fan of the late, great Al Jarreau, and I next chose one of his favourite songs, which Chris Walker covered on his tribute album We’re in This Love Together, which is the track I decided to play. He is backed on this by keyboard legend Bob James and the amazing Gerald Albright on sax, and it was his sax opening that sold me on how good the eno2 is. It was better focused, more articulate and had more bite and graunch, while Walker’s vocals were much more open and had more space around them. The emotion in his vocals was palpable, and when Regina Belle joined him, the eno2 easily conveyed their distinctive characters. I also liked how I could hear better what Bob James was doing on the piano, while the bouncy bass line that helped drive the track along was tighter and more tuneful.

Comparisons

I also compared the eno2 with several lower-cost filters. I was undoubtedly convinced that the eno2 was worth the extra money. It greatly improves openness, soundstage, musical integrity and timing.

Network Acoustics suggests that using an eno2 between the router and the network switch is also beneficial. I only had one sample to try. However, using it between the switch and the streamer significantly improved the experience. It makes the music make more sense, which, in turn, enhances enjoyment.

Never underestimate this tiny, rather unassuming silver box. OK, it has no flashing lights, knobs or switches. But small as it may be, the improvement it brings in sound quality was tremendous. If you want to boost your streaming system’s performance without spending a fortune, the eno2 could be the answer. I strongly recommend it.