Articles Archive - Page 30 of 267

Music Interview: Dee C Lee

Dee C Lee is back with her first new music in 25 years.

Just Something, which is released on the iconic Acid Jazz label, is an album full of mostly upbeat and positive tracks from the British soul singer and songwriter, who has worked with acts including Wham!, The Style Council and Jamiroquai, and had a solo hit in 1985 with ‘See The Day’, later covered by Girls Aloud.

Opener, ‘Back In Time’, is a big and brassy, reflective disco-soul anthem that celebrates the power of music and the 7-inch single; ‘Walk Away’, which was co-written with ex-Style Council member, Mick Talbot, who plays keys on it, is Motown-style pop, and first single, ‘Don’t Forget About Love’ is summery and jazzy with flute, horns and organ, and a smidgen of The Style’s Council sophisticated sound.

But every so often there’s a touch of darkness to the lyrics – the moody and mellow ‘Mountains’ is a melancholy breakup song, while ‘Trojan’ sets an angry revenge lyric to a floaty jazz backing.

hi-fi+ spoke to Lee, who was married to Paul Weller from 1987 to 1998 – their daughter, Leah (who we interviewed in issue 214)has co-written a song on Just Something – about the record and why it was the right time for her to relaunch her career.

“I’ve got an excitement and a hunger for making music right now,” she tells us.

SH: After 25 years, you’re making music again. Why did you take a break from the industry?

DL: I made music for a very long time – I started early, when I was a young girl. I turned professional around 18 / 19.

All I’d ever done was make music and tour. I never had any love – I wanted to fall in love and have a family. So, when that started to happen, I was happy to take time out and just enjoy what it was like being a mum.

As it turns out, I was a bit rubbish – I’m lucky my kids are still standing – but it was worth doing.

Sometimes after coming away from something and then going back into it, the love is real – I think you can tell that in the music. The love is real for what I’m doing. I’ve got an excitement and a hunger for making music right now, so we’ll see how it goes.

The reception for what I’ve been doing has been great – I hope it keeps growing because that will help me to keep making music.

In 2020, Sky Arts made a documentary called Long Hot Summers – The Story of the Style Council, in which you reunited with band members Paul Weller, Mick Talbot and Steve White to perform a version of ‘It’s A Very Deep Sea.’ How was that?

It was lovely being with the boys again – we just looked at each other and clicked and made it happen, and it did trigger a vibe for performing again – I had been thinking about it for a little while.

Out of all the bands I’ve worked with, I really enjoyed The Style Council – not only did I grow musically from being in that environment, but I also got friends and brothers for life. There’s nothing I regret about it whatsoever – it was a great time.

So, the Style Council documentary made you decide to make music again?

Because of the documentary, I bumped into my old mucker, Eddie Piller [Acid Jazz founder / MD] again, who I adore.

He asked me if I’d make another record and I said I would but that there was nobody knocking at the door, and I didn’t know where to start. I didn’t want to put music out by myself again – it’s far too hard and I haven’t got that kind of energy.

He said: ‘Let’s do something about that – do you want to work with us?’

I jumped on that, and we made it happen quite quickly – the love and support that Acid Jazz has shown me has really helped. They have talented in-house musicians and production – it’s all good and it was like coming home.

It’s been even more pleasurable to make music – I’m with a record company that knows what they’re talking about and enjoys music. If they give you criticism, it’s constructive and not just mean.

I guess you get a lot of freedom and at this stage in your career, you haven’t got anything to prove – you’ve been there and done it…

Exactly. On a major label, unless you’re Beyoncé or Jay-Z, I don’t think you have much of a say in anything if you want that gig – you have to do what you’re told.

There are people out there who do that and that’s fine…

I make my living from music and I love music… I couldn’t be involved with tracks that I feel have been massacred.

In autumn last year, you released the first tracks from the album – the double A-side single, ‘Don’t Forget About Love’ / ‘Be There In The Morning’…

‘Don’t Forget About Love’ was one of the fresher tracks I wrote for the album – I wrote it to order because I wanted to have something really upbeat. I got sent the backing track and there you go…

It has a summery, jazzy feel…

Yeah – I like to think that, as much as possible, everything about me should say ‘summer’ – I was born in the summer, and I love the sun. I’m a summer person and when I’m not in the sun I hope to bring it wherever I go.

Even when I write about things that are slightly darker, I like to counteract it with a light backing track.

The lyrics on ‘Trojan’ are vicious – you sound like you’re out for revenge on someone. Whoever they are, I pity them…

(Laughs). The production is all bright and light, but underneath I’m literally threatening someone. The lyrics say it all – that song is about a friend gone wrong.

One of my favourite songs on the album is ‘Mountains’, which is a moody and melancholy track – it’s very atmospheric…

Thank you for saying that – it’s one of my favourites too. The only good thing about all these extra years that keep being added on – not to my pleasure, I can tell you – is that I’m growing with my own music.

I’m particularly proud of ‘Mountains’ because it’s about a heartbroken woman and some of the things that one goes through when a relationship breaks up. I think it says it all – when you’re so consumed by sadness, you can lose your mind. That’s what I was thinking about – it’s kind of deep.

The world is going through a dark time – you wanted to make an album that was upbeat and positive, didn’t you?

Yeah – I’m hoping it’s good for the soul because the soul doesn’t get fed enough these days. These are seriously such freaking dark times – it will stop one of these days, but, in the meantime, just hanging on to your sanity and your soul is hard. Music helps me, that’s for sure.

Had you been writing much music during your time off from the industry?

Not really, but there were a couple of old school tracks hanging around that are on the album – one is ‘Mountains’ and the other is ‘For Once In My Life’, which I wrote quite a few years ago. I went to New York on a writing trip and hung out with some writers and producers. I was young – I’d just left CBS Records and I was very angry with them. That song was about taking control – people were annoyed with me every time I tried to step up.

I write with different people, and I like to get different things out of my voice – I think I have quite a distinctive voice, but I don’t want to be too samey. It’s interesting and important for me to move around and work with different writers – it always brings something a little fresher out of yourself.

You wrote ‘Anything’ with Paul Barry, who’s worked with James Bay and James Morrison. That track has a slightly more contemporary pop feel than some of the others…

He’s definitely got that vibe. That’s what I mean about working with different writers. I like to see what it pulls out of me. I love that song – it’s very uplifting.

One of the songs on the album, ‘Walk Away’, was written by yourself and former Style Council member and keyboard player, Mick Talbot, who also plays on some tracks. It’s got a real Motown feel…

That’s right – I can’t believe how Motown we went on that, but it felt good. Mick works with a lot of the Acid Jazz guys. Him and Steve [White] are like my brothers – they’re family.

You’ve written three songs on the album with Michael McEvoy and Ernest McKone, who you first worked with in the ‘80s…

They’re my go-to guys – when I started the album, I said: ‘Boys, right – I need some tracks.’ One of the songs they played me was ‘Don’t Forget About Love’ – they just know me – and straight away I was like, ‘Oh, yeah – that’s beautiful.’

There’s a little Style Council in there – it’s a bit like ‘If You Ever Had It Blue’, which wasn’t deliberate, but it just comes from loving the same kind of music. We’re very much part of that scene – the same musicians…

‘Back In Time’, which opens the album and was co-written by you, McEvoy and McKone, has a disco-soul feel. Lyrically, it’s a celebration of the power of music. It reflects on your younger years, when you were listening to vinyl and going out dancing…

Yeah – exactly. I’m glad that you can see where I’m coming from. It’s about missing the days of being able to dance. My God, if I start dancing now, I’ll put something out – I have to be careful, and I’ve got grown-up kids who still roll their eyes at me whenever I try and get on the dance floor.

The song is a reminder of being young and of how important music was in those days.

And your daughter, Leah Weller, has co-written a song on the record: ‘Everyday Summer…’

My darling daughter is a prolific and fabulous songwriter – she takes after her dad, I think. She’s got a baby, but she writes a lot more than me.

I heard ‘Everyday Summer’ when she was writing it and it stuck in my head – the melody and the way she sang it. I had an idea about how I would sing it and she said, ‘Oh, mum – I don’t know what to do with it. You have it.’

What music did you listen to growing up? Was it mostly soul?

I started off as a typical teenager and I was really into Marc Bolan and Mott The Hoople – I loved the song ‘Roll Away The Stone.’

I liked Labi Siffre and Joan Armatrading – I was listening to people like that because they were in the charts.

In the early ’70s, I started going to youth clubs and heard disco sounds – I was there, giving it all with the look, and listening to tunes that have now become part of my make-up.

After that, I stopped listening to what was in the charts – I went to a club and started listening to Donald Byrd, Lonnie Liston Smith and Roy Ayers.

I used to style my voice on the female vocals you hear on early Donald Byrd tracks like ‘Wind Parade’ – all very floaty and atmospheric. The vocals were almost used like instruments.

After that, I started listening to Chaka Khan and Rufus, and Diana Ross in her jazz days, like Lady Sings The Blues.

There was a lot of class about her singing and delivery, which I really liked.

You ended up working with Donald Byrd, Lonnie Liston Smith and Roy Ayers…

Yeah – that was the icing on the cake. I’ve done everything I needed to do in my career – I’m done! (Laughs). I’m not done, there’s still more to come.

Dee C Lee’s new album, Just Something, is out now on Acid Jazz Records.

Back to Music

Nordost QBASE Reference

Nordost calls its QBASE Reference a “multifaceted, reference-level AC distribution unit.” That’s cramming a lot of heavy lifting into a very few words. The QBASE Reference uses a passive distribution, star-earthed designand takes it to the extreme. This has proved successful with its standard QBASE distribution blocks. These are now in Mk 3 form and will betested here soon.

Like existing QBASE blocks, using star-earthing and ground separation for each connected device helps isolate the signal and ground conductors. This reducing the risk of introducing noise-related crosstalk. A central ground provides a route for stray voltages and eddy currents. It has internally wires of micro monofilament cables, as you might expect from Nordost.

QBASE Reference differs from its fellow QBASE distribution blocks in the degree of isolation, which is raised exponentially. The Nordost QBASE Reference adopts a dual PCB layout, with truly symmetrical live/neutral topology and separate grounding. This allows the user to place all the low-level signals on one entirely separate and isolated distribution platform. The second platform goes to the amplifiers and any additional QRT treatment. But before we get into that, it’s time to catch up (QATCH up?) with Nordost’s system.

QRT Revisited

Nordost’s QRT system has been heavily revised recently, and it’s worth looking at how things have changed. It bears almost no similarity to the QRT system of a few years ago. As the name suggests, QBASE and QBASE Reference form the basis of the tuning system. It’s the first (well, second… the first is the power cord from the wall to the QBASE) port of call. It’s also the power hub for all devices, both system and Nordost QRT.

From here, Nordost recommends a QKORE grounding system. This should run from the earth tag of the QBASE/QBASE Reference to a QKORE 6 (or similar) and then grounding connections to virtually every piece of non-QRT-related electronics in the system. However, on the QRT side, running a power feed to a QSOURCE linear power supply is recommended. This includes QPOINT resonance synchronisers under the audio electronics and the QNET network switch.

The QRT portfolio also includes QSINE, QKOIL (initially known as Qk1) AC enhancers, and QWAVE and QVIBE (or Qv2) AC line harmonisers.

Back to QBASE

Nordost’s QBASE Reference includes the company’s latest QPOINT resonance synchroniser technology at its core. It also features a QSINE AC enhancer and QWAVE AC line harmoniser for each side of the distribution system. While QPOINT resonant sync. tech is always active so long as the QBASE Reference receives power. The colour-coded front buttons activate and deactivate QSINE and QWAVE on either circuit. The two buttons on the front display four states for each side of the QBASE Reference. Predictably, all LEDs off means both are inactive, while blue means QWAVE is active, red means QSINE is running. Green means everything is ‘go!’

You can control the status of both sides, which is advantageous in rare cases where the sources and amplifiers/additional QRT devices differ. It’s possible, for example, that QSINE isn’t needed for a line input like a phono stage or CD/SACD player. However, both are used for preamp and power amplifiers. As an end user, you only need to cycle through the power buttons and potentially learn to live with two different colour status lights on your power distribution device. Listeners should experiment to see which QWAVE/QSINE combinations are ideally tailored to their system. However, in most cases, I suspect the full QWAVE and QSINE setup will work best. It did for me.

The QBASE Reference sits on four Sort Füt variants. These feet site and level the distribution unit. Nordost recommends it sits on a dedicated shelf; weighing in at a shade under 12kg and roughly the size of a stereo power amp, that’s probably a good idea. Also, the company says it should allow maximum separation between the system’s AC power cords and signal leads.

Simple sample

The manual for the Nordost QBASE Reference shows a sample system. This gives a good baseline system comprising a preamp, power amplifier, server, streamer and phono stage. Interestingly, this system takes the server away from the distribution unit and feeds it from the QSOURCE. I suspect this is because Nordost is considering a Roon Nucleus as a server and using the QSOURCE’s linear power supply as an upgrade.Other servers run from one of the QBASE Reference’s power outlets. Then use either an additional QKORE cable to one of the Ground connections or – for optimum performance – an additional QKORE unit with both connected via QBASE Ground.

However, I would consider active subwoofers and turntables ‘outliers’. Each requires careful listening inside and outside the Nordost QRT ‘ecosystem’ to find whether they benefit from inclusion. This isn’t sitting on the fence; a Kuzma Stabi R sounded more ‘comfy’ plugged directly into the wall, and a VPI Prime preferred life a little more inside the QBASE’s enclosure.

Two of the Nordost QBASE Reference’s ten sockets are ‘primary’ and designed for a preamplifier or integrated amplifier. However, for most people, the one on the correct defaults to a ninth standard input. Unless you have a proper dual mono preamp or integrated amplifier with two separate power feeds, the channel-two primary socket (top row, right middle) is not a primary one and is recommended to stay that way. If you do have a dual-mono preamp, there is a switch beneath a cap on the underside of the QBASE. However, one primary socket and nine secondaries should be enough for most systems, even with a QSOURCE attached. The rear panel includes an IEC C-20 input, laid vertically, with a fuse and the QKORE grounding post flanking it.

What it is, what it isn’t

In describing what Nordost’s QBASE Reference is (a very high-performance two-section AC distribution unit bristling with the company’s QRT devices), it’s essential to describe what it isn’t. This isn’t a power conditioner in the conventional ‘big filter’ sense, as it has no filtration. Nor is it an AC regenerator. It purifies AC by its topology and the QRT enhancement and harmonisation effect. Nordost feels the QBASE Reference and additional QRT devices obviate the need for conditioners and regenerators. I’d agree… with a caveat. If your power is so poor that heavy filtration or AC regeneration is mandatory, place what you need before the QBASE Reference. In other settings, the QRT concept will do a fine job of getting the most from your AC.

While we are talking caveats, two more spring to mind. First, although Nordost doesn’t mention it, the QBASE Reference improves slightly over a couple of days as the QRT devices gradually spread their sphere of influence across the system. Second, and probably most importantly, the QRT effect is cumulative and doesn’t sit well with similar grounding treatments. If you like what something like Entreq, Shunyata, TriPoint, or similar does, go with that.

None are intrinsically ‘wrong’ or ‘bad’; they do similar things in different directions. Don’t mix and match; nothing will suffer damage, but you are creating an infrastructure ecosystem that effectively works against itself. It’s like alternate tunings on a guitar; pick one. It doesn’t sound good to use standard ‘EADGBE’ tuning on the bottom three strings and ‘DADGAD’ on the top three. The different harmonising effects of two or more different ecosystems might not sound as extreme as trying two different tunings on the same guitar simultaneously.

Two reasons

Discussing guitar tunings is deliberate for two more reasons. First, a track highlighting what the Nordost QBASE Reference does so well features a guitarist who used alternate tunings to great success; ‘Canadee-I-O’ by Nic Jones [Penguin Eggs, Topic]. Here, the QBASE Reference ticks all the modern audiophile upgrade boxes; it lowers the noise floor, opens out the stereo image in width and depth, and tightens and deepens the bass all the while imposing no fundamental character on the system itself. So far, so everything!

Nic Jones’s recording speaks to what the QBASE Reference does so well because it lets the harmonic structure of both his playing and singing snap into focus. The delicate overtones and finger squeaks of his playing are made even more focused than usual… and that’s saying a lot. They aren’t exaggerated or given unnecessary emphasis; the QBASE Reference helps get the system out of the way of the music. His expressive guitar playing – the playing that leaves other guitarists considering their life choices – is given even more of a chance to shine. It’s not only that he seems more ‘there,’ but that sense of immediacy and musical cogency is brought out exceptionally well.

The other guitar-related concept is more philosophical. The sound of a good guitar is the combination of a great player and guitar, sympathetically recorded. That guitarist has spent years honing their craft and hundreds of hours practising that piece. The guitar is likely to have its intonation set perfectly and is tuned to perfection with strings at a balance point between being not so new that they sound jangly and bright and not so old that they sound muted and stretch out of tune too easily. The sympathetic recording is more than just a Shure SM57 six inches from the sound hole!

Off kilter

Get any of these things out of kilter, and what could have been a musical masterpiece falls back into the musically ‘outstanding’ or worse. The QBASE Reference applies similar demands to the audio system, ensuring everything works harmoniously to bring out the best in any recording. This goes beyond the surface ‘lowering the noise floor’; it’s like reducing the risk of those ‘meh!’ sounding system days.

This is a somewhat abstract concept to get across. We are used to listening to changes in timbre, tone, pace, detail, soundstaging or dynamics, for example. And yes, the Nordost QBASE Reference does all those things well. But what it does that so few other things can do is tie the whole system together. It doesn’t matter if the music playing comprises vast, Mahlerian orchestral swells in a concert hall you could land a Boeing in, small-group jazz in a room so small, the soundstage smells of cigarette smoke, or pumps out wild distortion across a field full of muddy revellers… the Nordost QBASE Reference ensures the system treats the music with equanimity and respect.

It’s a curious combination of making you relax into the music and wanting to listen more intently to those albums you know so well. That usually happens fleetingly in a system when all the Audio Gods are smiling on your equipment. Nordost’s Audio Gods smile more frequently, because that sense of a perfectly aligned system often happens with the QBASE Reference in place.

Wrinkle smoothing

By QBASE standards, the QBASE Reference is a hefty financial investment. But this also helps smooth out the wrinkles in Nordost’s QRT platform relative to its cable lines. The QBASE Reference’s price point puts it in Valhalla 2 and beyond territory. It demands a system and system infrastructure at a concomitant level of performance. With Valhalla 2 or Odin 2, if you put these cables on a more affordable system, the system will rise to the occasion. However, it can only rise so far… and the same applies to the QBASE Reference.

Because of its layout, the Nordost QBASE Reference is only available for US, EU, and Australian plug connections. The UK 13A power socket is just that bit too chunkinormous to fit. The 10-socket QB-10 would become, at best, a QB-4. However, if Nordost made the QBASE Reference large enough to accommodate ten 13A plugs, it would need to be far taller and would likely need a platform rather than a shelf on your rack. UK users can obtain an EU version equipped with Schuko sockets.

Nordost has always been about correctly establishing a system’s foundations, and the QBASE Reference is a cornerstone. This is your next upgrade for those already in audio’s First-Class lounge. This could be your first upgrade if you are in the category just below that reference point. Nordost’s QBASE Reference is important for the sound of your system.

Technical specifications

Type: AC Distribution system
Features: 10 (9+optional) inputs, including 1+1 Primary inputs for preamps and integrated amplifiers.
Star Earth Topology
Dual PCB Design, Symmetrical Live/Neutral Topology + Separate Grounding (with Voltage Directionality Technology)
Multiple, internal QSINE and QWAVE devices
Specifically optimised and modified QPOINT Technology
Pre-QKORE Ground Design
Resonance Control Sort Supports
Dimensions (WxHxD): 48x20x14cm
Weight: 11.75kg
Price: £18,000/$18,000

Manufacturer

Nordost

www.nordost.com

UK distributor

Renaissance Audio

www.renaissanceaudio.co.uk

+44(0)131 555 3922

Out of The Box – Diptyque Audio

Our ‘Out of the Box’ Series features companies who might slip through the net from time to time. Companies with something more than hot air, who make loudspeakers but make them with a rare passion that drives them and shapes the products they design and build.

When did you start the company?

We (Eric and Gilles) met in 1999. We soon discovered that we shared a passion for HiFi and music. We also had complementary skills and experience, Eric in mechanics and Gilles in electroacoustics. We built our first planar loudspeaker prototype in 2000, and since then we’ve never stopped making progress!

Is making a loudspeaker an ‘art’ or a ‘science’?

We think it’s exactly the combination of the two. We’re scientists and technicians who build loudspeakers with objective, measured elements. We are artists who imagine and design unique objects with new ideas, and a great deal of sensitivity in the service of an incomparable art: music.

What makes your loudspeakers different to other brands?

1. Our technology: planar loudspeakers with two unique patents: bipolar push pull and crossed push pull technology for the Reference model.

2. All the well-known qualities of planar loudspeakers in the midrange and treble + firm, controlled bass, even with small panels.

3. A unique aesthetic design with numerous customization options.

4. 100% French manufacturing with industrial partners near Toulouse who work for the aeronautics industry.

5. Eco-responsible design, 100% easy to repair.

What challenges do you face in making and selling loudspeakers?

Over the past 25 years, we’ve taken many steps forward, with the aim of improving our products and making them better known.

Here are a few key steps:

Finding the right recipe for the sound we dreamed of.
Creating the specific tools to rigorously manufacture membranes, coils, structures.
Finding industrial partners who meet our requirements.
Find financing for this crazy project and buy our own building.
Find and train talented technicians to work with us.
Participate for the first time, in 2018, in the Munich High End show.

Where do you hope the company will be in five or ten years?

We want to keep our identity and our know-how as a high-level craft company. We want to continue to develop commercially worldwide.

Where can consumers hear about your products and find out more?

We are now distributed in over 30 countries. See the list of our distributors on our website. We are present at numerous trade fairs, including the annual Munich High End.

Our UK distributor is Reference Audio Distribution.

Diptyque Audio Website

Out Of The Box – Coppice Audio

When did you start the company?

Coppice Audio was founded in 2019 by two friends who wanted to diversify from their normal carpentry based work, Ryan is a talented music producer and Mal always had an interest in Hi-Fi. The result has been an extremely rewarding journey into high end speakers.

Is making a loudspeaker an ‘art’ or a ‘science’?

Making speakers is both an Art and a Science. We start with a concept then use science to work out the technical aspects. After making a prototype it is back to the Art of critical listening to fine tune.

What makes your loudspeakers different to other brands?

Through multiple listening tests we found that some woods sound more musical than others. We use locally-sourced solid hardwoods for our cabinets. Wood is a natural product that can move and shrink and it took us a couple of years to come up with a method to overcome this issue.

What challenges do you face in making and selling loudspeakers?

Our biggest challenge is getting our brand known, we have dedicated any spare funds into doing as many shows as possible as you really need to hear the products, this has paid off as we are building a reputation for good sound and good quality as well as getting feedback from the hundreds of people who have seen us at the shows so we know for sure that we have great products and built Coppice Audio on a solid foundation.

Where can consumers hear about your products and find out more?

For more information visit our website where you can sign up for a newsletter or keep an eye on the show guides. Alternatively you can visit our listening room in Malvern, UK.

Coppice Audio Website

Music Review: The Cure – Songs of a Lost World

A lengthy introduction featuring guitar riffs, soft-toned keyboards, and pounding yet subdued drums marks The Cure’s return to the musical world with the opening track, ‘Alone.’ More specifically, it showcases Robert Smith’s return—the lyricist and composer who plays guitar, bass, and keyboard and provides lead vocals. He also produces, mixes, and more. You can see where this leads: Robert Smith is The Cure. Trusted longtime musician Simon Gallup plays bass on many tracks in their latest album, Songs Of A Lost World. This 14th studio album appears 16 years after The Cure’s previous release and follows years of extensive touring. Many of the tracks were written and recorded years earlier.
I lost touch with The Cure when Robert Smith switched from guitars to bass as his main instrument on Kiss Me, Kiss Me, Kiss Me, on which the poppy electronic-sounding drums and poppy ‘Why Can’t I Be You’ became too poppy for me (even though the album had a few good tracks).
Eight tracks are on their new album, and they feature many familiar features to The Cure fans, such as Robert’s unusual vocals—like a whispering, desperate voice crying out from the void!
Robert’s vocals sound as they always did, and you would never mistake his vocals for someone else’s. Likewise, as in the past, the lyrics on this latest album seem devoid of hope. With a grim outlook on life, love, and relationships, they are similarly familiar. Robert’s lyrics have not become more joyful or hopeful with age.
But many things are different. I am happy this is not a ‘poppy’ album, even though Robert has kept the soft-sounding keyboards on many tracks. But the guitars are ‘noisier’ and more dominant. Likewise, before Robert starts singing, the long intro that we encounter on the first track, ‘Alone’, continues on all the tracks. On many tracks, more than half of the opening is only instruments until his characteristic vocals finally kick in. His guitar use has also changed somewhat, and he seems more atmospheric than on previous albums.
‘Warsong’ plays like a noisy yet melodic funeral hymn about how hateful a couple can treat each other. Likewise, ‘Drone:Nodrone’ is an insightful song about how you can ruin your life, even while you know you are ruining things.
The very personal song ‘I Can Never Say Goodbye’ is about his brother’s death and is heartbreaking and very catchy at the same time. This track musically stands apart from the rest of the album, with its almost innocent/naive feel. Repeating pleasant piano notes and laidback guitars create a pleasant soundscape. You can almost feel the rain falling on the window as you feel Robert’s tears.
The lyrics of the album, especially the last track, ‘Endsong’, tracking at over ten minutes, deal with him dealing with old age and mortality – “It’s all gone, it’s all gone//I will lose myself in time//it won’t be long//It’s all gone, it’s all gone, it’s all gone.”

If you’re feeling down about your age, you should probably not listen to those lyrics—or maybe you should, as you will most likely feel better about your life.

Robert Smith is the only constant member of The Cure, but nothing indicates that Smith is slowing down musically, even though he might feel he is. On this album, lyrically, there is no hope in sight. But musically, The Cure has created a very atmospheric album, making one recall their earlier albums from the early 80s. This album is a welcome surprise from a man who started the band back in 1976 and who once again has returned with his unique voice and outlook on life. The Cure, a.k.a. Robert Smith, is back!

Stillpoints Ultra ESS equipment support

For more than a decade, Stillpoints has specialised in products addressing vibrations in audio equipment. its isolators specifically address the fact that when electricity is supplied to any discrete component, it vibrates. Those very high frequency vibrations cloud the signal, and in turn faithful musical reproduction. Further, Stillpoints recognises the internal architecture of every audio component is different. This is why all their isolation products bypass existing equipment feet, meaning Stillpoints isolators can be placed closer to internal components, sources of vibration, such as circuit boards and transformers.

In this review, I take a holistic look at the new Ultra ESS rack fully loaded with the latest V2 Stillpoints isolation products. I will be comparing the new Ultra ESS with Rail Grids to my ESS rack with X Grids and a combination of older V1 Ultra isolators. There are many Stillpoints V2 isolation products in this review rack that can be used in many permutations on any rack. Therefore, part two of this review, in a future issue, will look at the V2 products and the new, very special, Component Stand.

Looks different but…

The new Ultra ESS rack looks quite different to the open frame ESS rack with masts and central cross bars. The ESS remains a current product. The Ultra ESS retains the ingenious, precisely highly tensioned stainless-steel ropes, to which internal stainless steel support bars attach, that can be easily spaced as required. I say ingenious, because, in a previous life, I learnt that steel ropes have inherent compliance and mechanical vibration damping, provided by friction between individual wires. Think of a vehicle suspension leaf spring, albeit in helical form.

The reason the Ultra ESS rack looks so different to the ESS, is to address the needs of modern high-end turntables that can be big, heavy, and sometimes have two arms. They require a larger, higher load capacity platform, more so if you have a wobbly suspended wooden floor.

That explains the four solid legs complemented by Ultra 7 V2 feet at the floor, and Ultra 6 V2 feet at the top, supporting a beautifully and dimensionally precise formed black stainless-steel top shelf. Speaking to Paul Wakeen, Stillpoints founder, about the development of the rack, he mentioned the importance of metal to metal contact between isolators and supported components. So, where the underside of the top plate contacts the Ultra 6 V2 isolators, there is no coating. That’s just one example of the immense attention to detail invested in the design, development and manufacture of the rack, and the latest V2 isolators. Although initially the design goal was for turntables, it soon became clear the new design of the Ultra ESS greatly benefited all components, as I have found with my dCS Rossini APEX Player and Master Clock.

Evolution not revolution

Good news for upgraders. The design of the new Ultra ESS rack considers owners of the current ESS rack by allowing their existing support bars and shelves (be they Acrylic, X Grids or Rail Grids) to be simply transferred to the new Ultra ESS. Further, at the time of writing, Stillpoints are developing a trade-in programme should ESS owners want to upgrade to the new Ultra ESS rack.

Dismantling and rebuilding a system always takes forever so I was very grateful for the help and guidance from Fraser Robertson of Airt, who is the distributor for Stillpoints in the UK. Rebuilding the system together gave me some fascinating insights into the rack’s design and attention to detail. The rack is supplied in modular form, where the sides are pre-built with the pretensioned stainless-steel ropes. The sides are connected by two pairs of crossbars, top and bottom precisely joined by spigots locked by stainless steel socket head grub screws. All perfectly selected tools are supplied for assembly and set up.

Ultra precision

Getting the Ultra ESS rack and support bars perfectly level is critical. First, we levelled up using the supplied spirit level which was then supplemented by my own engineers’ precision level which can measure with an accuracy of 0.02mm per metre. After that we added the internal, beautifully machined, stainless steel Rail Grids, and the top plate, also precisely levelled.

Rail Grids are Stillpoints’ latest and most advanced interface between the support bars and isolators, allowing optimal positioning of the chosen Stillpoints isolator under components. We were then ready to present the components.

The Ultra ESS arrived with four shelves, three internal and one on top. Within the rack, I positioned my David Berning QZ mono power amplifiers on the bottom two and my Pre-One preamplifier above. The support bars were linked with two Rail Grids to support four Ultra 6 V2 isolators. My dCS Rossini APEX and Master clock were on the top plate supported with Ultra 6 V2 Isolators and Bases for perfect levelling without rocking.

Locked-in confidence

As a mechanical system, the Stillpoints Ultra ESS rack is a joy to set up with ease and micro millimetre precision. It gives confidence that once set up, it will remain that way for consistent performance that will not change with temperature, humidity or over time. More so because every interface is a solid mechanical connection that cannot go out of adjustment, ever. I can’t wait to set up a turntable on the Ultra ESS!

Important: The system had just been fully rebuilt into a new mechanical support infrastructure. So, as with all high precision electromechanical systems, our audio systems, over the following days, the system sounded better and better as everything warmed up and restabilised.

Freedom to experiment

This is the setup stage that really highlights the benefits of the new Stillpoints Rail Grids compared to previous solutions. I could easily position the Ultra 6 V2’s under each component and experiment where I thought the sound was best. As mentioned at the start, every component is different. Please don’t underestimate this. I remember being at a dear friend’s house many years ago listening to a high-end CD transport thinking “yeah that’s okay”, but then my friend repositioned the Stillpoints Ultra 5’s and I was shocked how much better it sounded to the point where I said, “I would now buy that transport!”. So, please do exploit the freedom Stillpoints allows to experiment. You will be shocked.

There is a common theme with all the music I’m enjoying with the new Ultra ESS. A new level of detail and understanding. What really stand out are nuances and subtleties in vocals, instruments, 3D space, atmosphere, and especially timing changes. Combined as a whole, those things can transform your listening experience and emotional response to another level, one that I have rarely experienced with any upgrade.

There is also a greater sense of full bandwidth with unlimited resolution throughout the spectrum, especially lows. For example, I continue to be blown away by how a bass guitar, a damped kick drum, a cello, brass instruments and more are now so clearly separated, on display with full colour, 3D and texture yet integrated with artistry and beauty I haven’t experienced before from an audio system. It’s both astonishing and moving.

Freedom to explore

I was listening to Peter Gabriel’s version of David Bowie’s ‘Heroes’ from the album Scratch My Back [Real World]. It is intimate and staggeringly authentic where the almost crying Peter Gabriel, feels to be performing only for you, perhaps for the last time. The track starts quietly and builds with modulating violins, a double bass is joined by a cello where, with the Ultra ESS, I can virtually see the low frequency waveform of the cello’s bowed strings with beautifully superimposed harmonies. Yet the higher frequencies of the violins and cello both interplay without interfering with each other.

It feels like a privilege to be allowed to witness a magical collaboration between amazing musicians with staggering results. At any time, I could choose to marvel at an individual musician yet, whenever I wanted, stand back and equally marvel at the whole; there was a newfound freedom to be inquisitive and explore at will.

I then noticed how sounds started, phrased and stopped, the leading and trailing edge, be that a note or a vocal. My system had a newfound clarity and without any sense of lag or smearing. Listening to ‘That’s the way’ from the album Led Zeppelin III [Atlantic], starts with multiple guitars, a ukulele plus a beautifully voiced electric guitar in the right speaker, of which I became aware that the rise and decay of the notes was far from linear. It was a complex profile that I could easily visualise that added new meaning to the lyrics. I was left open mouthed thinking how can a song take on a new meaning, and how did that happen?

Noise floor

I must comment on my systems new low frequency performance. It was always amazing, a trademark of David Berning amplifier designs. But it is now on a new super intelligent intuitive level. My system with the Stillpoints Ultra ESS rack somehow knows when to produce more bass depth with more resolution, texture and resonance at the right time. Yet another time, reign it in, all in proportion and with magical balance and empathy. Stillpoints has always been about adding nothing but removing noise, lowering the noise floor, and never has it been so evident as now, allowing the music to breathe, unrestricted, with ease.

That leads into another effect of the Stillpoints Ultra ESS rack, one that I had not previously considered. I was listening to ‘Ein deutsches Requiem, Op. 45: I. Selig sind, die da Leid tragen (Choir)’ by the Swedish Radio Symphony Orchestra from the album Brahms: Ein deutsches Requiem [Harmonia Mundi], that once sounded, dare I say it, dark and tonally slightly dull. The music is concentrated in the low to mid bands where there is so much happening both quiet and loud including the choir (male and female), their precise interactions, an organ, plus the hall. With the lowered noise floor, greater resolution was liberated – another Stillpoints attribute – and the piece now made perfect sense. The piece took on a new musical brightness where the close concentration of sounds was something to behold.

And I thought I knew

Before the new Stillpoints Ultra ESS rack with V2 isolators was installed, I had no complaints with my system’s performance with the ESS rack and V1 isolation products. Sure, there were some recordings where I felt things could be ‘better’ but, given I had a beautifully transparent, open and musically involving system, I put that down to the odd recording.

It’s now clear. Crystal clear. The excellent components I have can perform at an astonishingly higher level when floated on a lower, subterranean, noise floor. This is amongst the most significant upgrades I’ve ever experienced. The Stillpoints Ultra ESS rack with Rail Grids and V2 technology is an essential foundation product for high-end audio systems. It looks great too.

Pricing and Contact Details

Note: The review sample features Stillpoints Ultimate Ultra 6 V2 Isolators and Shelf Support options on each level. The Ultra ESS support can be configured in both height and width like a standard ESS support. This allows options for any performance level a client chooses based on either budget or preference for individual components, this includes the choice of Shelf Support and/or Isolator for each tier as well.
Review Rack configuration:
- 1 x Pair Ultra ESS 34” Tall Masts – price includes 4 bespoke $19,700 £17,500
- Ultra 7 Isolator Footers, 4 Ultra 6 V2 Isolators for top plate,
- 1 x Stainless Steel Bespoke top plate as support for a Turntable or other Source Component.
- 3 x Pairs 20” Blank Stainless Steel Support bars $4,500 £3,300
- 3 x Pairs Rail Grids – Stainless Steel Shelf Support $7,500 £6,000
- 12 x Ultra 6 V2 Isolators – 4 for each Shelf Support $15,408 £13,200
Total cost as tested: $47,108 £40,000
Current ESS owners should contact Stillpoints or Airt Audio to cost/facilitate upgrade options to Ultra ESS.

Manufacturer

Stillpoints

www.stillpoints.us

UK distributor

Airt

www.airtaudio.co.uk

+44(0)754 879 6382

Acoustic Energy Corinium floorstanding loudspeaker

For audio manufacturers, few activities are as fraught with risk as designing a product to occupy a new price point, particularly one a good bit higher than where you have built your reputation. Your existing engineering must be present in the new product but augmented so that you are seen as competing against the established order. If you change the basics beyond recognition, however good the product might be, there will be little to no association with the existing models lower down. These hazards all apply to the Corinium floorstanding loudspeaker for Acoustic Energy.

Corinium is the Roman name for the town of Cirencester, which is close to ‘home’ for Acoustic Energy. Since its early days of designing and building sophisticated AE1s, the company has long been perceived as making smaller rather than bigger speakers. Thus, the decision to make the Corinium a floorstander looks slightly risky, but there is a nod to the company’s past in how the Corinium is laid out, which is quite a clever one.

Audentes fortuna iuvat

Or, as the Romans said, ‘fortune favours the brave’. Unlike other floorstanders in the Acoustic Energy range, including the hitherto range-topping AE520, the Corinium doesn’t space its drivers evenly down the front panel. At the top, the Tetoron 29mm soft dome tweeter and 120mm carbon fibre midrange are in close company with one another and handle everything from the claimed +/- 3dB roll-off of 25kHz down to 260Hz. They operate as a two-way stand-mount in the vein of the classic AE1 in terms of their relative position and their crossover point at a relatively traditional 3.4kHz.

The two 140mm bass drivers at the foot of the cabinet are designed to act in the same manner as augmenting a small stand-mount with a subwoofer (although, thanks to the bass drivers being on axis with the smaller ones and working in stereo, the crossover can be high enough to risk a slight directionality to it). In addition to separating them visually, the gap also improves the mechanical aspect of this relationship. While it might look like a relatively big speaker, the Corinium is, in some ways at least, intended to behave like an augmented little one.

To fulfil this premise, Corinium uses several new engineering concepts. Initial prototypes used the same carbon fibre tweeter as the 500 Series, but the decision was made early on to push for something lighter. The exact nature of what this lighter material might be is not something that Acoustic Energy wants to broadcast, but it’s a soft dome slightly larger than the carbon unit at 29mm across. It has a prominent surround and sits inside a shallow waveguide. The 120mm midrange is carbon fibre like the 500 Series but has been reworked to optimise it for the role. The 140mm bass drivers, while still relatively compact for something described as such, are the largest drivers that Acoustic Energy has ever employed.

Alea iacta est

Acoustic Energy’s ‘the die is cast’ moment that sets the Corinium apart from regular loudspeakers is in the crossover network. The crossover that manages the relationship between drivers is bespoke and benefits from componentry that simply isn’t commercially viable at the 500 Series price point. This factors heavily in the sensitivity and impedance measurements of the Corinium. In sensitivity terms, the 92dB/w claimed figure is usefully high but is matched with an impedance firmly pegged around the four-ohm mark.

What this means, in reality, is that the speaker isn’t hard to drive; the 100-watt output of Ayre EX-8 that is also reviewed in this issue was entirely sufficient, but it does benefit from good current delivery (at which the Ayre excels). Unless you own something valve-based, it is unlikely that the Corinium will be beyond most commensurately priced amps, but it isn’t as easy to drive as you might assume. Connection to an amp is made via a single set of speaker terminals.

The cabinet that contains all of this is relatively unusual by the standards of Acoustic Energy because it features a curved edge that helps with standing wave issues and looks rather smarter than more terrestrially priced models. This is partnered with a metal front baffle of 6mm thick aluminium. The cabinet is made from varying thicknesses of Resonance Suppression Composite depending on where it is used. Another departure is that the whole cabinet leans back at four degrees to help with time alignment, although this can be adjusted slightly by levelling the spikes.

On the rear spine are two ports, one venting the upper chamber and a larger, rectangular one helping the lower drivers. These ports have very little effect on the Corinium’s usefully high tolerance of boundaries. Under test, they were roughly fifty centimetres out from the rear wall. Still, they could have gone closer if needed, and their overall behaviour has been entirely benign, with only a little attention to their toe-in to ensure they performed at their best.

Aesthetically, the Corinium is, to this set of eyes anyway, a good-looking thing. You can reasonably argue that save for pointed dust caps on the drivers, there isn’t a considerable amount that ties it to Acoustic Energy designs of old, but the proportions and overall design are an attractive balance. Four finishes are available: a ‘Tectona’ wood, black and white sheen for £6,000 and the green of the review samples commanding an extra grand.

Described as British Racing Green, this colour scheme has grown on me considerably in the time they have been here, partly because it isn’t British Racing Green, which, heritage aside, is not a terribly prepossessing colour. This one is from the Bentley paint swatch. It lends the Corinium a sense of identity that is further helped by the fit and finish, even on these very well-travelled samples. It feels entirely in keeping with a speaker at the price and arguably of a higher standard than a few key rivals.

Sic infinit

‘And so it begins’… the listening, that is! Mat Spandl; Director and head of acoustics for Acoustic Energy showed up with the demo pair. Upon unboxing and placing them, his requested ‘sighting’ track was Taylor Swift’s ‘Exile’ from her Folklore album [Republic Records]. With no disrespect to Miss Swift, I think this is a fine album, and I own a vinyl copy myself; but she’s not necessarily the artist I associate with Acoustic Energy of old. The company also makes no secret that various rival designs were benchmarked against the prototypes and, while some of these were expected, some are a long way from what I associate with the company.

Credit where credit is due though, the Corinium does a tremendous job with this simple but heartfelt track. Bon Iver’s distinctive vocal turn has the weight and sheer presence it needs to dominate the opening section, and he’s underpinned by a piano with a persuasive amount of heft to it, as well as notes that decay beautifully away to nothing. When Swift begins singing, she’s no less believable, anchored between the two speakers: it’s delicate yet convincingly human-sized. The Corinium’s extensive comparative testing has imbued it with skills that weren’t necessarily in the repertoire of its ancestors.

Neither is this an aberrant one-off. Across a wide selection of musical material that requires delicacy, sweetness, and finesse, the Corinium has shown itself to possess all of them in abundance. Above all these things, there is emotional engagement that is consistently impressive. The astonishing ‘In the Morning (Grandmother Song)’ by Eliza Shaddad on The Woman You Want [Rosemundy Records] is delivered with every ounce of its sadness and anguish intact. Without ever suggesting it’s anything other than a fundamentally accurate performer, the Corinium can ensure that what you listen to is a performance rather than a rendition, driven by the superb performance and integration of those upper two drivers.

Up the scale, and the Acoustic Energy loudspeakers do an excellent job of delivering the extra space and weight that comes with it. Give the Corinium the live performance of ‘Hammers’ on Nils Frahm’s Spaces [Erased Tapes], and the result is profoundly and lastingly impressive. Here, some of the virtues that I have come to associate with the Acoustic Energy brand begin to make themselves felt. How it ensures that every rapid note is defined, delivered, and perceived as such rather than a more slurred general flavour of piano and hints that the speed and articulation that the Corinium’s ancestors that so endeared them to so many of us has not been forgotten in the bid to add new skills. It then defines the space Frahm performs in with accuracy and conviction.

Quam bene non quantum

Something else that begins to manifest itself as these larger scale pieces unfurl is that the low end of the Corinium is going to be the element that is most likely to divide opinion. For me, a man who owns a pair of original AE1s that he’s likely to be interred with, the Acoustic Energy has enough bass; indeed, it would be somewhat churlish to describe a speaker that bettered its ±3dB low frequency roll off of 38Hz in this room as being ‘bass light.’ Nevertheless, the Corinium is relatively lean in how it operates.

The substantial low note that begins Dead Can Dance’s Song of the Stars [4AD] is deep and beautifully defined, but it lacks the almost stygian depth that some similarly sized speakers at this price can attain with the same material. However, regarding a stentorian bottom end, I feel ‘how well, not how much’ reigns supreme in the Corinium’s bass performance.

There is a trade-off to this that is worth the price of admission. For all the tonal richness that the Corinium possesses, when you want it to go ballistic, every metallic green inch of it is an Acoustic Energy. Give it the heavyweight electronic workout that is Hybrid’s Morning Sci-Fi [Distinctive Records], and that bass response you queried earlier is suddenly perfectly judged. All too often, the speed and dexterity of this album are lost as the loudspeakers trip over the layered high-tempo basslines. The Corinium dances through them with dexterity and sheer urgency that has you ping an apologetic WhatsApp message to your long-suffering neighbour and nudge the volume up a little more. Pending them not demanding you receive an ASBO, the Acoustic Energy loudspeakers can take a lot of nudging, too, staying usefully uncompressed even when you lean on them.

Across the less couth side of my music collection (which, if I’m being in any way honest, is rather more than half of it), the way that the big Acoustic Energy has gone about its business has emphatically proved that it still knows the old ways of doing things. Emotional engagement comes in a few flavours, and while sometimes it is conveyed in the sadness and reflection of a piece, sometimes it’s every bit as present in something like the raucous Youth and Young Manhood by the Kings of Leon [Handmedown] where four young men are not going to let their big break get away from them and their determination leaks from every note. The Corinium is detailed, tonally correct and impressively forgiving. It’s also about as much fun as you can have with your clothes on.

Ad meliora

And then, when it’s time to stop being a headbanger, this new face of Acoustic Energy is all primed and ready to revisit its Taylor Swift sighting track and be all the things it demonstrated there. This speaker does things I haven’t always associated with Acoustic Energy, and it does it well enough to ensure that it earns its admission to the price point it contests without a shadow of a doubt. The most impressive part of all, though, is that it has done that without forgetting where it has come from, and I hope the Acoustic Energy Corinium points out the way of things to come for the company at all the levels it contests. As the Romans say, the Corinium points ‘towards better things.’

Technical specifications

Type: three-way reflex-loaded floorstanding loudspeaker with curved RSC cabinet and aluminium baffle
Mid-Range Driver: 29mm Tetoron soft dome tweeter, 120mm Carbon Fibre cone midrange, 2 x Frequency Range: 32Hz-30kHz (-6dB), 38Hz-25kHz (-3dB)
Sensitivity: 92dB/m/2.83v
Power Handling: 200W
Crossover Frequencies: 260Hz, 3.4kHz
Impedance: 4Ω
Connections: 4mm Single wired banana sockets / 9mm spade connections
Finish: Matte Black, White, Tectona, British Racing Green
Dimensions (HxWxD, inc. spikes): 110 x 23.5 x 38.5cm
Weight: 40kg (per speaker)
Price: £6,000/$7,499 per pair, (British Racing Green finish, £7,000 per pair)

Manufacturer

Acoustic Energy

www.acoustic-energy-corinium.co.uk

+44(0)1285 654432

Out of The Box – Chario

When did you start the company?

Chario was founded in Milan in 1975, and since our inception, we have consistently produced our loudspeakers in Italy. The company was established by Carlo Vicenzetto, known as “CHArlie,” and MaRIO Murace, our chief engineer, whose names inspired the company name, CHARIO.

We have always maintained a small to medium company size. Today, the company is led by Michele Nebel, who follows in the footsteps of his father, a key figure in the business. Consequently, we are now a second-generation family business, although we consider all our long-standing employees to be part of the family. This strong sense of camaraderie is essential to our company culture.

We also view our sales partners and distributors as extended family members. Carefully selected for their alignment with our values, we cherish the strong relationships we have built with each of them.

Is making a loudspeaker an ‘art’ or a ‘science’?

Chario respects the traditional Italian art of handcrafting. Each piece is unique, thanks to the use of natural walnut. A core principle of the company is to deliver loudspeakers without coloration. A loudspeaker is not an instrument; it should disappear into its environment, seamlessly blending with the sound. Achieving such a natural performance is the scientific aspect of our work. Since 1975, Chario has been dedicated to research in the fields of acoustics and psychoacoustics.

What makes your loudspeakers different to other brands?

We believe it can be classified into 3 simple processes. The solid handcrafted walnut construction, innovative sonic technologies and our distinctive styling. Our Academy drivers are full-apex, treated paper and Rohacell sandwich cone. This innovative construction, requiring specialised expertise and time intensive shaping of the Rohacell, results in exceptional driver rigidity, leading to more precise and powerful bass performance. Our walnut cabinets represent the pinnacle of our design philosophy. The use of solid wood is a deliberate choice, reflecting our commitment to both form and function. While many manufacturers opt for less demanding materials, we believe in the enduring value of traditional craftsmanship.

What challenges do you face in making and selling loudspeakers?

Our unique process is deeply rooted in nature. Each piece of wood embarks on a four to five-month journey of air-drying before we even touch it. We meticulously monitor its moisture levels, dancing with the elements to capture the perfect moment to craft. This natural approach guarantees exceptional quality but can sometimes challenge us to meet the overwhelming demand for our products. The wood is the heart and soul of our instruments. It must meet rigorous standards for both sound and beauty. Anything less is unacceptable.

Where do you hope the company will be in five or ten years?

Chario is more than a brand; it’s a passion. Our philosophy is our compass, guiding us as we expand our reach. As pioneers in the audio world, we’re committed to growing our influence while staying true to our sonic heritage. Our vision is a world where Chario is synonymous with exceptional sound.

Where can consumers hear about your products and find out more?

Chario has a global footprint, with products available in nearly 40 countries. In most markets, we collaborate with distributors who manage a network of dealers. These partners provide dedicated listening spaces where audiophiles can experience the Chario sound firsthand.

Chario Website

2025 Awards – DAC – Up to £10k

Our annual Awards are a celebration of the best in audio. Specifically, we have seen the best audio products over the last 12 months. In most cases, that means products introduced between late 2023 and the final months of 2024. However, if they are new to us, that counts too!

Over the following pages, we’ve found what could well be your next great audio purchase. We’ve tried where possible to cover the broadest spread of product categories and prices. We have also listed both award winners and highly commended products in many categories. In these categories, we have been almost universally blown away by the performance of these products. It’s amazing to think that an industry as inherently mature as audio (the first audio products predate the widespread home electrification schemes of the 1910s and 1920s, and the first branch of ‘consumer electronics’ was all hi-fi related) can still produce innovative products that move the needle and improve audio performance. But, each year, we keep seeing improvements in almost every aspect of the replay chain, and often those improvements are significant.

It’s also fascinating to see how the audio industry changes over time, which can be seen by how our categories shift from year to year. Certain products remain perennial members of the Award roster; it’s unlikely that any audio Awards will ever exclude loudspeakers or integrated amplifiers. However, we’ve noticed that categories that almost didn’t exist a year ago are now a significant part of the audio landscape. Network Switch, Network Filter, and Active and Streaming Loudspeaker categories were all sections of the audio world that either didn’t exist or were way outside of hi-fi+’s purview to be considered until recently.

Selection

Selecting products for awards is never easy, but our product selection process makes it harder. We want to replicate the experience of those who enjoy their audio devices rather than those who approach every component with a face like a bulldog chewing a wasp. That means we have a two-step pre-review process before a product reaches the review stage. A potential review product is loaned to the reviewer; if they feel it isn’t the kind of product they would buy, it’s sent to another reviewer who might be more in step with how that product performs. If, at that point, we can find no one who likes what it does, we send it back. Why? The product may not have been suitable for any of our review team members. If not, and the product is just wrong, we find denying it the oxygen of exposure is better than people buying it because “it can’t be that bad!” Or worse, the review is subjected to careful and unscrupulous massaging; I come from a theatrical background. I’ve seen excoriating ‘crits’ of shows dressed up to sound upbeat on billboards. The same goes for audio. If it’s bad, it’s far better not to have our name by it, than someone buy it!

The crème of the crop

This means that every review in hi-fi+ has already made the grade. Our reviews are already the crème de la crème. So, our Awards are the crème de la crème de la crème! That’s damn crème-y! But even in a list of products that is so admirable, there are always some that stand above the rest.

Audio magazines seldom exist in isolation. Our team interacts with people in the industry and enthusiasts. Some products keep coming up because they have ‘a bit of a vibe’. An example of this (from last year’s Awards lineup) is Soul Note. If the name ‘Soul Note’ is brought into the conversation at an audio event, it’s usually followed by someone else saying, “Oooh… that stuff’s nice!” There are always a few products each year that keep getting mentioned in and around the audio business. Some of those ‘vibe’ brands are in the pages of our Awards, every year.

Regarding product shortlisting, we’ve found that relying on the review published at the time is often more critical than cross-examining the memory of the reviewer months after the product was shipped back to the manufacturer. While, once again, those ‘vibe’ products stick in the memory, a reviewer that might look at several products a month – and has done so for many years – is unlikely to remember the nuances of something they tested almost a year ago. As reviewers, we should look at each product with fresh eyes, so we should purge our memories of what came before (some of the least valuable reviews compare the 2024 model with long-discontinued previous designs from the last century). The review itself is more of a snapshot of what the reviewer felt while reviewing it.

Trickle down

Many of the products over the next pages are the stuff of dreams. And some dreams don’t always come cheap. While some are in the ‘affordable’ class, many of these products are at the ‘aspirational’ end of audio. Some are at the ‘astronomic’ (literally… one costs as much as a short space flight). But crucially, what we’ve seen over the years is that these products form the basis for more attainably priced products. The lessons learned in making something that costs a small fortune filter down into the real-world.

This is not simply an attempt to justify sky-high prices, it’s an understanding that the bandwidth of audio is expanding in more ways than one. By making products that cost a fortune, companies haven’t abandoned the entry-level products. They’ve ceded the floor to a new generation of manufacturers. And they are winning Awards!

2025 Awards – Digital – Disc Player

Selection

The crème of the crop

Trickle down

Chord Electronics Ultima Integrated

A year ago, when I was visiting my local hi-fi dealer, he told me rather excitedly about a new integrated amplifier he had heard an early pre-production sample of. He was so enthusiastic that I made a mental note to get hold of one for review. That amplifier was the Ultima integrated amplifier from Chord Electronics.

It made its world debut at the Munich High-End Show last May but was only unveiled in the UK at the Bristol Hi-Fi Show in February.

It has an interesting backstory because, in this model, we see the Ultima technology Chord Electronics introduced five years ago in its high-end amplifiers trickling down to an integrated amplifier for the first time.

Chord Electronics started producing amplifiers for consumers and professional recording studio environments such as the BBC and Abbey Road. Since then, it has expanded into streamers, DACs, and phono stages.

Avionics background

John Franks, who founded the company in 1989, had a background in the avionics industry with the likes of Raytheon, AT&T, and Marconi Avionics. This experience, he told me, shaped the way he approaches design.

I was interested in learning more about the Ultima and how it came about, so I went to talk to him at the Chord Electronics factory. Asked to summarise his design philosophy, Franks said: “Being prepared to go as far as you need to go to make the very best thing that the technology of the time can do. And technology is always improving. In avionics, you cannot short-change and compromise a design because, if you do, planes can depart from proper flight. You must be prepared to push the envelope, and I think I have brought that philosophy over from avionics. It’s no compromise. It’s what I always wanted to do, and it’s been a helluva ride.”

The technologies that have trickled down to the new Ultima integrated are Chord Electronics’ dual feed-forward error correction and ultra-high frequency, switching power supplies.

Dual feed-forward

The dual feed-forward technology is based on a paper by the legendary Malcolm Hawksford at Essex University. It was then taken up and refined by Bob Cordell of Bell Labs before being further developed by Chord Electronics’ John Franks. Franks progressed Cordell’s dual feed-forward error correction topology and incorporated his own concepts in ultra-high-frequency power supplies that have underpinned Chord’s amplifier range since 1989.

As many regard the power supply as the beating heart of an amplifier, let’s look at that first. In a nutshell, the Chord Electronics switch mode power supply runs at 80kHz, which Chord says means it doesn’t interfere with any audio signals. The incoming power is filtered and rectified and then chopped using high-voltage MOSFETs. It is then passed on to a special ceramic-cored high-frequency transformer, rectified again and is then fed to Chord’s Dynamic Coupling system.

This couples the amp’s positive and negative rails with a strong magnetic flux to help cope with any high demand. Running the power supply at 80kHz also means the transformer can be much smaller.

Such power supplies were initially developed for use in the aerospace, telecommunications, and data processing industries where they needed high power in a space-efficient format. However, early variants used in the audio industry were often criticised for electrical noise, poor reliability, high engineering costs and generating electromagnetic interference.

Ten years after

In his white paper on his amplifier designs, Franks admits that it took him 10 years of “perseverance and innovative engineering” to overcome those problems, but he is adamant that this was the right approach.

He told me: “It is about controlling a drive unit rapidly and some of these 15in drivers are big and maybe have a compliant mass of 100g. It takes a lot to stop and start them within microseconds and you’ve got to draw down energy from your power supply very quickly. High-frequency switching power supplies can do that, whereas analogue supplies struggle.

“Smaller capacitors are faster to respond and also the recharge time on a high-frequency power supply is so much faster. People think they always have RF noise, but there isn’t if they’re designed right. Analogue supplies are passing anything that’s on the mains, and that could be anything, and a lot of it could be RF. So it is a total misconception.”

For those reasons, Franks has stopped using huge storage capacitors in his power supplies and opted for multiple, smaller ones. He believes smaller capacitors respond faster to charging and discharging demands than larger ones. The Ultima boasts four high-power line input phase-corrected power supplies designed to deliver excellent transient response.

Sliding bias

The amplifier operates as a Class AB sliding bias design, which means it operates in Class A most of the time, with Class B operation only coming into play in the most demanding situations. The output stages use Chord’s own metal-on-silicon MOSFET devices, made for them in an aerospace-sector fabrication house. They are a dual-die design, which means they are thermally coupled in production to match each other perfectly.

Franks’s development of Hawksford and Cordell’s original dual feed-forward technology is the other exciting part of the amplifier circuit topology. The Ultima has two additional amplifier circuits that monitor and correct the difference between the output of the reference input, both inputs fed to the MOSFETs, and the output of the power MOSFETs. If this detects a discrepancy, the circuit will add a ‘difference signal’ to the input of the MOSFETs to correct it and provide an accurate output. This corrected output is then fed back as part of the amplifier’s overall global feedback.

Franks says that Class AB and B amplifiers have an Achilles heel. While more efficient than Class A designs, the N channel devices that handle the top half of the music waveform hand over to the P channel devices that deal with the negative part of the waveform, which is where crossover distortion is generated. The dual feed-forward circuitry is designed to minimise this.

Unboxing

As I unpacked and handled the Ultima, it exuded quality. It shares the same 28mm thick solid aluminium front panel with the recently introduced Ultima PRE 3 preamp. All of its casework is made from precision-machined, solid aircraft-grade aluminium.

It is a stunning piece of modern industrial design, and its reassuring solidity is complemented by the customary Chord Electronics light show supplied by an internal ring of LEDs. Although mainly cosmetic, Franks hinted when we spoke that any spurious RF can be dissipated within LEDs.

The amplifier is minimalist in its styling, with just two large rotary knobs on the front panel to the left and right of the spherical on/off switch, which glows red when in standby mode and cycles from green to cyan to indicate it is ready to use.

The left-hand knob controls the volume and, when pressed, allows input selection. It has a light circling that changes colour to denote the selected input. Input 1 is a balanced XLR while the other three RCA line inputs are unbalanced. It also has an XLR AV bypass and a balanced XLR preamp output on the rear panel. The right-hand knob controls balance and AV bypass.

You have chosen, wisely

To evaluate the Ultima integrated I connected it to a pair of Russell K Red 120Se speakers, which are a favourite of mine. The Ultima, with its 125 watts of power, would drive them well.

My music source was an Audio Note CDT-Five CD transport and DAC 5 Special, which provided a super-high-quality input. I did not use the balanced input, but anyone who has source components that provide a balanced output is well advised to do so.

Setting the Ultima up was child’s play. Controls are minimal, so you can’t go wrong. Inputs are clearly marked, and polarity is easy to discern, and with the coloured light that surrounds the volume/input selector knob easy to see even from a distance; once you have memorised which colour denotes which input, you should be ready for action.

The remote control provided is also easy to use and responsive, so I used it throughout my listening. There is, of course, no phono input on the Ultima, but that is not unusual these days. Chord Electronics has its own to offer with the Huei MM phono stage and the Symphony if you have a moving coil cartridge.

Warmed to

I am pleased to say that the Ultima was one of those products that I warmed to from the very start. Straight in with a favourite track from guitarist Peter White, his version of the Johnny Nash classic ‘I Can See Clearly Now’, the Ultima impressed with its easy, detailed, layered, and dynamic presentation, portraying each player of this gorgeous instrumental in their proper place within the music. It was free from random fireworks or pitching elements at me that did nothing to enhance my appreciation of the music. No, the whole track hung together well, with great insight into how White played each note. The bass line was tight, tuneful and the Ultima conveyed its twists and turns beautifully. Drums and percussion were controlled and syncopated and the accordion part, often lost in the mix on poorer products, was well conveyed and separated.

Switching to the lovely ballad ‘Lo Siento Mi Vida’ from Linda Ronstadt’s Hasten Down the Wind album, the Ultima brilliantly conveyed the two guitars on the intro. It allowed you to hear the differences between them, while Ronstadt’s vocals came across as powerful yet sensual. The walk and growl of the bass line were well handled, and on the drumkit, you could hear various strikes of differing power and delicacy on snare or cymbals. And it all flowed beautifully with that dreamlike feel this track has.

Grabbing the Saxophonic album by sax ace Dave Koz, I was keen to play the track ‘All I See Is You’. The Ultima did not disappoint, conveying the body and ‘raunch’ of Koz’s tenor sax that gives it that typical quality you can only describe as ‘sexy’, and here it had all of that. The electric bass line that really drives the track along was conveyed with great pace and everything was in its place musically, playing its proper role in the appreciation of the track.

Ben Sidran is a favourite jazz singer/songwriter/pianist of mine and following up for me was ‘Sunny Side of the Street’ from his Enivré d’Amour CD. I know his voice well from seeing him live on many occasions and I can say the Ultima did justice to his style and sound. His vocals were expressive and characterful, while his Yamaha DX7 synth had the top-end sparkle and liveliness it should have. The excellent, raunchy bass line was tight and tuneful, while the saxophone was nicely voiced and articulated. The track moved and flowed well, and its staccato, lilting rhythm was conveyed well.

Mood change

Changing the mood, I reached for George Benson’s excellent 20/20 album and played the track ‘No One Emotion’. This track flies along at a breakneck pace and is unbelievably tight regarding the musicianship and arrangement, and the Ultima took it in its stride. Pacey, detailed, tuneful, dynamic, and controlled, it captured Benson’s immaculate vocals very well while that relentless synth bass line drove the track along at breathtaking speed. I could also savour Michael Sembello’s scorching guitar solo, which the Ultima pitched with just the right combination of raunch and poise.

Whether it was delicate guitar work from Larry Carlton or Earl Klugh, scorching sax from Dave Koz or David Sanborn, heartfelt vocals from Linda Ronstadt, or hardcore rocking from ZZ Top, the Ultima handled it all with control, detail rendition, and dynamics while holding it all together as a musical whole.

The integrated amp market has heated up in recent years, and buyers are spoilt for choice for good-sounding amps. Thanks to the Ultima, things just got even hotter. If you are in the market at this price point, you should consider the Chord Electronics Ultima.

Technical specifications

Type: Sliding Class A/AB, 2-channel integrated amplifier
Analogue inputs Four line inputs. Three unbalanced (RCA) one balanced (XLR). One AV bypass (XLR)
Digital inputs: None
Analogue outputs: One balanced pre out (XLR)
Input impedance 100k ohms
Power output 125Wpc @ 8 ohms
Frequency response 10Hz-200 kHz ±3dB
Distortion THD 0.01 % (20Hz-20kHz)
Signal-to-noise ratio 90dB on all inputs
Dimensions (WxHxD) with Integra legs 480mm x 130mm x 380mm
Weight: 14.75 kg
Price: £8,500, $11,250

Manufacturer

Chord Electronics

www.chordelectronics.co.uk

+44 (0) 1622 721444

Reed Audio Muse 1C and 3P

There are times as a reviewer when I find myself thinking along the lines of US Patent Office Commission Henry Ellsworth, who noted in 1843; “The advancement of the arts, from year to year, taxes our credulity and seems to presage the arrival of that period when human improvement must end.” In the case of turntables in particular, we’ve been working on the basic design process for some time, and it doesn’t require a terribly negative attitude to find yourself thinking like Ellsworth did.

Of course, for every Ellsworth, there is a Vidmantas Triukas; Founder, owner, and chief designer of Reed Audio. His work with Reed is a physical riposte to the notion that there are no new ideas in analogue. We have already looked at the genuinely innovative 5P tonearm in Issue 219. Now it’s time to look at what happens when Reed produces something more conventional… to a given value of conventional anyway. The Muse 1C turntable and 3P tonearm have a cumulative price that could, with a straight face, be called accessible. Does this dampen Reed’s endlessly innovative approach?

Simplicity

The short answer is, ‘not really.’ The Muse 1C is the brand’s most affordable turntable, and this has resulted in some simplification compared to the more ornate models, but less than you might expect. Key to this is how the 1C rotates its platter. While larger models have the option of both belt and idler drive, the 1C requires you to choose one of those options and have the 1C built to that format. While the belt drive is the less expensive of those options, the Reed 1C we tested uses the arguably more exciting choice.

This is a take on an idler drive where two opposing DC motors act on the central spindle. Reed avoids the issue of the motors working against one another by running them at slightly different speeds and fitting one with a different-sized drive wheel to ensure the rotational force is equal at all points. The assembly is then phase-locked loop controlled to ensure that it is synced together. One additional benefit of this wholly custom approach is that the 1C can rotate at 16 and 78 RPM as well as 33 and 45.

This drive unit, which looks for all the world like an oversized watch mechanism, acts on a Delrin platter that, at a whisker under 3kg, is relatively light by the standards of turntables at this price point. This is topped with a leather mat and sits semi-flush to the plinth. Given the relative potency of the motors and the lightness of the platter, the Muse is unsurprisingly pretty quick to spin up and has been utterly pitch-stable during the test.

Birch ply

The plinth itself is made from layers of birch ply, which can be left in its natural finish or sprayed black. Power comes via a supplied SBooster unit that connects at the back of the plinth. It is somewhat utilitarian but doesn’t need to be anywhere near your line of sight. The 1C is wide enough to accommodate any arm between 9 and 12 inches in length and has a mounting plate that will accommodate pretty much anything. If you fancy a new idler drive but don’t want to part with your existing arm, I would be surprised to find it doesn’t fit.

Of course, Reed’s reputation for tonearms means I suspect that most Muse 1Cs will be equipped with one of the company’s models, and any in the company portfolio will fit. As we have already looked at one of the more sophisticated Tangential 90-degree pivot designs, the 3P seen here is a simpler model with a conventional single pivot point. The wand itself is available in 9.5, 10.5, and 12-inch lengths, and the latter was supplied for testing.

This being a Reed device though, the fact the 3P only pivots around a single point doesn’t necessarily mean I’d describe what results as simple. The bearing had the behaviour of a unipivot but was secured via three pivots and both vertical and horizontal axis magnetic stabilisers. The wand arrives detached from the mount, and while connecting it up is more straightforward than with the Tangential Pivot models, it is still not a task to undertake lightly. One little bonus is that the headshell can be detached to simplify the cartridge fitting.

Necessary complexity

Part of the reason for this complexity is that the 3P scratches any itch you could conceivably have about setup and adjustability. I’ve seen arms with the means to adjust VTA on the fly, but the Reed trumps that with the ability to adjust azimuth in use, too. A small control that, more than anything else, resembles a tiny regulator allows for fine adjustment around the pivot point. A heavier counterweight is available for weightier cartridges, but the stock one could balance a relatively large and heavy Vertere XtraX without issue. Depending on your life choices, the lead-out cable can be captive or attached via a terminal block.

The combination of deck and arm appeals more the longer you spend with it. The two products are undoubtedly engineering-led in terms of their design; nothing here that doesn’t need to be, but there’s a beauty to the Reed that manifests itself via the fastidious nature of its construction and implementation. The drive mechanism is beautiful, and the 3P arm is barely less wondrous to look at, bridging the gap between engineering and sculpture. You don’t need to know anything about turntables to know this one is special. My inner Puritan would probably choose the black finish over the naked birch, but you have at least both options.

Using the Reed is logical enough once set up. It takes a few days to get used to the first button above ‘stop’ being 16rpm; a speed I’m not inundated with content for. The 3P arm also only sits very gently in its armrest unless you tighten a small screw on the underside to lock it into place. There’s no cover as standard but this doesn’t put the Reed at any significant disadvantage to most rivals that also do without.

Idler no idea

I had no clear expectations for what the Reed would sound like before I heard it, partly because my experience of idler turntables in my domestic listening environment is effectively none. To this end, I started listening to The Cinematic Orchestra’s Every Day [Ninja Tune] because the opening duo of tracks are firmly etched into my brain after two decades of use. From the moment the double bass in ‘All that You Give’ delivers its first plucked note, it becomes clear that the Reed does things in its way.

Those double bass notes have a heft and tangibility that, for a fleeting second, brings to mind direct drive but, just as quickly, has you noting that the Muse 1C is articulate in a way that isn’t always the case with such systems. The potency of the low-end is balanced against Fontella Bass sounding as delicate yet tangible as I can recall hearing her. As she pushes the peaks, the fractional waver and break in her voice are apparent in a way that isn’t always the case when she’s underpinned as effectively as this.

Further listening reveals this ‘hefty delicacy’ consistently repeats itself across a broad swathe of listening material. The excellent reissue of Ray Charles in Person [Atlantic] benefits hugely from what Reed can do. As a period recording, this isn’t something you would look towards for spleen-wobbling low end, but in the hands of the Reed, there’s a weight to the delivery that means the sublime ‘What’d I Say’ is that bit more forceful. When Charles begins singing, he’s the instant focus of your attention. That same tangible energy across the midrange and upper frequencies ensues that the Reed brings the material to life rather than simply reproducing it.

Walking the balance

The balance that the Reed Audio walks in terms of the accuracy of what it does is very carefully considered. Given the attention to detail that has gone into its engineering, it perhaps isn’t surprising that it tends to come down on the side of accuracy over and above out and out joy with most material you play on. While it was in on test, a copy of The Egg’s Albumen [Indochina] showed up after a spell of nostalgia-driven browsing on Discogs. Listening to this on the Reed back-to-back with the resident Vertere MG-1 MkII showed the differences in approach between the two. The Vertere is the more euphoric of the two devices. It’s keener to latch onto the time signature of what’s being played and slightly airier while it does it.

The Reed hits back – quite literally – with a low-end extension beyond what the MG-1 and, indeed, pretty much anything else at this price point can generate. It’s also easier to discern specific instruments. The flute refrain in ‘The Fat Boy Goes to the Cinema’ is a much more tangible and vibrant experience on the Reed. The more constrained feeling of space around the recording should not be confused with any reduction in the scale of the recording itself, which still has a good degree of separation and three-dimensionality.

The tests with the Vertere cart had been helpful and a decent way of getting a handle on what the Reed can do, but it undersells what the 3P arm can do because it makes very few specific demands. Removing it and running with a substantially less expensive but significantly more idiosyncratic Van den Hul DDT II was a rather impressive demonstration of its functionality. The DDT II is capable of monumental performance for its relatively sane asking price, but only if its particular needs, which are perfect alignment, VTA, relatively light tracking force, and respectably high compliance, are met. The 3P effortlessly adjusted to these requirements and secured what realistically counts as the best performance I’ve ever had out of this particular DDT II in the many years it has lived here.

The Whole Story

The character of the DDT II then makes itself felt in the Reed Audio Muse 1C/3P’s performance as a whole. It loses some of the utterly mesmerising bandwidth and accuracy of the Vertere. Still, listening to the brilliantly atmospheric Quatermass Seven by Little Barrie and Malcolm Catto [Madlib Invazion], there is a liveliness and richness that makes the Reed’s performance feel more natural and involving. It’s still the same balance the Reed struck before, but the gentle coloration of the Van den Hul works well in this instance.

This absolute confidence and flexibility to respond to your ancillaries is the core of Reed’s abilities. The fastidious engineering and attention to detail have been done in a way that looks out rather than in. I suspect that any arm you mount to the Muse 1C, be it made by Reed or not, will deliver everything it is capable of without drama or issue and mounting a 3P on any deck that can accommodate it is likely to yield spectacular results, too. Together, they are ready for whatever the rest of the signal path holds without fear or favour.

However intimidating it might appear at first glance, none of the engineering is here for the sake of being clever, and the more you use it, the more Reed’s Muse 1C and 3P’s distinctive way of looking at the challenges of analogue replay make sense. As long as the company keeps probing the limits of what turntables are capable of, I suspect any belief I might harbour that there is nothing more to achieve with vinyl can be put to bed.

Technical specifications

Reed Audio Muse 1C

Type: turntable
Drive System: Friction, belt, two direct current (DC) motors
Speed: 16, 33, 45, 78 rpm; 78 rpm can be manually adjusted
Speed stabilisation: Quartz-based phase-locked loop (PLL). Max deviation ±0.05%
Inclinometer accuracy: 1mm per metre
Finish: Moonlit Black, Karelian birch
Packaging dimensions (LxWxH): 65x52x35cm
Weight: 15kg
Price: £9,998 (belt drive), £11,998 (idler drive)

Reed Audio 3P

Type: tonearm
Arm lengths: 9.5”, 10.5”, 12” (12” version tested)
Armwand options: Wenge, Makassar Ebony, Cocobolo, Teak (light, dark)
Mounting distance, mm: 205.5/266.1/283.8
Pivot-to-spindle distance, mm: 223/251.6/295.6
Overhang, mm: 17/15.4/13.4
Offset angle: 22.9°/20.7°/17.6°
Effective mass: depending on armwand
Price: £4,298

Manufacturer

Reed Audio

www.reed.lt

UK distributor

Absolute Sounds

www.absolutesounds.com

+44(0)208 971 3909

SH: After 25 years, you’re making music again. Why did you take a break from the industry?

In 2020, Sky Arts made a documentary called Long Hot Summers – The Story of the Style Council, in which you reunited with band members Paul Weller, Mick Talbot and Steve White to perform a version of ‘It’s A Very Deep Sea.’ How was that?

So, the Style Council documentary made you decide to make music again?

I guess you get a lot of freedom and at this stage in your career, you haven’t got anything to prove – you’ve been there and done it…

In autumn last year, you released the first tracks from the album – the double A-side single, ‘Don’t Forget About Love’ / ‘Be There In The Morning’…

It has a summery, jazzy feel…

The lyrics on ‘Trojan’ are vicious – you sound like you’re out for revenge on someone. Whoever they are, I pity them…

One of my favourite songs on the album is ‘Mountains’, which is a moody and melancholy track – it’s very atmospheric…

The world is going through a dark time – you wanted to make an album that was upbeat and positive, didn’t you?

Had you been writing much music during your time off from the industry?

You wrote ‘Anything’ with Paul Barry, who’s worked with James Bay and James Morrison. That track has a slightly more contemporary pop feel than some of the others…

One of the songs on the album, ‘Walk Away’, was written by yourself and former Style Council member and keyboard player, Mick Talbot, who also plays on some tracks. It’s got a real Motown feel…

You’ve written three songs on the album with Michael McEvoy and Ernest McKone, who you first worked with in the ‘80s…

‘Back In Time’, which opens the album and was co-written by you, McEvoy and McKone, has a disco-soul feel. Lyrically, it’s a celebration of the power of music. It reflects on your younger years, when you were listening to vinyl and going out dancing…

And your daughter, Leah Weller, has co-written a song on the record: ‘Everyday Summer…’

What music did you listen to growing up? Was it mostly soul?

You ended up working with Donald Byrd, Lonnie Liston Smith and Roy Ayers…

QRT Revisited

Back to QBASE

Simple sample

What it is, what it isn’t

Two reasons

Off kilter

Wrinkle smoothing

Technical specifications

Manufacturer

UK distributor

Looks different but…

Evolution not revolution

Ultra precision

Locked-in confidence

Freedom to experiment

Freedom to explore

Noise floor

And I thought I knew

Pricing and Contact Details

Manufacturer

UK distributor

Audentes fortuna iuvat

Alea iacta est

Sic infinit

Quam bene non quantum

Ad meliora

Technical specifications

Manufacturer

Avionics background

Dual feed-forward

Ten years after

Sliding bias

Unboxing

You have chosen, wisely

Warmed to

Mood change

Technical specifications

Manufacturer

Simplicity

Birch ply

Necessary complexity

Idler no idea

Walking the balance

The Whole Story

Technical specifications

Manufacturer

UK distributor

The sound of excellence delivered your way