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IsoAcoustics Gaia III Neo

Not so long ago, the notion of isolating loudspeakers by decoupling them from the floor was anathema to the hi-fi fraternity. In the 1980s, we were told in very clear terms that the only way to get the best out of our loudspeakers was to fit them with spikes and push those spikes well into the floor, often through a carpet. This was also referred to as isolation. It’s to our shame that we accepted it as such for so long.

Nothing about nailing the speaker to the floor is isolating. Instead, it does the exact opposite, making a strong connection between the floor and the speaker. This changes the sound for sure. It allows energy to travel from the speaker to the floor and back. In fact, energy produced by one speaker travels to the other and back again. Depending on the floor’s material and rigidity, the energy’s frequency varies. Still, even the hardest floors transmit vibration.

Three parts

IsoAcoustics Gaia III isolators consist of three parts: a top isolator, a bottom isolator, and a connector. Their performance stems from how these components work together, as well as the shape and characteristics of the materials used. Important factors include: durometer (hardness), viscoelastic properties, material thickness, and geometry.

The top isolator attaches to the bottom of the speaker using threaded adapters, while the bottom isolator connects to the supporting surface. A slight concave shape on the bottom creates a gentle suction effect on smooth surfaces. As a result, there is a secure and stable connection. The isolators are made from a resilient elastomer that leaves no residue and maintains consistent performance over time. These isolators are finished in a choice of ‘Dark Chrome’ (pictured at the top of the page) or semi-matt ‘ElectroBlack’ (below).

IsoAcoustics isolators are tuned with a bias in the on-axis direction and stiffened laterally to maintain focus. Unlike uniform materials or springs that allow movement in multiple directions, the Gaia isolators control energy flow to remain on-axis.

Universal appeal

The benefits of speaker isolation are easy to hear, and many enlightened enthusiasts have ditched spikes in favour of it. Even though the systems that provide real isolation are often unattractive and can be expensive, IsoAcoustics has been tackling these issues for some time now with their Gaia feet. Now, they have a new or Neo version that looks very smart in dark chrome or black. It also aims to provide better isolation. The clever thing about the IsoAcoustics feet is that they can be screwed into any loudspeaker and only raise it slightly more than the spikes they usually replace. Furthermore, they look good and don’t cost a fortune.

IsoAcoustics Gaia feet are sold for specific weight ranges, as isolation is possible only when the spring is balanced against the weight it is trying to isolate. If the spring is too stiff for the weight, it will transmit energy. The number in the name Gaia III Neo indicates that it suits speakers weighing 32kg or less. This is the lightest range available. Performance only drops off when the weight level is exceeded. So using the Gaia III with lighter loudspeakers doesn’t undermine performance. The Gaia II Neo is for speakers up to 55kg. Lastly, the I Neo takes this up to 100kg.

Alignment

The Neo feet allow height adjustment of up to 8.5mm to cope with uneven floors. You align the feet so the branding is at the front to ensure the lateral resistance is most effective. They are supplied with cups that allow a speaker to be easily moved around on either hard or soft floors.

Fitting the Neo feet is a fairly straightforward process. You fix a stud to the base of the speaker or stand, then screw the foot onto it. This allows IsoAcoustics to provide several insert thread sizes in each set of four feet. It is a bit like including mains plug alternatives with wall-wart supplies. It took me about ten minutes to fit them to a pair of PMC prophecy9 speakers, making it fairly easy to do an A/B comparison of the Neo feet. I don’t use spikes for the reasons mentioned earlier. However, I have conical plastic feet on threaded studs that allow easy movement and raise the speakers by 20mm. The Gaia Neo III raises them twice as high. This will have a small bearing on the bass response. However, as many rooms have problems with excess bass, that is unlikely to be an issue for most users.

Not subtle

The effect these feet had on the prophecies was not subtle. The sound became more relaxed, and there was clearly more detail coming through, with aspects of reverb and harmonic clues that didn’t seem to be there with the regular feet. The Gaia III Neos provide enough isolation for the drive units to deliver finer detail, as cabinet vibration is reduced, if that’s the right term. A firmer foot will allow energy to travel into and out of the box. So isolation means that any vibration the drivers induce in the cabinet is less able to escape through the floor. But the benefit in overall resolution suggests that what the isolation is keeping out is more significant in the scheme of things. Therefore, it is worth avoiding if possible.

I found that these feet made the sound easier and perhaps slightly softer. This could be because the tweeter was raised by another 20mm. However, I am inclined to think that it’s the removal of energy around the driver itself that allows it to operate in a more linear fashion. As a result, it sounds less hard-edged. Overall, the smoother presentation does not undermine timing nor perceived bass power, which can only be a good thing.

As a firm advocate of component isolation, I can only laud what IsoAcoustics have done with the Gaia III Neo feet. They let you hear more of what’s going on in the recording, yet don’t undermine impulse response. That is, the timing remains as good as it was. Add to this the high quality and finish of these feet, for a very good price. I’d say we have a winner.

Technical specifications

Type: Loudspeaker isolation feet
Material: Metal alloy with chrome-plated finish plus proprietary materials
Thread options: ¼”-20, M6-1.0, M8-1.25
Speaker weight range: up to 32kg.
Includes: felt pads, floor sliders, compression washers, Allen key
Height adjustment: 8.5mm
Dimensions (Height x Diameter): 4.5 x 5.6cm
Price: £299, €299, $299.99 set of four

Manufacturer

IsoAcoustics Inc

Home Page: isoacoustics.com

Gaia Neo: isoacoustics.com/home-audio-isolation-products/gaia-series/

Where to buy: isoacoustics.com/where-to-buy-international-home-audio

UK distributor

Sound Service U.K. Limited

soundservice.uk

+44(0)3301 222500

Meze Audio introduces ASTRU: new flagship IEM, delivering top-of-the-line performance from a single dynamic driver

6 March 2026: Meze Audio introduces ASTRU, its new top-of-the-line single dynamic driver in-ear monitor, created for listeners who demand true high-end performance without crossing into flagship pricing territory. ASTRU embodies a focused philosophy: one driver, delivering a visceral, full-bodied sound that rivals the layering, imaging, and resolution typically associated with multi-driver designs.

Driver Technology

At the core of ASTRU is an advanced multilayer composite dynamic driver diaphragm, engineered to balance speed, control, and musical weight. The diaphragm dome features over 80 ultra-thin layers of gold, applied during a 48-hour physical vacuum DC magnetron sputtering process, then bonded to a titanium layer and finally mounted on a PEEK base. This carefully tuned structure delivers fast transient response, smooth and extended treble, and the natural warmth and physical impact that dynamic drivers are celebrated for.

Design

ASTRU’s housing reflects Meze Audio’s commitment to comfort and craftsmanship. ASTRU’s shell geometry has been painstakingly refined for improved long-term comfort. Each shell is CNC-machined from a single block of pure titanium, then refined through a multi-stage electroplating process to achieve a smooth satin finish. Each matched pair of shells requires up to seven days of precision processing, underscoring the attention to detail behind every unit.

Accessories

The IEM is delivered as a complete, ready-to-use system, designed for high-end portable listening. It includes a premium balanced cable that features CNC-anodized aluminum hardware and a gold-plated 4.4 mm balanced termination. This ensures low resistance, signal purity, and long-term durability. A 4.4 mm to 3.5 mm adapter, five sizes of ear tips (XS–XL), and two carry solutions – a protective pouch and a soft PU leather envelope – make ASTRU equally suitable for portable use or dedicated listening setups.

Sound

With ASTRU, Meze Audio redefines what a single dynamic driver IEM can achieve: rich, detailed, and immersive sound, crafted with uncompromising materials and thoughtful engineering, at a price point designed to remain accessible to serious listeners.

Pricing and availability

ASTRU will make its first public appearance at CanJam New York, from March 7th.

ASTRU will be available for purchase starting March 20, 2026, on mezeaudio.com, mezeaudio.eu and in selected retailers worldwide, with a suggested retail price of £819/$899/€899.

Meze Audio POET

Ultimately, every product reviewed in the pages of this esteemed magazine reflects a variation on a theme. New ground is in short supply, after all, and it can only be broken once. However, the variations I’m referring to often stem from someone else’s theme. That’s not the route Meze Audio seems to follow, though. Meze Audio appears perfectly content to create variations on its own theme if it chooses.

Consider, not entirely coincidentally, these POET hard-wired, open-backed, over-ear planar-magnetic headphones. Meze Audio does not shy away from hard-wired, over-ear, planar magnetic headphones. I have personally reviewed at least three different pairs for hi-fi+ over the past few years. Some have been open-backed, while others have been closed-back. However, they have all shared plenty in common: input from Ukraine specialist Rinaro Isodynamics, some gleefully overwrought design features, and substantial price tags among the chief attributes.

POETry in motion

You’ve already seen images of the POET, so I won’t elaborate on design features. There’s also the £1,899/$2,000/€2,000 price. I can confirm that Rinaro Isodynamics created the planar magnetic drivers that do the audio business here.

As is customary in the Ukrainian specialist’s standard operating practice, the planar magnetic drivers fitted to the POET are uncompromising and uncompromised. The hybrid array driver here is called MZ6. It is a refinement and amalgamation of the MZ4 and MZ3SE drivers fitted to Meze Audio’s Liric 2 and Elite models. Measuring 92 x 63mm with an active area of 3507mm², the driver is relatively compact by prevailing Rinaro Isodynamics standards. However, at 0.06g and with the firm’s customary dual-driven voice-coil system in place, it remains high-end business as usual.

The upper section of the driver features a switchback coil optimised for low-frequency reproduction, while a spiral coil beneath it is positioned directly over the listener’s ear canal. The latter is designed to deliver midrange and high frequencies, and its position helps it overcome any issues that might otherwise arise from soundwaves shorter than the earpad they’re trying to exit.

Parus diaphragm

This diaphragm, referred to by Rinaro Isodynamics as ‘Parus’, is positioned between a symmetrical array of neodymium magnets that provide consistent activation across the entire diaphragm’s surface. This setup is housed in a reinforced polymer casing that is a) capable of handling the significant load produced by the magnet array and b) equipped with Acoustic Metamaterial Tuning System technology to reduce high-frequency peaks. According to Meze Audio, this entire configuration produces a lightweight (73g total) driver assembly that can achieve an astonishing peak of 96kHz at one end and an equally remarkable 4Hz at the other, while maintaining an extremely low total harmonic distortion (under 0.05%) throughout the entire frequency range.

The design is distinctly Meze Audio, which means that – at least to my eyes – it’s a bit overly ornate. There’s no doubt about the quality of the materials Meze Audio has used; between the titanium alloy headband that sits outside the suede leather ‘headrest’ (as the company describes the strip of material that serves as a contact point) and the magnesium that comprises most of the chassis, it’s quite an indulgent and tactile product.

Intricately patterned

The intricately patterned open earcups are made of steel, and the magnetically attached earpads are crafted from memory foam covered by faux leather.

As with every pair of Meze Audio headphones I’ve tried, the hanger arrangement and clamping force are well-calibrated; so even though the POET weighs 405g (without its cable), it remains comfortable and easy to wear for extended periods. The quality of construction and finish is more than sufficient at the asking price, too. However, as with every pair of Meze Audio headphones I’ve experienced, the slightly awkward ‘friction pole’ adjustment mechanism needs to be at its smallest setting when I’m using the POET – Meze Audio does not design headphones for those of us with smaller heads.

Hand-braided

The cable is 1.8m long and made of hand-braided, TPE-covered, oxygen-free copper. Each earcup needs to be wired, so at one end, the cable splits into a couple of 3.5mm terminations; at the other end, it features a 6.3mm unbalanced connection. It’s been a while coming, but finally, here’s a false note: at this price point, it doesn’t seem unreasonable to expect a choice of cables, ideally one that features a balanced connection.

Still, at least the term ‘false note’ doesn’t truly apply to the sound of the POET. While its 6.3mm connections may limit high-end source options, when connected to an iFi iDSD Diablo 2 headphone amp/DAC, which in turn is connected to an Apple MacBook Pro (loaded with Colibri software to properly play hi-res digital audio files) via USB-C, the sonic results are overwhelmingly good. Whether it’s the primitive collage of Mike Oldfield’s Tubular Bells [Virgin] as a DSD64 file, a 24bit/44.1kHz FLAC file of Doechii’s iconoclastic Denial is a River [Top Dawg Entertainment], or a standard 320kbps MP3 file of Dead Meadow’s Get Up On Down [Matador], the Meze Audio POET delivers a balanced, detailed and remarkably positive sound.

They seem capable of grasping the fundamentals of a recording without prevaricating. The soundstage they create is expansive and persuasive in its layout; even if a recording is filled with individual elements, there is always enough space for each one to stretch its wings, at least a little. The gaps between them are emphasised appropriately, and there is a sense of singularity and unity in the way Meze Audio presents a recording that imparts a tangible sense of togetherness.

Smooth

Some of this stems from the extraordinarily smooth nature of the frequency response here. Yes, the POET digs very deep at one end and reaches very high at the other, but it transitions from one point to the other in an even-handed way. No part of the frequency range is unduly emphasised, and no part is understated – every area receives appropriate prominence and weighting. Some of it is explained by the very carefully neutral tonality these headphones maintain – there’s never any suggestion that they’re interfering with the specific sound of a recording to any significant degree. What goes in is what comes out, for better or for worse.

Detail levels are very high, and the Meze Audio has no apparent difficulty identifying and contextualising even the most fleeting, deeply buried events in a recording. This ability serves only the overall presentation, though – there’s nothing showy or analytical about the way the POET seizes on the finest details. They do so simply to create the most complete picture possible, making the sound as articulate as possible.

This is especially noticeable in the midrange, where these headphones communicate almost immoderately. Every aspect of a vocal performance, from the nuances of tone and texture to the transient details of character and attitude, is translated, and voices have all their motivation and emotion made plain as a result. The way the POET treats midrange information is direct, making every listen an event.

Confidence

Dynamic variations are handled with just as much confidence – the POET can identify significant shifts in volume, attack, or intensity, but they can’t quite measure the distance between the extremes as they should. They can do more than merely allude to the dynamic upheavals in a recording, but other designs – some from within Meze Audio itself – perform a more complete and assertive job. This may partly be because these headphones have a knack for sounding quite loud even when they’re playing fairly quietly.

Still, it’s a fair indication that a pair of headphones has much to recommend it when the ‘demerit’ column includes some minor complaints about a slight hint of dynamic inhibition and the note that those with smaller heads might find them uncomfortable. Meze Audio is not breaking new ground with the POET, it’s true – but when the ground it’s retreading is so lovely and picturesque in the first place, it’s extremely difficult to complain too stridently.