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Articles

World Premiere: The new Ideon Nous

29 May 2026 – Athens, Greece – IDEON Audio proudly announces the all-new Nous, a long-anticipated high-end digital playback platform representing a major new chapter in the company’s evolution of integrated reference-level digital audio systems.

The public will have the opportunity to experience Nous for the very first time during HighEnd Vienna 2026, where IDEON Audio will officially present and demonstrate it.

HighEnd Vienna 2026
Thursday, June 4th – Sunday June 7th

Information: George Ligerakis, Ideon Audio, [email protected]

HighEnd Vienna 2026 Locations:

Level 1, room 1.68    WORLD PREMIERE OF Nous (Ideon Audio Room)

Level -2, room -2.41 EUROPEAN PREMEIERE of Axiom DAC (Ideon Audio with Brodmann Acoustics Room)

The all-new Ideon Nous.

The Nous has been engineered as a complete high-end digital playback platform, integrating a fully balanced DAC, network streamer, and analog preamplifier architecture into a single uncompromising component.

Purpose-Built Digital Signal Architecture

Unlike conventional streamer-based products built around generic computing platforms and adapted consumer-grade audio stages, Nous has been designed from the ground up as a purpose-built audiophile signal-perfection environment where streaming, digital processing, clock management, DAC conversion, analog amplification, and power regulation operate as one coherent architecture.

At the heart of NOUS lies a high-performance reference-grade DAC platform combined with an integrated high-resolution network streaming engine optimized specifically for bit-perfect playback operation and state-of-the-art audio environments.

Its native streaming architecture supports today’s major digital ecosystems including Qobuz Connect, Spotify, AirPlay, UPnP streaming, Audirvana integration, local library playback, NAS rendering, and Roon Bridge operation, while maintaining a highly stable and very low-latency streaming environment designed for maximum sonic integrity.

Real-TimeCore™ Streaming Intelligence

The streaming engine itself operates under Ideon Audio’s proprietary Real-TimeCore™ playback philosophy, where rendering resources are highly prioritized exclusively for audio playback tasks. This dramatically reduces unnecessary computational interference, process instability, timing inconsistencies, and digital artifacts that negatively affect musical realism.

A New Generation Playback Experience

Nous also introduces a completely redesigned playback application ecosystem from Ideon Audio, including the user interface, library management structure, metadata architecture, navigation logic, responsiveness, and overall interaction flow between user and streamer. The objective was not merely functionality, but the creation of a genuinely modern, effortless, and highly responsive high-end streaming experience.

The new platform has been specifically engineered to operate as a plug-and-play environment while dramatically improving operational stability, usability, responsiveness, and long-term user satisfaction.

Fully Balanced Analog Control Platform

The Nous follows a true, fully balanced signal philosophy from input to output.

Its true balanced analog signal path and fully differential analog topology provide superior channel separation, lower distortion, improved common-mode noise rejection, and greater overall signal integrity throughout the analog domain. Combined with a precision, digitally controlled analog potentiometer architecture and a high-current balanced output stage, the Nous delivers exceptional transparency, dynamic authority, tonal realism, and spatial precision.

Unlike many integrated streaming devices where the preamplifier stage exists merely as a convenience feature, the Nous preamplifier section has been engineered as a serious high-end analog control stage fully capable of operating at the center of demanding reference-level systems.

The unit also incorporates two fully balanced analog inputs, allowing seamless integration of external analog sources while maintaining the integrity of the balanced architecture.

Digital connectivity includes USB Audio, optical digital input with galvanic isolation advantages, and coaxial SPDIF input for external digital transports and digital sources.

Advanced Low-Noise Signal Governance

Internally, digital architecture has been engineered around advanced low-jitter principles and proprietary signal optimization techniques designed to preserve timing precision before digital-to-analog conversion takes place.

Dedicated power regulation stages independently manage analog and digital domains to minimize cross-contamination between circuitry sections and dramatically reduce digital noise influence on sensitive analog stages.

Powerful, ultra-low noise linear Power Supply

Attention has been devoted to the grounding strategy, noise-management architecture, and power integrity throughout the entire device. The fully linear, ultra-low-noise, high-energy power supply ensures stable energy delivery under all operating conditions while preserving low-level detail retrieval, transient accuracy, harmonic integrity, and micro-dynamic behavior. Two separate oversized transformers, specially designed for the Nous, independently power the analog and digital circuits, ensuring that each section receives exceptionally stable and ultra-clean power.

This approach allows the NOUS to achieve a highly resolving yet natural presentation, characterized by exceptional clarity, stable imaging, precise spatial organization, tonal density, and an effortless musical flow.

The Unified High-End Audio Hub

By integrating streaming, DAC conversion, analog preamplification, low-noise architecture, and advanced playback technologies into a single chassis, Nous dramatically reduces cable complexity, grounding inconsistencies, interface mismatches, and signal degradation typically associated with complex multi-box digital systems.

Τhe result is a single-chassis high-end audio hub engineered for top-notch audiophile and reference playback systems – combining advanced digital architecture, analog refinement, operational simplicity, and uncompromising musical performance into one unified platform

Network Acoustics Introduce The Muon2 Ethernet Filter & Muon2 Streaming Cable: Streaming Perfected

27 May 2026 – UK streaming obsessives Network Acoustics complete the Muon2 reference range with the launch of the Muon2 Ethernet Filter and Muon2 Streaming Cable. These components work individually or as a system to remove noise from the Ethernet signal, guaranteeing its purity and timing to unlock the full potential of the finest streamers and DACs.

Co-Founder Rich Trussell says:

“With the Muon2 Filter and Streaming Cable, we set out to consider every component part holistically. The circuit must remove as much noise as possible from the analogue signal that represents the ones and zeros of the digital code, without losing or damaging the signal itself. But just as important are vibration control, enclosure material, isolation, and the cable that makes the final connection with the Streamer. Get all of those right and the result is something truly special.”

Inside the Muon2 Ethernet Filter & Streaming Cable

Four Stages Of Noise Filtering

Building on the widely acclaimed Eno2 and Muon Pro, the Muon2 Ethernet Filter employs a new 8-core architecture designed to operate at speeds up to 2.5 Gb/s. At its core is a new four-stage cascaded filtering system, with elements working in series and parallel to remove two distinct forms of unwanted electrical noise: differential noise, which interferes with the data, and common mode noise, which radiates EMI through the system. The new circuit design also prevents self-induced electrical ringing and features a fully integrated grounding system to draw noise away from the signal path.

Solid Beechwood Enclosure

From work on previous products, Network Acoustics identified that micro-vibration has a big impact on sound quality, so they established that the choice of enclosure material would be critical to achieve the level of performance they wanted for Muon2. After testing a wide range of metals and polymers, they turned to wood, settling on beech as the best material for absorbing vibration without colouring the sound. To realise their design, Network Acoustics partnered with high-end speaker maker Auer Acoustics, who precision-milled each enclosure from a single piece of beechwood.

Pyramid Isolators

To support the enclosure are Network Acoustics’ newly developed Pyramid Isolators. Hand-machined from hardened silicate minerals to a sharp point, they perfectly isolate the Muon2 Ethernet Filter from surface-borne vibration. The audible effect is greater focus, finer micro-detail, and a more stable soundstage.

Co-Founder Rob Osbourn says:

“Beech is made up of short, tightly compacted fibres that act like a bundle of microscopic acoustic springs, which force vibrational shockwaves to spread across countless cellular boundaries and be rapidly absorbed. Beech neutralises background vibrational noise, making it the perfect choice for Muon2’s enclosure.”

The Muon2 Streaming Cable

The Muon2 Streaming Cable plays two critical roles for Network Acoustics: first, it is the essential final component for linking the Muon2 Ethernet Filter to the streamer or switch; and second, it is their new reference Ethernet cable.

The Muon2 Streaming Cable is built on Network Acoustics’ new 8-core architecture, rated to operate at speeds up to 2.5Gb/s, and introduces our new reference high-purity conductor, which is precision wound and damped with a multi-layered cotton and silk dielectric, absorbing micro-vibrations at the source. Finished with Network Acoustics’ proprietary shielding, grounded only at the source end, works alongside Telegärtner Japan gold connectors to ensure a stable, flawless connection at every termination point.

Co-Founder, Rob Osbourn says:

“Streaming may still seem to some like a simple matter of ones and zeros, but whether used alone or alongside the Ethernet Filter, the Muon2 Streaming Cable is as close as we can get to the perfect Ethernet cable. It is audible proof that designing a cable specifically for streaming music, to preserve the timing and purity of the signal, can transform a recording into a live performance.”

The Muon2 Ethernet Filter is supplied with a 1.0m Muon2 Streaming Cable as standard, or the Muon Streaming Cable can be purchased separately.

Try the Muon2 Range Risk Free

The Muon2 Ethernet Filter, Muon2 Streaming Cable and Muon2 Streaming System Package are available for home demo through Network Acoustics’ worldwide network of authorised retailers, or to order direct from networkacoustics.com, with free worldwide shipping, a 60-day home trial money-back guarantee, and a 2-year warranty.

Muon2 Network Range Pricing

Muon2 Ethernet Filter (Muon2 Ethernet Filter + 1.0m Muon2 Streaming Cable)
UK £4,995 / Europe €5,799 / USA $5,799

Muon2 Streaming System (Muon2 Ethernet Filter + 1.0m & 1.5m Muon2 Streaming Cables)
UK £6,495 / Europe €7,499 / USA $7,499

Muon2 Streaming Cable (Standard Length 1.5m)
UK £2,595 / Europe €2,999 / USA $2,999

Muon2 Network Switch
UK £6,995 / Europe €7,999 / USA $7,999

Vienna Calling

We’re thrilled to announce that the entire Muon2 Range will be on full demonstration at HIGH END 2026, the world’s premier audio exhibition, taking place at the Austria Center Vienna from 4–7 June 2026. You will be able to hear the Muon2 Range in action in two partner rooms:

Ideon Audio, Brodmann Acoustics & Network Acoustics, Level -2, Room -2.41
AUER Acoustics, Level 1, Rooms 1.34 / 1.41

Throughout the show, Network Acoustics founders Rich Trussell and Rob Osbourn will be on hand to discuss the thinking behind the Muon2’s design and answer your questions. Do let us know if you’d like to meet up.

THE AUDIO ROOM EXPANDS TEAM WITH APPOINTMENT OF HI-FI STALWART PAUL CLEWES

26 May 2026: The Audio Room is delighted to announce the appointment of respected hi-fi industry figure Paul Clewes as the company continues its commitment to delivering exceptional products, expert advice and unrivalled customer service across its stores in Hull and Leeds.

With more than four decades of experience spanning retail, manufacturing and distribution, Paul brings a wealth of knowledge and industry expertise to The Audio Room team.

Paul’s passion for hi-fi was influenced by his father and, at the age of 15, he owned his first Linn LP12 (second hand). By the time he left school, he had amassed a collection of more than 1,000 records.

“All I ever wanted to do was work in the industry,” says Paul, whose ambition became reality when he joined Superfi in Sheffield in 1983. During his time there, Paul managed both the Sheffield and Lincoln stores.

In 1988, Paul moved into manufacturing and distribution with Wharfedale loudspeakers, before joining Denon in 1992, where he spent 13 years. He later enjoyed a highly successful 16-year tenure as Sales Manager at Bowers & Wilkins, before moving to Spendor Audio and sister company Cadence Distribution in 2019.

Paul also shares a long-standing connection with The Audio Room founder Darren Bamford, first meeting him decades ago through Darren’s father, who was a customer during Paul’s time with Wharfedale.

With his extensive industry experience and deep product knowledge, Paul is perfectly placed to help customers understand the benefits of the premium products represented by The Audio Room. From brands including Accuphase, Audiovector, MOON, Nagra, Rega and Wilson Audio, Paul will be able to guide customers through the available options and help them select the ideal solution for their individual requirements and listening preferences.

Speaking about his appointment, Paul said:

“The focus on excellence in everything they do – from the products they represent through to the service they offer customers – is something that is increasingly rare in our industry. I feel very fortunate indeed to be part of it.”

Darren Bamford, founder of The Audio Room, added:

“Paul’s experience, knowledge and passion for music and hi-fi are second to none and, just as importantly, he shares our belief that exceptional service and genuine enthusiasm are at the heart of a great hi-fi business. I know he will be a huge asset to both our team and our customers.”

Paul’s appointment marks another significant development for The Audio Room as the business continues to strengthen its position as an industry-leading independent hi-fi specialist.

Piega Premium 301 Gen2

If you are still hanging on to that outdated, stereotypical notion that the only things to come out of Switzerland are cuckoo clocks and cheese, think again. Did someone mention Rolex, Tag Heuer, Breitling and Patek Philippe? Moreover, Switzerland has an enviable reputation for world-class precision engineering in watches.

But did you know it is also home to many well-respected and high-quality hi-fi brands? Think Nagra – a byword in quality studio recording equipment and now making its own high-end h-fi products – Goldmund, Boenicke, Weiss and Soulution. Among those, we can also count loudspeaker manufacturer Piega. The Premium 301 Gen2 two-way stand-mount speaker is the subject of this review.

Lake Zurich

Its name may sound Italian or Spanish, but Piega’s manufacturing base is in Horgen on the shores of Lake Zurich. It traces its roots back to 1986. That year, Kurt Scheuch and industrial designer Leo Greiner took their first steps into the hi-fi arena. Furthermore, Greiner’s two sons, Manuel and Alexander, have been running the company since 2018.

Designed by Stefan Hürlemann, the Premium Gen 2 range was launched in February 2025 and comprises two models – the two-way stand-mount Premium 301 Gen 2 reviewed here (£2,500 in silver, £2,750 in black or white), and the 701 Gen 2 floorstander (£5,600). The 701 Gen 2 is a three-way floorstander sharing the same ribbon tweeter but with two bass/midrange coned drivers as opposed to the 301’s one. It also has an extruded aluminium cabinet. Indeed, the ribbon tweeter and curved aluminium cabinets are a common element in all Piega speakers. This is true from the entry-level Ace 30 at £1,100 to the flagship Coax 811 at £26,400. Additionally, its ranges include active wireless designs with built-in amplifiers.

All of Piega’s speakers are handcrafted in its Swiss factory. I have been aware of the Piega name for some time. However, the Premium 301 Gen 2 is the first of its speakers that I have reviewed. And I have to say I was very impressed with their build quality and finish. They were weighty and solid. The gently curving sandblasted black extruded aluminium cabinets were impeccably finished and looked very classy.

Magnetostatic

The magnetostatic ribbon tweeter in the two Premium models is the brand new RM 01-24. The RM honours its two inventors, Roger Kessler and Mario Ballabio.

Many speakers these days use AMT (air motion transformer) tweeters, which feature a larger folded-foil transducer rather than a true ribbon like the Piega. The advantage a true ribbon driver has is its lightness. Piega says the foil ribbon in the RM 01-24 weighs around 50 times less than a typical dome tweeter. Consequently, this gives it a fast response and good dynamics. It also boasts an innovative magnet arrangement in front of and behind the ribbon. This is said to minimise distortion. 

It has to be said that not all the attempts I have heard of to marry AMT and ribbon drivers to a dynamic driver have been entirely successful or seamless. Therefore, it will be very interesting to see how successful Piega has been in doing so with the 301 Gen2. So read on…

The new ribbon tweeter in the 301 Gen2 is joined by a new FSD-M 140mm cone bass/mid driver in a curved extruded aluminium cabinet. This cabinet borrows Piega’s own exclusive internal damping material and the wooden matrix from its more expensive Coax series siblings. All of which are intended to improve rigidity and reduce internal reflections and standing waves.

The 301 Gen 2 is reflex-loaded through a rearward-facing port, and the cabinet sits on four slightly compliant pads that hold it in place when placed on the metal top plate of your speaker stand.

Stand and deliver

To audition the Piega Premium 301 Gen2 I placed them on a stout pair of Kudos stands that are 24in tall – ideal for a speaker this size. Naturally, you should always experiment to find the ideal position for your room and system. Try varying the distance apart, from the rear and side walls and the amount of toe-in. I always find that a small amount of toe-in helps deliver a good soundstage and central image in my room.

Most standmount speakers of this size that I have tried in my 19ft x 12ft listening room have worked best when placed around 12in from the rear (sold brick) wall  and 16in from the side walls, and that is where I placed the Piegas to begin with.

Bass heavy

I was rather surprised, however, to find that the bass was too heavy with them in that position, so I moved them further out into the room, around 18 in from the rear wall and slightly toed in. There was no doubt in my mind that they worked much better there. So that’s where I left them. I also tried the Piega with their grilles on and off. They sounded much better without them. This may be owing to the fact that behind the fabric of the grille is a full-size perforated metal plate. That did not have a good effect on the music – to my ears, anyway.

With a sensitivity of 89dB, the Piega should suit a wide variety of amplifiers. I tried it with both my Audio Note Meishu Tonmeister 300B single-ended integrated valve amp (circa 10W) and a Chord Electronics Ultima integrated amplifier (125W). Sources were the Audio Note CDT-Five CD transport and DAC 5 Special. I also used that company’s TT3 turntable with PSU3 power supply, Arm Two and Io1 cartridge through the AN-S9 transformer.  Speaker cables were the QED Supremus Zr.

Well integrated

I normally have a relaxed three- or four-track ‘getting-to-know-you’ session before getting down to details. I was immediately impressed by the even balance of the Piega from top to bottom. The sound was detailed and integrated. Furthermore, they seemed to weave a coherent, seamless overall picture without any undue emphasis in any part of the frequency spectrum. 

From the first few bars of ‘Shine a Light on Me’ from Ben Sidran’s Enivré d’Amour CD (which sometimes appears as Too Hot to Touch), the Piega sounded smooth, detailed and dynamic. His voice was articulate and expressive, while drums and cymbals were dynamic and syncopated with no hint of fizz or harshness. Moreover, the sinuous bass line that really drives the track along came across with a weight and solidity that is unusual in a speaker of this modest size. And yet, it was also well controlled, tight and tuneful.

Change of mood

For a complete change of mood, I next played John Mellencamp’s ‘Cherry Bomb’ from his Best That I Can Do CD. Straight away, the drums were super tight and punchy without being harsh. His vocals were clean and expressive. I could follow the violin and accordion parts well. The track’s distinctive staccato rhythm was well conveyed.

Switching to guitarist Peter White, I played his version of the Johnny Nash classic ‘I Can See Clearly Now’ from his Groovin’ CD. White’s guitar was clean, well-voiced, and the Piegas provided good insights into how each note was shaped and played. The reggae-style bass line that pumps the track along was also weighty and agile on the Piegas.

Switching to a jazz fusion groove, I played the track ‘Galaxia’ from the superb Heartfelt album by Fourplay (Bob James, Larry Carlton, Nathan East and Harvey Mason). This track relies on the skilful and mesmerising interplay between these four legends of jazz fusion. The Piegas captured that well. The bass line was deep and articulate, drums were syncopated and rhythmically sharp, while Bob James’s piano was clear, clean and easy to follow. Carlton’s guitar was also well voiced and presented. In addition, the quirky rhythm of the track came over well, and I enjoyed being able to listen to each musician’s contribution to the whole.

Class act

The Piega Premium 301 Gen2 is an excellent speaker. It is detailed, dynamic, clean, and very well balanced. The ribbon tweeter is well integrated to produce a coherent, seamless sound. It also delivers the kind of bass you’d normally expect from a bigger box.

The 301 Gen2 strikes a sweet balance, free from any nasties. Yet, it delivers complex musical arrangements with poise and control, whether it’s John Mellencamp or Miles Davis.

They offer outstanding performance for the money, and you’d be well advised to have them on your shortlist if you’re in the market for a speaker at this price.

Technical specifications

  • Type: Two-way stand-mount loudspeaker. 
  • Drive units: 
  • Bass: 1 x 140mm FSD-M bass/midrange driver
  • Tweeter:  1 x Piega’s own RM 01-24 ribbon tweeter
  • Frequency response: 39Hz – 50kHz 
  • Sensitivity: 89dB (1W, 1m)
  • Nominal impedance: 4 ohms nominal 
  • Recommended power: 20-200 watts
  • Cabinet: Curved, extruded aluminium cabinet, reflex loaded
  • Finishes: Silver or black sandblasted aluminium, white varnished aluminium
  • Dimensions (HxWxD):  310mm x 170mm x 228mm 
  • Weight: 6.1kg each
  • Price: From £2,500, €2,682, $3,995 per pair

Manufacturer

Piega SA

piega.ch

UK distributor

Henley Audio

henleyaudio.co.uk

+44(0)1235 51166

Read more about Piega

Back to Reviews

Doshi Audio Evolution

Preamplifiers possess the peculiar tendency to be slightly more than the sum of their engineering. Two designs with appreciably similar engineering can yield radically different performance. Some specific models may prove to be considerably more than the sum of their theoretical components. Doshi Audio has established a strong reputation in this field since its founding nineteen years ago. The Evolution Line Preamplifier is part of a small range of components produced by the company.

At first glance, the recipe for the Evolution Line Preamplifier appears straightforward. However, like those deceptively simple dishes encountered in high-end restaurants, it is both more complex than it initially seems. Similarly, it’s composed of exceptionally high-quality ingredients. It utilises a single ECC99 valve per channel, with no negative feedback employed at any point. As such, it maintains a low output impedance in all use cases. Adventurous users can experiment with NOS/NS 12BH7 types for subtle tonal balance changes. The tubes are run conservatively and are expected to provide years of service.

Transformer-coupled

The volume control for the Doshi is transformer-coupled and manufactured by the venerable UK firm of Sowter/Carnhill. It features 31 steps, ranging from ‘mute’ to ‘max’. At first glance, this appears to be a relatively small number of increments. However, when used in conjunction with various partnering equipment, it has proven entirely sufficient. So sufficient, in fact, that it forces me to reconsider how many increments are truly necessary. The emphasis of this system lies in isolation; it effectively buffers both the input and the output, mechanically, galvanically isolating them from one another. This ensures that common-mode noise at the input does not affect the output. The differential design ensures that source equipment grounds are always isolated from the outputs.

This theme extends to the power supply arrangements. The power supply is external and housed in a smaller chassis, featuring a power switch on the front. Inside, there is a large toroid combined with extensive current filtration and capacitance. Every aspect of the PSU is over-specified relative to the preamp’s nominal requirements to ensure it is never momentarily inconvenienced.

Custom umbilical

The power supply and preamp connect via a custom-made umbilical cable designed and built to Doshi’s specifications. While the two units have been given a shelf of separation for most of their testing, they were initially positioned somewhat closer together, with the power supply situated behind the preamp. Even under these less-than-ideal conditions, they have remained entirely silent.

The connectivity is solid rather than truly spectacular, with four line inputs feeding into two outputs. One commendable aspect of this arrangement is that you can order your own Evolution line preamplifier with any combination of input and output in either XLR or RCA. This is highly convenient, as it allows you to select all connections in a way that suits you, rather than settling for a standard configuration. The transformer volume control of the Doshi acts as a balanced device. Nevertheless, company owner Nick Doshi emphasised during a brief chat in Munich that the preamp itself is entirely indifferent to whether the input or output is balanced or single-ended.

Twofold exertions

The final element of the design is the physical construction of the unit itself. The preamp and power supply chassis feature 14ga stainless steel. Doshi chose stainless steel for its strength and non-magnetic properties, which prevent eddy current propagation. It features an isolated sub-chassis to which all components are mounted and connected by point-to-point wiring. A constrained-layer-damped aluminium top plate suspends the sub-chassis, which, in turn, is decoupled from the main chassis.

The result of these efforts is twofold. Firstly, the Doshi feels solid and distinct from some of the other devices in this price range. Evolution isn’t the ostentatious sort of ‘well-built’ preamp that emphasises creating a unit that feels solid and overengineered. Instead, it is equipment required to function reliably without fanfare, on which crucial outcomes depend. Secondly, the Doshi appears entirely unaffected by placement, which is relatively uncommon for a preamp, particularly one featuring valves.

Straightforward

In the black finish of the review sample (a silver finish is also available that looks a touch less utilitarian), the Doshi is understated to the point of dullness; however, it is entirely straightforward to use and live with, thanks to a pair of displays that show volume and input (oddly, both display the same information rather than one indicating input and the other showing volume) the two displays indicate volume levels for each channel and should you decide to adjust the balance, the displays will show each channel. (They also make a four-channel unit) and a well-made remote control that allows access to all functionality from the seating position. It is completely drama-free, and this total absence of—to be blunt for a moment—strangeness has increasingly appealed to me as I have used it.

Undoubtedly, the true source of Doshi’s appeal lies in its auditory experience. This product stands out in a select group that begins strongly and only gets stronger from there. It has also shown remarkable consistency. It works well with the hARt Lab Tune Three, which I reviewed in issue 243. However, I later connected my resident Chord Electronics TToby power amplifier and then changed direction entirely, pairing it with a pair of Linn Klimax Solo 500 monoblocks. These amplifiers have varying impedances and other characteristics. The Doshi has proven to be an impeccable partner for all of them. 

Reliability

What Evolution achieves, with the reliability of a Japanese rail network, is balancing the reflection of its qualities in the connected equipment upstream and downstream, while gently imparting a touch of sonic magic—all the effort expended on the power supply results in a preamp that is entirely free of constraint. Listening to Kessoncoda’s startlingly vivid Outerstate [Gondwana] with the Doshi in the replay chain led me to realise that what has been considered an uncompressed take on the drum strikes in ‘KTO’ has been gently constrained.

The Doshi produces serious bass; not large dollops of uncontrolled low-end wobble, but an invigorating degree of borderline subsonic force that gives those drum strikes a visceral, room-filling presence. With every power amplifier I’ve used with it, into the same pair of Kudos Titan 505s, it has consistently generated more bass and integrated beautifully into the broader frequency response. 

That frequency response is, as you might expect from a piece of kit designed by someone with a background in professional audio, exceptionally balanced. Within this fundamental accuracy, the Doshi still possesses some tricks up its sleeve. The combination of TToby and Titan works well but is slightly unforgiving. Listen to the title track of Rival Sons Pressure & Time [Earache], and you will find the experience pleasingly intense yet a bit edgy. Insert the Evolution between the TT2 DAC and the TToby, and suddenly, there is a sweetness and cohesion that wasn’t there before. The Doshi opens up this dense recording and introduces a small but noticeable level of forgiveness to the top end, making for a considerably more enjoyable listen. 

No FX

Crucially, the Doshi never feels like an effects box or indeed anything other than a fantastically accurate device. Instead, it’s simply one that can take my periodically less-than-magnificently mastered music library and ensure it is always listenable. Buried at the end of The Tipping Point by The Roots [Island] is a one-take jam session. It is as dense and chaotic as anything I can remember hearing. The Doshi never undermines the spontaneity, energy, and rawness of the track. Instead, it utilises the enormous bandwidth it possesses to allow it to flow better and then, for good measure, delivers some frankly absurd low-end shove to underpin it. You can then put on Talk Talk’s Spirit of Eden [Parlophone], and the result is every bit as audiophile as you’d expect. 

The Doshi Audio Evolution is one of those rare preamplifiers that possess a degree of magic in their operation. It goes beyond the unquestionably excellent engineering they feature. What has captivated me about the Doshi is that this magic isn’t a constant, attention-grabbing aspect of its function. It’s transparent, utterly tractable, and built like a lorry. Still, when your equipment might typically struggle to resolve everything as logically as you would hope, it steps in quietly and unobtrusively to enhance the experience. Evolution is a truly magnificent preamplifier that delivers outstanding results across a wide range of systems. 

Technical specifications

  • Stereo Inputs: Four in total, which can be specified in any combination of RCA and XLR
  • Stereo Outputs: Two in total, which can be specified with either RCA or XLR connections
  • Home Theatre Bypass: XLR Balanced or RCA
  • Tube/Valve complement: 2x ECC99/12BH7
  • Gain: Maximum Gain 12 dB, internally adjustable for lower gain
  • Signal to Noise Ratio: At least 100 dB below 1V, unweighted
  • Finish: Natural Anodised Aluminium or Black Anodised Aluminium
  • Dimensions (WxHxD, preamp only): 44x14x46cm
  • Weight: 17.7kg (Preamplifier + PSU)
  • Price: £26,000, €29,950, $29,950

Manufacturer

Doshi Audio

doshiaudio.com

UK distributor

Airt Audio

airtaudio.com

+44(0)1223 344053 

Back to Reviews

Synergistic Research PowerCell SX

Building any piece of audio equipment with transparent panels that showcase the internal workings reflects a certain confidence from the manufacturer. On the other hand, doing this with a mains conditioner—a device often regarded as merely a box of air with some sockets on the back—feels particularly bold. Synergistic Research has considerable experience in this area. The Synergistic Research PowerCell SX certainly isn’t just a box of air. Therefore, the confidence is likely warranted.

PowerCell SX is, in fact, a cross-pollination of the existing PowerCell 12 and the higher-spec Galileo SX PowerCell. It utilises Active EM Cells, which are intended to project an electromagnetic field that filters and redirects contaminants. This feature is found in most of the company’s mains treatment devices. The power supply for these devices is sourced directly from the Galileo SX. It also incorporates the Ground Plane to reduce the noise floor further. 

Five Tubes

These cells appear as five carbon fibre tubes laid flat at the rear of the chassis. They are 25% denser than the cells used in the standard PowerCell 12. Additionally, they are connected by a sixth flat EM Cell, visible as a black rectangle with two silver stripes. In the standard PowerCell 12, this is tuned to a harmonic of the Earth’s Schumann Resonance frequency of 7.83Hz. In the Synergistic Research PowerCell SX, this is extended to all six cells to enhance the soundstage and reduce listening fatigue. 

Other parts lifted from the Galileo include the power supply for biasing all six of its internal Active EM Cells. It also includes the ability to externally ground the PowerCell SX. This is an interesting and flexible feature. Specifically, it can be connected to either an unused wall socket. Alternatively, it can be connected to one of Synergistic Research’s dedicated powered Active Ground Blocks.

Dedicated power

Also noteworthy is the mains input, which is via the dedicated SRX power cable that terminates in a locking type connection. This cable is a veritable firehose of silver conductors within an Air Dielectric shield. To its credit, it is more flexible than it appears. Thus, this simplifies installation. 

Another nod to practicality is that the PowerCell supports 12 IEC sockets arranged in two rows, one inverted over the other. Given the nature of the UK mains socket, there are no perfect solutions for fitting 12 sockets into one chassis. For example, I have found that the clearance between the lower sockets and the shelf on which the Powercell SX sits is a bit tight for some of the more rigid cables I have here. Still, it’s a commendably neat piece of packaging. Judged by the standards of mains treatment devices, it’s also quite an attractive one. The viewing panels are internally lit. There is an option to change the colour of the illumination to better match your equipment. The front one features a large ammeter. The overall build quality is perfectly good. And installation was hassle-free as well. 

Protect and survive

I have been using mains conditioners in my system for many years now. However, these have generally been selected for their protective properties. They keep my house safe from equipment, and vice versa, rather than for the presence of quantum tunnelling in their design. Nevertheless, the PowerCell X proceeded to do a number of positive things right from the outset. It has proved completely silent in use. Additionally, connecting a medley of items, including wall-wart type PSUs and switch-mode devices, did nothing to alter this.

Furthermore, focusing on a McIntosh MSA5500 as the primary connected device (and one already extensively ‘sighted’ on a more prosaic IsoTek Sigmas conditioner) reveals that the PowerCell X is capable of delivering some interesting benefits. Listening to the newly released Electric War by Little Barrie and Malcolm Catto [Easy Eye Sound] keeps the very deliberately rough and ready production intact. However, it slightly prises it open. This reveals what a great piece of music this is. Catto’s ‘not quite jazz, not quite rock, not quite breakbeat’ percussion on Spektator absolutely crackles with energy. Accordingly, the effect is hugely enjoyable. 

Soundstage promise

There are benefits, as promised, to the soundstage as well. Running with a pair of Sonus faber Sonetto V G2 floorstanders, the McIntosh is already usefully expansive. However, the PowerCell SX managed to bring a greater sense of order and depth to the live Acoustic Blues Club recording by My Baby [Self Released]. This further helps you truly feel like you are part of a live performance. Importantly, this is achieved without unsettling the fundamental realism of what you hear. 

Testing a Vertere MG-1 MkII turntable and Musical Fidelity M8 Vinyl phono stage with the vinyl copy of this album, while also connected to the PowerCell SX, revealed similar benefits in three-dimensionality and imaging. Interestingly, if only one of the two devices was returned to the resident PowerGrip YG-3 conditioner, there was a small but noticeable reduction in this effect. 

Repeatable

Regardless of my position on certain unique aspects of the Synergistic Research design language, the effects appear to be repeatable. Similarly, a Chord Electronics Hugo M Scaler and TT2—two devices I’ve found to be consistently immune to mains treatment—maintained their impressive performance in this regard. Crucially, however—unlike some devices I’ve tested with these units—the Synergistic Research did not negatively impact their performance. 

This shouldn’t really dent your perception of what is an unusual and rather effective bit of kit. The Synergistic Research PowerCell SX isn’t cheap. There are other mains treatment devices at this relatively rarefied price point that can feel more solid. However, the actual performance on offer here is extremely good. What’s more, there are enough sockets available to accommodate all but the most determinedly enormous systems. There’s a bit of visual flair while it does it as well. Viewing panels in mains conditioners might not be commonplace. But Synergistic Research has enough reason to show off what they’re doing. As a result, most owners will be pleased to have them. 

Price and Contact Details

  • Synergistic Research PowerCell SX: £9,495, $10,000, €11,000

Manufacturer

Synergistic Research

synergisticresearch.com

UK distributor

Harmony Hi-Fi

harmonyhifi.co.uk

+44(0)1707 629345

Read more about Synergistic Research

Back to Reviews

Dominique Fils-Aimé: Nameless

Dominique Fils-Aimé’s debut album Nameless is not just another album from a black female singer. It’s not just another R&B album. It’s not just another album, it’s something new! Unlike most black female artists emerging today onto the pop scene, Dominique Fils-Aimé does not seem to have her sights on the pop charts. Also, she does not seek conventional melodic structures or instruments. She does not vibrate her voice in a histrionic style of someone warbling their way through ‘America The Beautiful’ at a ball game. She does not go way up in scale to show off her range. Moreover, she does not rely on automated drum machines or auto-tuned vocals. Her music seems like a wonderful, refreshingly new cauldron of African tribal music, R&B, gospel, and a few droplets of Nina Simone here and there. 

All four of her albums are great, but the first is still the best and is available as a 45 RPM on vinyl with fantastic sound quality. All the tracks on Nameless are great and different. In addition, the tracks feature fantastic percussion, with Dominique’s own vocals providing a persistent, cool female backing chorus. This chorus serves as the basic rhythm across all her tracks.

Minimal instrumentation

The album is almost demonstratively devoid of instruments. It relies heavily on percussion, her backing vocals and back chorus to flesh out the songs. There are a few instruments sprinkled in here and there. On several of the tracks, a freaking fantastic upright bass belts out the beat. Although quite different from Sade’s voice, Dominique’s voice shares some of the same sensual elements. Additionally, it shares some of that great presence that Nina Simone’s voice had.

Like Sade – when she broke onto the scene in the 1980’s with her own brand of music – Dominique Fils-Aimé seems to have carved out her own niche in the musical landscape, with her own unique soundscape and melody structure. Dominique Fils-Aimé doesn’t seem as willing to pursue the ‘Smooth Operator’ pop songstress line that Sade very much occupied.

The opening track, Dominique’s version of ‘Strange Fruit’, is quite different. It is slow and strange, with a multi-layered, humming backing chorus, all sung by Dominique Fils-Aimé. It is a purely vocal track devoid of instruments. This is a brand-new take on a sadly still-relevant tragic song. The lack of instruments makes it even more eerie and solemn.

Birds

The album’s best track is ‘Birds!’ with its phenomenal upright bass that shakes your core and lays out the basic beat. This beat is surrounded by an amazing percussion soundscape – clapping, rainsticks and maracas, tambourine – interspersed yet growing as the track progresses. There is sparse drumming with perfectly timed pauses! All rounded out by her own backing vocals and chorus, this makes for a wonderful minimalist mix. Here, the whole is more than the sum of the instruments. If you like this track, you will like all of her tracks.

‘Home’ with its cool snare drum and upright bass is the second-best track on the album. As with all her tracks, her main vocals play off her own back vocals and backing chorus. She uses this chorus as the rhythmic yardstick throughout. Moreover, there is sparse yet highly potent, cool percussion. Another unusual difference is that they rarely use the hi-hat on any track.

‘Feeling Good’ is another of the great tracks on an album full of great tracks. It’s a purely vocal spin-off on the well-known ‘Summertime’, but she never actually sings the words: “And I’m feeling good.” We started with the eerie vocal ‘Strange Fruit’ and ended with another vocal track, but this time very uplifting and full of hope. I could listen to her sing all day long.

The title track – ‘Nameless’ – with its strumming and humming chorus, serves as the most atmospheric and subdued track on the album. It’s not often that a young artist creates something new, and especially not with their first album. Everyone who enjoys female vocals and great rhythms should give this album a listen, especially if you can find the LP. Nameless is cool, vibrant, colourful, and quite different. 

Back to Music

 

ICEpower Announces the Release of its First Generation SC400A2 Amplifier Platform

COPENHAGEN, DENMARK, 20th May 2026: ICEpower, the industry-leading technical partner to the world’s most respected audio brands, today announced the release of their new SC400A2 Amplifier Platform, alongside the 750S Universal Power Supply. Compact and highly versatile, the SC400A2 is a 400W, 2-channel amplifier module, and the first ICEpower product to feature their radical new Super Conductor topology – establishing a whole new baseline for signal purity in Class D amplification.

The SC400A2 is the result of significant advances within Class D topologies from ICEpower’s leading R&D team. By combining a sonically transparent signal with an ultra-compact form factor, SC400A2 delivers gain with zero coloration, from an easily-integrated module that drastically accelerates an audio product’s time to market. Brands can skip years of expensive, complex research and development, while introducing a reference-grade, sonically transparent power module into their builds.

GAIN WITH ZERO COLORATION: THE SUPER CONDUCTOR TOPOLOGY

Since its founding in 1999, ICEpower has been a principal driver of the evolution of Class D amplification through successive generations of proprietary modulation and feedback topologies. The new Super Conductor architecture represents the latest milestone in this legacy, built to raise the objective standard for Class D audio performance.

While recent industry trends have highlighted ‘fully digital’ Class D concepts, ICEpower’s engineering approach is rooted in the reality that loudspeakers fundamentally require analog voltage and current. Recognizing that the switching cycle of any Class D amplifier is inherently analog, the Super Conductor topology therefore corrects signal errors directly in the analog domain. By maintaining a completely analog signal chain, modulator, and feedback path utilizing the highest-performance operational amplifiers available, the platform delivers a newfound level of signal purity.

As CTO Patrik Bostrøm explains, “It is an analog Class D amplifier with a Globally Controlled Oscillation Modulator (or GCOM) as a core, and two nested second-order negative feedback loops around it”. “Nested negative feedback loops aren’t new in themselves, but having a fourth-order slope which also joins the slope of the output filter presents challenges. It has required a lot of work.”

The unyielding nature of this design required carefully curated components and a surgical approach to layout precision. “We have gone all in using the best capacitors, MOSFETs, resistors and OPAMPs,” says Boström. “Everything has been scrutinized, measured, and tested. The SC400A2 truly has a state-of-the-art performance and that is why we call it The Super Conductor.”

The result of this rigorous approach is a Super Conductor topology that delivers an unprecedentedly low noise floor – so low in fact that ICEpower had to build entirely new testing systems simply to measure it. The distortion and noise of the amplifier were so low that it was buried in the inherent noise floor of the industry reference Audio Precision equipment we normally use for audio measurements. This process revealed a staggering THD+N of 0.0002% at 100W across the entire audio band, and a smooth frequency response with a -3dB corner frequency above 100kHz.

SC400A2 achieves total signal integrity with no coloration or alteration, making it a product capable of unlocking significant, quantifiable performance gains in the most demanding, reference-level audio systems.

EASY INTEGRATION WITH 750S

To perfectly complement the SC400A2 module and fully realize its potential for audio manufacturers, ICEpower is concurrently releasing the 750S Universal Power Supply as a standalone, off-the-shelf module.

“750S is a compact universal power supply based on a power factor correction stage, an LLC stage and a flyback auxiliary converter capable of supplying more than 20W,” Boström explains. “It also has very low leakage current thanks to the soft switching LLC stage and this helps keep the noise down in the complete system.”

Together, SC400A2 and 750S represent a highly optimized platform, compact enough to fit into technically complex designs, whilst applying absolutely no mis-coloration to the overall audio signal. In both modules, ICEpower has simplified circuitry and focused on a compact, versatile form factor to give manufacturers a sonically transparent amplifier module and accompanying power supply that is straightforward to incorporate into their products, including high-end streaming amplifiers, active speakers and studio monitors. .

ICEpower makes this industry-leading, high-precision technology scalable for the world’s most demanding audio brands. Manufacturers need not invest time and money into complex research, drastically reducing a product’s time to market while focusing on what matters most: delivering uncompromising performance and total reliability from their products.

Tannoy marks centenary with exclusive limited-editions & more to be announced at HIGH END

21 May 2026, Manchester, UK: Tannoy, one of the world’s longest-established loudspeaker manufacturers, will use HIGH END 2026 in Vienna to announce a series of exclusive limited-edition loudspeakers, alongside the return of some truly iconic models, to mark its centenary this year.

The announcement represents the centrepiece of the Manchester-headquartered company’s centenary celebrations, which are set to span a special three-year period. The first new limited-edition models will officially launch in the coming months.

Based on the acclaimed Prestige Gold Reference Series, the exclusive limited-edition anniversary loudspeakers incorporate significant performance upgrades, including enhanced crossovers and improved internal cabling. Availability will be strictly limited: just 19 pairs of the flagship Westminster Royal GR and 26 pairs of the sub-flagship Canterbury GR will be produced; the numbers deliberately chosen to form 1926, the year Tannoy was founded in South London. More models are expected to join the range in the coming months.

Full specifications, pricing and imagery will be released when the models formally launch later this year. Tannoy’s UK team will be on hand at HIGH END to discuss the new models at Hall X2, E06 and at the nearby Tech Gate demonstration area.

Plus: Hear the flagship Westminster Royal GR at HIGH END

HIGH END 2026 will also offer attendees a rare opportunity to experience Tannoy’s flagship Westminster Royal GR, a loudspeaker that has achieved legendary status in audio circles.

A two-way, horn-loaded design built around a 15-inch iteration of Tannoy’s proprietary Dual Concentric drive unit, a concept first introduced in 1947, the Westminster Royal GR stands 140 cm tall and weighs 140 kg. Its key acoustic technologies include the PepperPot WaveGuide, Alnico magnets and aluminium-magnesium alloy diaphragms with Mylar surround compression drivers.

The luxurious 530-litre birch ply cabinet features comprehensive internal bracing using Tannoy’s Differential Materials Technology (DMT), and is finished in oiled walnut veneer with hand-selected burr walnut inlays. A sensitivity of 99 dB ensures compatibility with amplifiers from high-powered transistor designs to low-powered valve amplifiers, while bass extension reaches down to 18 Hz for full-bandwidth reproduction.

The Westminster Royal GR will be driven by high-performance electronics from ESOTERIC, with cabling by Montaudio. The system will give attendees the opportunity to experience one of the world’s most exceptional loudspeakers with an optimally configured set-up.

FIND TANNOY AT HIGH END

Hall X2, E06 and Westminster playbacks at the Tech Gate demonstration area

AXPONA 2026 Show Report

(Image by Tom Hackforth)

 

The largest audio show in North America, AXPONA (Audio Expo North America) was held April 10-12, 2026, in its usual location at the Schaumburg, Il. Renaissance Hotel and Convention Center outside of Chicago. The event was the largest ever featuring 12,546 attendees, over 750 vendors from over 50 countries occupying 235 rooms over 12 floors. It was massive and very entertaining. Big news from the show was an increase of over 50% in Gen-Z ticket sales and lots of family attendance.

hi-fi+’s goal was to highlight as much new gear as we could in this massive event. Challenge accepted! All prices to follow in USD unless otherwise noted.

One of the first rooms we visited sounded great right at the start. The 2WA Group room featured Ideon’s newest digital stack which was being introduced at Axpona featuring the Ideon Absolute DAC ($55,000), The Ideon Absolute Time ($13,000) and the Ideon Absolute Stream ($28,500 being fed by a Grimm MU1 Server (14,400). Analog was provided by a VPI Avenger Turntable ($40,000) in a gorgeous blue feeding a GRIMM Phono Pre ($5,650). Preamp was a Trilogy 914 ($18,000) Amps were the Trilogy 994 Monoblocks ($30,000 a pair). Speakers were the Aequo Ensium’s ($50,000/pr) The system both sounded and looked great. A nice start to the show.

Next up was Justin Weber’s ampsandsound room. Ampsandsound makes bespoke point to point wired tube gear and classic high efficiency horn speakers. They also make incredible tube headphone amps. This room featured their new Badlands Preamp ($12,000) the Stereo 17 amplifier ($6,000) the DAC 4.4 ($14,000) A Technics 1300 Turntable ($4,000) with a Denon DL103R cartridge ($550) and the Sasquatch speakers ($18,000) On display was their newest amp the Kenzie Reimagined ($6,000) Cables were the Prosper Cables Reference Line from Prosper Texas. The sound was modern, detailed and spacious and not gooey. An excellent example of today’s high quality tube gear and current Horn speaker technology.

Audio Research didn’t hang around this year. The ink’s barely dry on signing off the LS-3 and S-200 and now the brand launched a slew of new products in its Reference series. The show represented the world premiere of the new $28,000 Reference 7 and $48,000 Reference 20 line preamps and the $23,000 Reference 80X stereo power amplifier. These replace the Ref 6, Ref 10 and Ref 80S respectively. The Reference 20 moves from a two box flagship into a single chassis but moves the performance ahead by a significant amount. In fact, Audio Research claimed the new $28,000 Reference 7 preamplifier eclipses the outgoing Reference 10.

This was demonstrated alongside the first show outing of the $192,000 Ideon Audio flagship AXIOM digital replay system, all playing through a pair of Acora 5.2 loudspeakers ($44,000 with the standard tweeter used in this room). Even with the loudspeakers overdriving the room somewhat, it was clear this was a system of world-class stature and performance.

We first ran across AGD Productions Gran Vivace Class D amps at Rocky Mountain Audio Show in Colorado several years ago. That MkI amp was cool as the circuitry was housed in a KT88 tube! Now in its latest MKIV iteration it is one of the finest Class D GaN amps on the market ($19,000/pr). Shown with the Andante MKII Pre-DAC-Streamer ($12,999). Paired with Rosso Fiorentino speakers this room was another sonic winner.

The EnKlein Bespoke Wireworks Room Had samples of their speaker wire, power cables and interconnects in glass cases for view as well as a high-end system to listen to said cables. Out for viewing were the Master Edition speaker cables (2.5M $50,000) the Master Edition interconnects (1.5M $35,000) the Master Edition Power (1M $27,500) and the Xerxes Ethernet (1.5M $3,500) as well as the Sovereign Current Distribution Appliance ($20,000) The in room system consisted of EMM Labs PREi ($28,900) The DAC2i ($35,000), TXi CD Transport ($13,500 and a pair of Thrax Lyra SE speakers ($31,500).

Saturday Audio Exchange always brings a room that sounds great but is more affordable. They were showing the new GoldenEar T44 Tower Speaker in a lovely Santa Barbara Red ($5299/pr). The T44’s offer up much of what their larger brother T66’s does in a smaller form factor. A solid low end with excellent mids and highs. The system consisted of the Eversolo DPM-A10 Flagship DAC/Streamer/Preamp ($5,998) and the AMP-F10 amplifier ($2480). All cabling was by AudioQuest. Racks and stands were all by Pangea Audio.

Next up was the Revel introduction of their new Performa 4 surround sound line. This system featured the Revel F346 Tower 3-way triple 6.5” Floorstanding loudspeakers ($3,499) fronted by the Arcam SA45 2X180 Integrated Class G amplifier ($5,499) and the Arcam CD5 Compact Disc Player ($769) This was a strong performance to value room Excellent sound and presentation.

Rogue Audio was introducing its new flagship tube monoblocks the M-250’s ($18,995/pr) featuring 250 w/ch into 8 Ohm’s using 6 KT88’s per side. Also being introduced was the new RP-7 v2 preamplifier ($5,495). Sourced by an Eversolo T-8 Streamer ($1,395) and a Garlubidor Divinity DAC ($1,849) with an all-Darwin Cables loom ($995-$3,995) and feeding a pair of Magnepan 2.7x’s ($10,000/pr) the room was clear and detailed. The M-250’s proved there are tube amps that can drive Magnepan speakers with authority and finesse.

Paradigm introduced its latest speaker line the Premier Series V2 calling it a new price/performance benchmark. Available for listening were the Premier 720F floorstanders speakers ($1999/pr) powered by an Anthem integrated amplifier the 720F’s offered a beautiful fit and finish with nice tone and dynamics. Definitely a strong contender in the price/performance speaker space.

Jones and Cerreta might sound like a new name in the business, but if I say the ‘Jones’ part relates to loudspeaker guru Andrew Jones and the $33,900/pr Troubador loudspeaker makes a whole lot more sense. Jones – working as a fully sanctioned side hustle from his work at MoFi – has delivered the goods with these large loudspeakers featuring field-coil concentric drivers. In a system also featuring a Thorens turntable, EMT cartridge, Lab 12 phono stage and integrated amplifier, a HiFi Rose streamer and a lovely looking Drake Woodworking cabinet, this made one of those beguiling sounds that resulted in lines around the floor just to get a listen. It was worth the wait!

REL’s room offered a wonderful demonstration on system synergy featuring their S/550 subwoofer ($3,299) with optional Wood Grill covers ($399) Total sub price was $22,188. They in a system that was high end but brand agnostic with a D’Agostino integrated a Wadia CD transport/DAC and a pair of Wilson speakers. The point was different brands can co-exist beautifully in a system if properly curated. They also did the turn the woofer off and on demo that, to know one’s surprise made it clear a good sub (or six!) makes a huge difference in sonic excellence.

Peter Lyngdorf continues to innovate. His newest company Radiant Acoustics introduces the Clarity 66 Floorstanding speaker ($9,998 direct). Powered by a Lyngdorf TDAI-2210 Streaming Integrated Amplifier ($5,499). Radiant is a collaboration of Nordic Hi-Fi, PURIFI and HiFi Klubben. Seen on the table are examples the speaker parts. This was a room we all wished we had more time in. Lovely sound and solid bass from a speaker whose specs include 24Hz to 20,000kHz at 86dB into 4 Ohms in a WAF approved floorstander.

Dynaudio made a strong statement with their new Legend bookshelf speaker ($7,000/pr). The Legends are a big step up from the Special 40’s with a ton of air and space with a wonderful expansive soundstage. Powered by the exceptional Simaudio Moon 371 Integrated Amplifier/DAC/Streamer ($6,500). Analog source was the Clearaudio Performance DC Turntable with the Tracer Tonearm and a Hana Umami Blue Cartridge (No price provided). In a small room this system was exceptional.

The Ear Gear area at Axpona had many personal audio vendors. Moon Audio from Cary, North Carolina was showing their new Europa Balanced Tube headphone amp/Preamp ($8,995). This fully differential, ultra-low noise reference piece offers dual functionality as a reference headphone amp and as a stereo preamplifier. Initial listening with several high-end headphones showed it to be an excellent device and one that is coming in soon for review!

Vinnie Rossi teamed up with Treble Clef Audio to put on a superb sounding room. Featuring the Vinnie Rossi Brama Preamplifier ($39,995) and New Vinnie Rossi Phono Preamplifier (Price TBA) being sourced by an SME MK2 Model 15 Turntable and tonearm with a Benz Micro cartridge. Digital was sourced by a B. audio Reference DAC and cabling from Siltech’s Double Crown and Classic Series cables and interconnects. The system was fronted by a pair of Treble Clef Audio’s TCA-M Active Loudspeakers ($103,900/pr) and a pair of TCA-S Active Subsonic modules ($22,550 ea). This was a best of show sound contender. Outstanding sonics with deep and beautifully controlled bass.

Zesto audio once again offered an excellent sounding room. Introducing their new Athena Tube DAC ($15,000) which had been shown as a static display during its development at last year’s show the Athena was now the sonic centerpiece of this year’s system. Joining the Athena was the Zesto Andros Deluxe II Vacuum tube phono stage ($8,300) and the Leto Ultra II Preamp ($11,900) and the Eros 500 Select Monoblocks ($35,000/pr) Analogue was sourced by the Dr. Feickert Blackbird Turntable ($9,900). Speakers were the YG Acoustics Sonja 3.2’s ($106,800/pr). Equipment rack was the Stillpoints ESS42-26-4 Rack with four acrylic shelves ($14,788) Stillpoints Aperture 2 acoustic panels in oak ($960 ea.) and Aperture silver stands ($719 ea.). All cabling was Cardas Clear and Beyond ($2,000 – $13,070). The room was another best of show contender.

Lucca Chesky continues to bring the goods with his new company Chesky Audio. He was showing his latest speaker, the LC2 Reference Monitor ($1,995/pr) and it was a winner. The LC2’s are small but mighty with prodigious bass and terrific imaging. Joining the LC2 in this affordable but stellar system was a stack of Schiit Audio gear including the Kara Preamp ($799), the Tyr Monoblock amplifier’s ($3,698/pr) an Yggdrasil Singular DAC ($3,499) and a Loki Max F equalizer ($1,599) Interconnects from Lone Ranger, Pegasus, Carbon, Monsoon and Powerquest ($239 – $2,990) This room was a value leader at the show. Nice to see a system that cost less than a new car sound so good.

The Phasemation room from Axiss Audio had me at 300B. They were introducing the new Phasemation MA-3000 Monoblock 300B amplifiers ($TBA) each sporting a pair of Western Electric 300B tubes and the new Phasemation CM-2200 Preamp ($TBA) with a Phasemation EA-1500 Phono Preamp ($26,975). Turntable was the Reed 3C ($31,975) with the Reed 3P Panzerholz tonearm ($7,690) and a Reed optical cartridge ($12,975). Speakers were the DeVore Fidelity O/96’s in custom figured cherry ($20,530/pr). Cabling by Tara Labs with a TAOC CSR Rack, Nihon Onkyo Engineering diffusors in black ($6,090) with Telos Foundation power and ground core. We could have spent an afternoon in this outstanding room. A top five room.

Fidelity Imports offered several strong rooms from their many product representations. My favorite of their rooms was the Opera Loudspeakers, Unison Research and Michell Turntable room Featuring the Opera Callas Diva Edizione Speciale Floorstanding Speakers ($13,999/pr). The Callas compare favorably to speakers twice their price in performance, fit and finish. The Unison Research Unico PRE V2 Stereo Preamp ($7,499) and Unico DM V2 amp ($10,999) drove the system beautifully while being sourced from the Michell Gyro turntable ($8,999 without tonearm or cartridge). This was another room to linger in for a while.

A second Fidelity Imports room (in fairness, Fidelity took a lot of rooms) that showed well was the Perlisten and Cambridge room featuring the Perlisten A4t Floorstanding Speakers ($6.990/pr) fronted by a suite of Cambridge electronics including the CXA81SE Black Edition integrated amplifier ($1,199), the CXN100 SE Black Edition Network Streamer ($1,099) and the CXC SE Black Edition CD Transport ($599). For a system priced at basically $10,000 it covered all the needs of a smart digital system without sonic compromise.

This is the new flagship Titan loudspeakers from YG Acoustics, standing approximately 1.3 metric Eric Neffs tall. In this configuration they are $910,000 USD and weigh a total of a ton! Fronted by a quad!! Of Simaudio Moon’s massive 888 Amplifiers ($59,444 ea.) and an all Moon flagship front end this was a smooth $1,600,000 system that is perfect for your spare ballroom. And, yes, it sounded terrific.

Eric Neff: My best sound of show room was the Scott Walker Audio/ Luxury Audio Group room in Schaumburg D. For a tidy $1,500,000 it should sound great. What was interesting here is that this room has been theirs’s for a few AXPONA’s now and there has been a concerted effort each year to improve on the rooms acoustics with room treatments and setup adjustments. This year they came in an extra day early to get it right. The flagship Estelon Extreme MkII speakers were at their room filling best offering 20Hz-40kHz sound ($340,000). Electronics w 2 pr of Vitus SM-103 amplifiers ($85,000/pr) a Vitus SL-103 mkII Preamp ($44,625) and a Vitus SD-025 mkII DAC ($33,900). Analogue sourcing was a SonoruS Audio Reel to Reel Tape Deck ($35,000). Digital was provided by the Taiko Olympus Music Server ($95,000) and a Taiko Router/Switch & DC Power Supply ($15,000). All cables were Crystal Cables Infinite Dream series (Approx $360,000 for the full loom). Isolation Platforms were Seismion Active Isolation Platforms ($16,000 ea.) Accessories included Audio Realignment Technology EMR Absorption Devices ($5,000 – $12,000 ea) and Arya Labs RevoPods Isolation Footers ($1,695 per set). Amazing gear and years of diligence on room correction made a demo of sides 3 and 4 of the Wall on Reel to Reel a show mountaintop for me.

Alan Sircom: There were a number of rooms that ‘did it’ for me (and not simply ‘Yacht-fi’ equipment that costs as much as a small Boeing; the sensational Dynaudio Legacy mentioned above just sang sweetly and made you ask ‘do you need any more?’ questions).

But, when it comes to the “it’s not home, but it’s much!” part of the show, it was hard not to be impressed by the Quintessence Audio rooms, especially the one featuring Wilson Chronosonic XVX loudspeakers in gold, driven by a pair of Audio Research Reference 330 mono amps, with the new Reference 20 preamp and a two-box Reference 10 phono preamp. This was being fed by a Döhmann Helix One Mk III (now with vacuum hold-down) and either a Wilson Benesch Graviton Ti arm and Tesselate cartridge or a Supertrac Nighthawk 12″ arm and DS Audio Grand Master EX cartridge with TB-100 tube equaliser.

On the digital side, this system featured an Innuos Nazaré server with NazaréNET switch and NazaréFLOW interface, feeding into a dCS Varèse digital replay system. Add in long runs of Transparent Magnum Opus cable and a Critical Mass Systems Olympus Ultra rack system and the price of the whole system comes to a cool $2,006,825! I guess it should impress at that price, but impress it certainly did.

 

AXPONA 2026 offered another great show of all ranges of gear for audio enthusiasts. I look forward to next year to see what the world’s top audio manufacturers can come up with next!

PMC prophecy7

On the cover of the PMC prophecy brochure, which is a deluxe production as you might expect, they have put the legend ‘hear the future’. This is essentially marketing spiel, but judging by the PMC prophecy7 there might be an ounce of truth in it. Good quality speakers are capable of transporting the listener through time. They can take you to the moment and place where a great concert occurred and put you in the audience. Naturally, a degree of disbelief suspension is required. But, really all it takes is closing your eyes and focusing on the performance to get you there. 

The less colored the loudspeaker, the more authentic the experience can be. Whether you will hear music from the future is, however, open to debate. The prophecy range is slimmer and more elegant than the twenty5i range that it replaces. This range is at the core of PMC’s offering. Each of the four models (five if the centre channel prophecyC is counted) features the same 125mm (5 inch) mid/bass and bass units. As a rule, the larger the speaker, the more drive units are employed. The PMC prophecy7 sits in the middle of three floorstanders and replaces the twenty5.24i from the previous range. However, it ups the ante by including a midrange dome alongside that model’s two-way driver array. The fact that they have managed to achieve this without raising the price is impressive in a loudspeaker that does not appear to make many compromises.

X dynamics

The biggest difference between prophecy models and their predecessors lies in the vent arrangement for the advanced transmission line that typifies PMC loudspeakers. Previously, the vent was cut into the front baffle at the bottom of the cabinet. In the most recent models, aerodynamic fins have been inserted to reduce turbulence. This is where the compressed air from the line interacts with the outside world.

For prophecy, PMC has created an aluminium plinth called Laminair X. This provides the final segment of the transmission line. It incorporates fins that create a laminar airflow. The mass of this component also brings the added benefit of enhancing stability. That means it negates the need for the stainless steel plinth bars used in the twenty5i range to pass tilt tests. However, the isolation provided by grommets in that system has been removed. This has been replaced by a natural cork gasket between the cabinet and the plinth. The prophecy plinth is tapped to accept spikes directly.

Laminair X is said to be superior at producing the desired laminar airflow compared to the previous system. Now the fins are as deep as the plinth (31cm) rather than being 5cm deep in the twenty5i models. The result is cleaner bass, as air compressed behind the bass cone can flow more freely out of the line. The driver array on the PMC prophecy7 consists of a 27mm soft dome tweeter based on a pro series design and covered by a grille that not only protects it but also extends the highest frequencies to produce a flatter response. PMC have also placed the tweeter in a waveguide that increases sensitivity and allows for smoother integration with the midrange dome.

Encompassing design

That dome is a 55mm unit featuring a performance-enhancing grille and sits within a more intricate waveguide that PMC has dubbed n-compass (geddit). Its function mirrors that of the tweeter, aiming to improve dispersion and integration with its companion drivers. The midrange waveguide merges two profiles: a shallow exponential guide and a steep hyperbolic one, intending to leverage the low-frequency loading and sensitivity advantages of the hyperbolic while controlling off-axis dispersion with the exponential. Dispersion is reportedly enhanced by the manner in which this waveguide diffracts and reradiates high frequencies. Both domes’ waveguides are derived, like the drivers themselves, from PMC’s professional designs, assuring that they will perform well at high volume, if nothing else.

The bass driver on the PMC prophecy7 appears fairly normal but was specifically developed for the Laminair X loading found in the new range. The goal is to deliver high power, wide bandwidth, and high speed with low coloration, which is quite demanding for a five-inch driver. PMC used an ultralight, mica-filled cone material in a cast alloy chassis with a ferrite magnet to achieve this, and the results suggest that they have experienced some success.

Timeless

Powered largely by a Moor Amps Angle 6 150W amplifier, the PMC prophecy7 turned out to be somewhat of a grower. It sounded good to begin with, but by the end of the far too short review period during which they were here, I had become quite attached to their remarkably low distortion and high transparency, coupled with fabulous timing.

I played a great deal of music on the PMC prophecy7s in that time and heard new detail in much of it; John Abercrombie’s Timeless sounded superb, the harmonic minutiae being resolved so well thanks to the quietness of speakers that, while they don’t inhabit fancy cabinets, have been constructed in such a way as to avoid interfering with the sound, thus allowing me to hear more of the music and less of the box. 

Narrow baffle

I suppose the narrow baffle helps here, as does the solidity provided by the lump of aluminium at the bottom. With a remarkable record like this, you get oodles of atmosphere and excellent imaging, even off-axis. I am somewhat inclined to sit in the hot seat when alone, but when someone is sharing the sofa, I end up to one side, which usually compromises imaging quite evidently, but not so much here. There may indeed be something to this wide dispersion approach after all.

Tonally, the prophecy seems very accurate as well. The balance is slight by some standards but makes others sound bright and forward. I suspect this indicates they are extremely neutral. It makes ‘Message in a Bottle’ (yes The Police, play it on vinyl, you may be surprised) sound like it needs a bit of fattening up. However, remember that this album was made to sound jagged and lively for the post-punk market. In practice, it sounds glorious; the drumming is prog in disguise, as is the guitar. It’s only Mr Sting’s ravings that make it poptastic. It’s a blast either way when you have this much speed and control available in the loudspeakers.

End game

The PMC prophecy7 is also highly revealing of variations in image scale. One tune fills the room and the next one is presented in a tightly focused, three-dimensional form between the speakers. The cleaner the production, the smoother the sound; of course. The Johan Lindvall Trio album End (reviewed in the June 2025 issue) is presented on a relatively small scale. However, the playing is utterly beguiling, and its inherent beauty truly draws you in. With Jeff Parker’s The Way Out of Easy live recording, the image is almost as strong outside the prophecy7s as it is between them. There’s so much character in the sound, with each instrument having its own distinct timbre and acoustic. However, the band as a whole is presented as a completely cohesive unit. 

You can hear this speaker’s pro heritage in its monitor-like ability to resolve details such as compression, reverb, and effects in everything played. The PMC prophecy7 doesn’t possess a typical monitor character, but it does exhibit the transparency to nuance offered by such designs. Perhaps this comes down to dispersion as well. The way the speaker interacts with the room is entirely dependent on dispersion. That makes it a key factor in the sound we perceive.

Speed and immediacy

I revelled in the speed and immediacy that the PMC prophecy7 brought to the party. It did so without sounding bright or forward. Especially at higher levels, it tends to play hard, as I did with them in the system, because the perceived distortion is so low. I became quite carried away with a variety of tracks, including ‘A Frozen Western’ by The God in Hackney. This was another example where the sound completely surrounded the speakers and gave the impression that they were not there when my eyes were closed.

I have been using PMC twenty5.26i speakers on and off since their launch five years ago. They possess the same three-way driver array with a midrange dome. However, despite being larger and more expensive, I would gladly swap them for the prophecy7s. These speakers are clearly superior in nearly every aspect, except for absolute bass extension. Considering they are distinctly more affordable, is quite an achievement. The combination of elements in the PMC prophecy7 has resulted in a design that performs well above its price point. Don’t let their slim good looks deceive you; this is a fantastic speaker. 

 

Technical specifications

  • Type: 3-way, three-driver, floorstanding speaker with PMC ATL (Advanced Transmission Line) enclosure.
  • Driver complement: One 27mm; one PMC 55mm soft dome midrange driver; one PMC 125mm mineral cone bass driver.
  • Crossover frequencies: 600Hz, 3.1kHz
  • Frequency response: 40Hz – 20kHz (-3dB)
  • Impedance: 6 Ohms
  • Sensitivity: 88dB/W/m
  • Dimensions (HxWxD):  965 x 165 x 310mm (+23mm with terminals)
  • Weight: 23.7kg/each
  • Finishes: Natural walnut, Mediterranean oak, Blackened walnut.
  • Price: £6,575, €7,999, $9,499/pair

Manufacturer

Professional Monitor Company

pmc-speakers.com

+44(0)1767 686300

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Soulution Audio 331

For most brands, the 331 integrated would be at the peak of their product performance abilities. For Swiss audio experts Soulution Audio, it’s still on the nursery slopes. There is the entire Series 5 and Series 7 above this elegant and powerful performer.

The 331 replaces the popular 330 integrated amplifier from Soulution. From the exterior, you can easily spot the difference because of the number ‘1’ in the product name. Seriously, that’s it. The front, rear, remote, display, and placement of buttons, knobs and connectors is all identical to its predecessor. This is no bad thing; it’s a simple yet elegant design that doesn’t need to change. Mungling about with timeless style for the sake of a revamp might work in the Bumper Book of Industrial Design. However, Soulution doesn’t work that way. It knows its aficionados are more concerned with what goes on inside the case than the case itself.

Changes

So, what’s changed? As Soulution itself puts it, “more power reserves and less phase shift in the audio band.” This is realised by four new SMPS (switch-mode power supplies) out of six in total, which Soulution labels as “cutting-edge.” Like their predecessors, these power supplies deliver 1.2 kVA of continuous power, feature high-performance filtering at the input and output. They also sport custom-made high-speed voltage regulators. However, these new power supplies can provide up to 4 kVA of peak current for more than five seconds. This improves an already impressively stable power delivery that it eschews reservoir capacitance. It widens the gap between this technology and transformer-based amplifiers even further. 

The change has resulted in a net reduction in output power. The Soulution Audio 331 delivers 100 watts into eight ohms. That’s more than the 120 watts into eight ohms of its predecessor. However, this is not due to alterations in the amplifier circuitry but rather a reflection of the design’s enhanced refinement. Given that most of us seldom, if ever, listen to an amplifier at its maximum output, the reduction in power is extremely unlikely to present an audible issue.

The rest of the integrated amplifier remains identical to the 330 it replaces. It retains the amplifier technology used in the company’s Series 5 amplifiers. This relies on a three-stage current amplification system, with each stage having a narrow, almost linear operating range. It has a high-precision idle current management circuit. This keeps the amplifier in optimal high Class A operation under all conditions. There’s RF and DC protection at the input and short circuit protection at the output.

Volume, two ways

The volume control is relay-switched and features high-precision metal film resistors, forming an 80, 1dB step volume control. Unlike most relay-switching circuits, the 331 features a second signal path that is only active during volume adjustment. This Programmable Gain Amplifier chip acts like a conventional potentiometer during volume adjustment. The amplifier reverting to precision resistors when the volume level is set. Notionally, switching between resistor array volume and integrated circuit volume pathways should slow down operation. In the real world, any delay was extremely short. 

Inside the chassis, the audio signal path, power supply and digital circuitry are all shielded from one another. Meanwhile the power amplifiers and their supplies are physically separated in a dual-mono layout. This results in exceptional channel separation (>105dB) for an integrated amplifier.

In its standard form, the amplifier features a line-only design with two XLR and two RCA inputs. However, there are also optional modules available for a phono stage and DAC. You can add these later, but it’s probably best to buy the 331 to your requirements at purchase. The phono stage comprises a two-stage, active Moving Coil design, exclusively incorporating passive RIAA equalisation, and offers a useful 60dB of gain with adjustable impedance.

LEEDH of the pack

The DAC includes inputs for S/PDIF, AES, USB, and Ethernet; it up-converts music to DXD, performs zeroPhase DSP processing, and boasts a LEEDH volume control. With one PCM1792 per channel and passive reconstruction filtering, this – much like the phono stage – is more than just an afterthought. Both can be used in the same amplifier, and they fit into otherwise blanked-out spaces on the rear panel. 

The Series 3 range also includes the 326 preamplifier and the 312 stereo power amplifier. Additionally, there is a separate 360 DAC along with the 350 MC phono stage. All models in Series 3 share the same design (the 312 features just the display and one button), the same functionality and specifications, and generally utilise the same architecture. So, it’s not too far of a stretch to say the 331 has the functions and features of the 326 preamp and 312 power amplifier in one chassis. The differences in each case lie in the enhanced physical isolation and improved power supply delivery that brings.

Guy in a cape

Operationally, then, the Series 3 all perform very similarly. Most people will drive their Soulution 331 they way they do with all 300 series products; through the remote handset, which is cleverly weighted so that it sits upright on a table… like a Weeble. The remote’s functions are mirrored by the volume control on the right-hand side and the three small buttons—power, mute, and prog—near the centre line of the amp’s front panel. While the button marked ‘prog’ switches sources, I want it to add a MiniMoog riff by a guy in a cape.

There’s a common thread running through all things Soulution, from the top Series 7 products to the optional MC and DAC boards on the Soulution Audio 331; a dedication to wide-bandwidth, low-noise musical replay, adding or omitting as little as possible to the received musical signal. The wide-bandwidth part is a tough nut to crack in a range like Series 3.

Ship-to-shore

Absent the engineering and technology that make the Series 7 models true heavyweights, achieving a frequency response that runs to within 3dB limits from 0-800kHz shows just how much goes into building the 331. It’s difficult because it demands a lot of rejection of the outside world (you are firmly into radio frequency territories, with AM radio, ship-to-ship, ship-to-shore, aircraft voice communications, and some phone signals all in the 331’s ambit). However, in rejecting the outside world, you also risk undermining the performance. Soulution Audio has managed to keep the world at arm’s length while sounding great in the process.

I mentioned the ‘timeless’ design earlier, but the Soulution 331 highlights a dilemma that runs through the audio business. Many consumer electronics industries update their industrial design when they change a model line; for the audio world, this is not as crucial. Some apply the ‘Porsche’ method of design, with subtle changes to each generation, retaining the brand’s identity while subtly keeping it up to date. Others prefer the ‘36mm Rolex Datejust’ method, where the external difference between a 2025 model and one from 1975 are minimal in the extreme, and the changes are all under the skin. It’s this latter approach that Soulution has taken in the 331.

Top Trumps

While there are distinctions between the 330 and 331, if you view them from a ‘Top Trumps’ perspective of specification matching, aside from the difference in power output, the two models look as identical on paper as they do on the surface. However, the fundamental differences between this model and its predecessor are entirely performance-based. It’s only when you sit down and listen to the two in comparison that the differences become apparent. If you make that comparison and own a 330, you become the proud owner of a 331, and your dealer will have a second-hand 330 to sell. 

That’s all fine for existing Soulution owners, but the 331 is also the gateway into the brand’s products and ethos. Parking the 330 vs 331 question, how does the 331 perform in its own right? Impressively well.

Unthanks a lot

I’ve returned to listening to The Unthanks recently, and ‘Bread and Roses’ performed live [Diversions Volume 5 – Live and Unaccompanied, Rabble Rouser] and found the three solo voices (Rachael and Becky Unthank are joined by Niopha Keegan here) are powerful, passionate and the sense of being in the room with three folk singers in close harmony is palpable. The enigmatic ‘Magpie’ is on the same album, but this early Suffragette ballad was so moving I wanted to run out and chain myself to a railing. 

This proved to be a common theme for the 331. I played ‘The Pirates of Penzance’ and found myself wanting to raid a clipper in very well-spoken prose. Then, I played ‘Clara’ by Jarvis Cocker and Chilly Gonzales and felt the need to sink a bottle of bourbon. Next, I played the overture to Tannhäuser and found myself sweeping majestically eastwards. It’s that kind of amplifier; evocative as well as informative.

I played many women’s voices during my time with the 331. Not because it skewed my listening, but because the sense of presence and power in those voices shone through. Vocal articulation was first-rate when listening to someone like Lady Blackbird’s ‘It’ll Never Happen Again’ [Black Acid Soul, BMG], and the power and dynamics of her voice come across brilliantly, too.

Terrifying synths

A track I don’t discuss very often is ‘Chocolate Chip Trip’ by Tool [Fear Inoculum, RCA]. The reason I don’t mention it frequently is that it can tear apart a flawed system. However, in this instance, it merely made you crave more razor-sharp percussion and terrifying synth bass lines. This also demonstrates just how precise the soundstaging is through the 331, as there is a considerable amount of extremely accurate panning across the stage.

Nothing I played through the Soulution Audio 331 challenged it, and everything remained thoroughly musical. I didn’t find myself drawn to particular aspects of the performance as being exceptional, as they were all exceptional. To say it ticked all the boxes is reductive, as it delivered an effortless and outstanding performance throughout.

The Soulution Audio 331 possesses an astounding ability to stay in its lane, and in a positive way. This is a crucial consideration for a company that offers far higher-end products in its lineup, as it provides more than just a taste of the impressive Series 5 and Series 7. At no point does it reveal limitations in the types of systems that might feature the 331. Pair it with a good digital or analogue front-end and loudspeakers at a similar price point, and it will truly shine. In fact, apart from needing large floorstanders speakers to fill an expansive room, the 331 occupies a sweet spot of enjoyment where ‘gear acquisition syndrome’ levels out. You can acquire ‘more’ than the 331, but not necessarily ‘better’. 

Listenability

Perhaps the big thing about the Soulution Audio 331 is its sheer ‘listenability’. I found myself getting irritable at any distractions from listening to music, including taking notes to write up how it performs. You just want to listen to music on this amplifier because the musical experience is so enjoyable. That doesn’t seem to be limited to any genre or musical style. I would happily play music of all sorts and at almost all levels on the 331 thanks to that listenability.

Paradoxically, I often find this trait in more affordable audio equipment. It seems that, at times, high-end audio adopts an almost dour, soulless approach to sound. Music is exceptionally well organised spatially, and the presentation is highly detailed and informative, yet Lady Day singing ‘I’m a Fool to Want You’ [Lady in Satin, Columbia] is lauded for its detail and staging, while her impossibly broken voice is nearly overlooked. With the Soulution, you receive all the detail and analysis, but you also hear the sound of a woman on the edge, making the record the difficult listen it was always intended to be.

Tarkus

The interface is the closest this gets to a downside. The single line of red LEDs is informative, dimmable, and on the cusp between ‘classic’ and ‘slightly old-fashioned’. Moreover, the remote eye relies heavily on line-of-sight; unless you point the handset at the left side of the front panel, changing sources and adjusting the volume is often more honoured in the breach than in the observance. That said, I prefer the more physical approach to oversensitive handsets that max out the volume just by picking up the damn thing. And, I want ‘Prog’ to immediately start playing Tarkus by Emerson, Lake and Palmer… but that’s just me.

My time with the Soulution Audio 331 integrated amplifier was all too short, but I suspect I could have spent the whole of the last year listening to it every day and still make that claim. Products like this make my job obsolete because, if you listen to this amplifier, you might never want or need to buy anything else again. It really is that good. 

Our thanks go to Sebastian at KJ West One
(www.kjwestone.co.uk) for his assistance in this review.

Technical specifications

  • Type: Integrated amplifier
  • Inputs: 2x balanced XLR pair, 2x unbalanced RCA pair, 1x unbalanced RCA for Phono MC (optional), 1x AES/EBU, 1x S/PDIF, 1x USB, 1x Ethernet for DAC (optional)
  • Outputs: 1x balanced XLR pair, 2x pairs loudspeaker terminals
  • Power output: 100W @ 8Ω, 200W @ 4Ω, 400W @ 2Ω (<5 sec.)
  • Output current max: 30A
  • Frequency Response: 0-800kHz (-3dB)
  • Phase shift @ 20kHz: <-3°
  • THD: <0.0005%
  • Damping factor: >5,000
  • Dimensions (WxHxD): 43x49x14.2cm
  • Weight: 18kg
  • Price: From £25,000, €30,000, $44,475

Manufacturer

Soulution Audio

soulution-audio.com

UK distributor

Select Audio

selectaudio.co.uk

+44(0)1900 601954

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