New to Audio T Bristol: Lyngdorf – Hi-Fi Reinvented (Part 1)

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image: Lyngdorf HiFi

With more bells and whistles than a midsummer Morris dance medley, this is Lyngdorf…

It’s not every day a new brand lands at Audio T Bristol and instantly makes such a bold impression—but Lyngdorf is anything but ordinary. Combining sleek Scandinavian design with cutting-edge audio technology, this Danish brand brings a fresh perspective to high-performance Hi-Fi. Whether you’re after musical finesse, serious home cinema capability, or the cleverest room correction software in the game, Lyngdorf is quietly redefining expectations. And yes, it looks fantastic while doing it.

The best way to think of Lyngdorf is as a DSP-focused AV receiver company that happens to do music astonishingly well. This is Hi-Fi for modern living—minimalist in appearance, but overflowing with innovation.

It's So Good, He Put His Name To It

Back in 1999, Peter Lyngdorf (of HiFi Klubben and DALI fame) funded a project to develop the next generation of fully digital amplifiers. By 2005, his attention turned to one of Hi-Fi’s great unsolved problems: room acoustics.

Arguably the fourth most important part of any system—after the source, amplification, and speakers—your listening room can make or break the performance of even the best equipment. Enter RoomPerfect™, which launched in 2006 alongside a groundbreaking new digital amplifier. With this, Lyngdorf carved out a space of its own in the audio world.

Still not satisfied, Peter Lyngdorf set a wildly ambitious challenge: Steinway Lyngdorf systems would replicate the sound of a Steinway & Sons grand piano so convincingly that even professional concert pianists would struggle to tell the difference. That was in 2007—and that partnership is still going strong today.

(You can find out more about the history of Lyngdorf in this article from Music at Home+ Spring 2023 - Read here)

Introducing the Range

TDAI 1120, 2210 & 3400
We start with the TDAI (True Digital Amplifier Integrated) 1120. Compact and elegant, it’s easy to place anywhere in the home and comes loaded with streaming features. With HDMI ARC as standard and 120W into 4 Ohms, it’s more than capable of powering most loudspeakers.

image: Lyngdorf TDAI 1120 Rear view

Next is the newly introduced TDAI 2210—sitting right in the sweet spot of the range. Think of it as the Goldilocks model: more powerful at 210W, with a headphone output, modular upgrade options (including HDMI and analogue card), and an improved USB-C input.

At the top, we have the TDAI 3400. Delivering 400W of muscle, it adds digital AES/EBU input, MQA decoding, and ups the resolution to a whopping 32bit/384kHz.

image: Lyngdorf 3400 with CD2

The Lyngdorf Experience

What’s truly striking about Lyngdorf is how intuitive everything feels. From the clean app interface to the thoughtful placement of rear connections and front controls, the user experience is simply excellent.

RoomPerfect™—which we’ll cover more in Part 2—is perhaps the most straightforward yet powerful room correction system available. It’s designed to maximise sonic performance without overwhelming the user with technical complexity.

How does it sound?

Lyngdorf delivers impressive clarity, depth, and dynamic range. The "inky black" background allows every subtle musical detail to emerge, and its ability to maintain dynamics even at lower volumes is particularly notable.

The fully digital architecture provides complete control—digital crossovers, speaker EQ, custom sound profiles, and of course, advanced RoomPerfect™ room correction—all helping to ensure optimal sound in any environment.

What’s more, Lyngdorf’s amplifiers are passively cooled and remarkably efficient. With a power factor approaching 1, nearly all the power goes directly to the speakers. Conventional amplifiers waste much of their energy as heat and idle power—Lyngdorf’s approach avoids this entirely. The result? Lighter, sleeker amps that run cool, sound superb, and look the part too.

In Summary

Lyngdorf is more than just a new name—it’s a genuine rethink of how great Hi-Fi and home cinema can look, feel, and sound. With their smooth character, effortless control, and powerful room correction, Lyngdorf products are perfect for taming tricky listening environments or powering demanding loudspeakers.

We’ll take a deeper dive into the RoomPerfect™ app and setup experience in Part 2. Watch this space.

Thanks for reading!

Justin, Max & Barry - Audio T Bristol

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

Lyngdorf can be found at the following Audio T stores -

'Yes, they do come in Walnut' - The ATC SCM50PSL loudspeakers

/ Audio T Swansea/

an ATC SCM50PSL loudspeaker. in walnut.

We are blessed with some very obliging Hi-Fi manufacturers here at Audio T Swansea, and chief amongst them is ATC. Whether it’s because the delightful Dave at ATC used to be our General Manager; the kettle is mysteriously always warm whenever he calls; or that we sell lots and lots of lovely ATC product, we simply cannot tell. Suffice to say, whenever we express a wish to borrow something ‘extra’, mountains are moved and lovely things arrive.

In this case, a long-standing customer of ours with a substantial pile of Naim Audio equipment wanted to replace his venerable Naim SBL loudspeakers. Having heard the SCM50PSL in active trim (a stupendous performance), and knowing our customer’s tastes very well, Nic suggested the ATCs. Our customer (Mr D) had already read a few reviews (including a couple of Audio T staff blogs) and agreed that they may well fit the bill. We set the ball in motion.

A Little Background…

The Acoustic Transducer Company, or ATC as they are better known, has been a stalwart of the studio monitoring scene for five decades. Founded in 1974 by Billy Woodman to manufacture custom drive units for the professional audio industry, ATC quickly made its mark with a 12″ bass driver—a design capable of handling more power and producing less distortion at a higher sound pressure level than any other unit on the market at the time.

In 1976, ATC introduced a groundbreaking soft-dome midrange driver, which delivered a wider bandwidth, more uniform dispersion, and significantly lower distortion than was previously thought possible.

The following decade saw the launch of complete speaker systems, alongside further versions of high-power PA drive units supplied in OEM form to leading manufacturers and performers—early customers included Pink Floyd and Supertramp. Today ATC speakers can be found in prestigious venues such as the Sydney Opera House, the Royal Festival Hall, and Ronnie Scott’s Jazz Club.

Having established a market for reference-quality, precision-made monitors, ATC went on to develop a succession of smaller loudspeakers, ranging from the compact SCM7s through to the 10s and 20s. Available in both active and passive versions, these models brought ATC’s renowned performance and reliability into the music lover’s home.

In 1996, ATC launched its first stand-alone high-performance electronics. The SCA2 preamplifier and SPA2-150 power amplifier (later joined by the SIA2-150) were built in line with ATC’s philosophy, achieving performance figures that remain impressive to this day. The latest versions continue to deliver outstanding precision and musicality and come highly recommended.

ATC continues to design, engineer, and manufacture all of its drive units at its factory in Stroud, Gloucestershire.

Arrival and Installation

A couple of weeks post-request, two very large black flight cases arrived in front of three very happy boys…

it’s not every day a lad gets to feel like a roadie.

And a couple of days after that, two of those happy boys took a road trip to darkest West Wales.

Moving the Naim SBLs from a client’s room is simplicity itself, despite appearances to the contrary – each cabinet rests upon the one below, with the tweeter mounted upon a pair of pylons. Installing them in a client’s room is the part that requires some expertise. Happily, the client’s son—who inherited them—has a certain amount of engineering prowess.

a pair of cherry naim audio sbl loudspeakers from the mid-1990s these are in great nick.

just about all the instruments i can name are used here plus several that i can’t. a great warm-up album.

Removing the SCM50 from their containers, however, is a two-man lift and should only be considered once the stands have been placed in the likely-correct position that long experience will recommend. Once fired up and playing something suitable to warm the speakers with—Igor Stravinsky’s Rite of Spring in this case—and following a welcome cup of tea and a biccie, the installation process could begin.

Finding the Sweet Spot

a curious album we only ever seem to play when we want to set up a pair of speakers.

Nic starts with a single loudspeaker connected and plays Ballad of a Runaway Horse by Rob Wasserman and Jennifer Warnes. What we listen for is the bass level and quality from Wasserman’s double bass. If you start with the speakers placed as far apart as your seating position and close to the rear wall, then gradually move them forward into the room, the bass will initially drop off, then become stronger again as the speaker finds a position where it works with the room to reinforce the bass. Repeat the process with the other speaker, and have them both firing straight out into the room.

Once that is done, sit in the primary position and listen to the left-right soundstage. With your eyes shut, can you point to where the music is coming from? If you’re pointing at the speakers, we need to move them closer together. When we can hear one singer and one double bass only, and the sound apparently does not emanate from the speakers (they should, in effect, disappear), then we’re getting pretty close.

The next step is toe-in, and it’s somewhat subjective. Having the speakers firing straight into the room will yield a wide soundstage with a big sound. Aiming the speakers towards the listening position will yield a smaller, more intimate experience. The trick is to balance the intimacy—solid shapes of instruments/vox held in a 3D space—with the grand stage still remaining apparent.

Big Sound, Beautifully Controlled

With the SCM50, this is not so difficult to achieve. Properly driven with quality amplification and source components, they of course sound huge, but retain a remarkably fast and taut character, with instruments and voices given such a beautiful, natural treatment they sound alive.

You expect such large boxes to sound bombastic and, given the correct source material, they will scare you half to death if that is your whim—all without raising a hair. They have an effortless, unbreakable persona and radiate a sense that everything is simply correct.

AC/DC’s The Jack — a track that extemporises on the theme of, ermm considerate social hygiene.

AC/DC’s The Jack from their first (international) album High Voltage—which is hardly the last word in production value—is presented as I expect the band wanted it to be. Its dense mix is opened up to its full breadth and depth and we can hear the positions of the instruments pinpointed in the soundstage, rather than them all appearing together from somewhere in between the speakers.

Bass isn’t a fat, bouncing jelly in the middle of the room, but a solid, discernible instrument tightly held in its own space. Kick-drums are hard and rapidly compress the chest—just like they do in your favourite upstairs-room-at-the-pub venue—and I find myself thinking that that is exactly what Bon Scott et al were trying to achieve. It’s enormously satisfying.

did i mention a substantial pile of naim equipment? needless to say, it sounds stupendous.

“I’ll Have a Pair in Walnut Please”

willy deville’s album ‘miracle’ is worth a spin…

It was Willy DeVille that did it for our Mr D. Three lines into Nightfalls from the album Miracle, and he turned to Nic and said:

“I’ll have a pair in Walnut please. They are available in Walnut?”

“Yes, they do come in Walnut.”

the current state of our primary demo suite. air conditioned too.

Visit Us for a Listen

The ATC SCM50PSL currently reside in Audio T Swansea’s primary dem room. They are playing with our all-British Rega P10/Apheta 3 turntable with Aria phono stage, Linn Selekt digital media player, Chord Electronics Ultima 3 preamplifier and Ultima 5 power amplifier—all connected with Black Rhodium cables. (The Hi-Fi rack is Italian!)

Why not pop in for a listen – you won’t be disappointed.

obligatory arty hifi shot. you’ve have been disappointed if i’d left it out. look at the girth of those baffles.

Thanks for reading.

Words and images by Adrian (tea by Nic & Andy) – Audio T Swansea

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs—and be sure to follow us on our social media channels below…

ATC Loudspeakers can be found at the following Audio T stores

At their core, the DALI RUBIKORE 2 are rock solid!!!

/ Audio T Manchester/

DALI (Danish Audiophile Loudspeaker Industries) is a family-owned Danish manufacturer specialising in high-end loudspeakers. Founded in 1983 by audio entrepreneur Peter Lyngdorf (yes, the same people behind the high-end Hi-Fi company Lyngdorf), it began as a home-based project before opening its first factory in Nørager in 1986. Initially focused on Scandinavia, DALI began exporting in 1990 and later established offices in Germany (2001) and the good old UK (2005).

It now has representation in over 65 countries, with more than one million units sold worldwide. That’s an impressive global footprint.

Here at Audio T, we’ve had a great time with DALI over the years. A stalwart and ambassador for Danish loudspeaker design, DALI offers a cracking range across both Hi-Fi and home cinema.

And so here we have the RUBIKORE 2 — the stand-mount speaker in DALI’s RUBIKORE series, which sits neatly between the RUBICON and EPICON ranges.

We’ve been putting our demo pair through their paces here at Audio T Manchester.

now there’s a look even salvador would be proud of.

Stylistics

To put it simply, the RUBIKORE series offers excellent build quality. The black gloss finish is as luxurious as anything you’d expect from a high-end speaker brand. With a solid and weighty feel to the cabinets, these perfectly proportioned compact stand-mounts have definitely got the looks.

Captain Chromey!! Engines on and ready for warp speed

The binding posts have a robust, premium feel to them and are designed to grip seriously chunky speaker cable — if you so desire.

As expected, we've been trialling the RUBIKORE 2 with a wide variety of music. I’ve sat in with customers who’ve demoed them in our dedicated listening room and heard everything from jazz to ambient to classical.

And in all fairness, they deliver a presentation that’s both detailed and emotionally engaging — a sentiment shared by many of our customers (and we wholeheartedly agree).

Manna from Above

Bass is surprisingly deep and well-controlled for a speaker of this size. It’s tight and tuneful without ever becoming bloated. The midrange is where the RUBIKORE 2 truly shine: vocals have a creamy, natural tone, while strings and acoustic instruments sound convincingly organic.

The bass unit is the real star here, incorporating the paper and wood fibre Clarity Cone™ Technology SMC Bass/Midrange driver — a direct trickle-down technology from the flagship DALI KORE range.

High-Falutin’? Not Really — Just Perfect

The treble is open and airy, with just the right amount of sparkle. It never feels harsh — “we don’t like harsh” — and imaging is precise. The soundstage is wide and immersive, with loads of depth and excellent instrument placement. The result? A fatigue-free experience that’s ideal for long listening sessions.

Listening to some of our favourite tracks from the Manchester store playlist, the DALIs deliver a full-bodied, confident performance. If you’ve visited our demo room, you’ll know it’s not exactly a small space — yet the they fill it with ease. That’s an impressive feat, considering their compact size.

So, from a relatively small footprint, the RUBIKORE 2 produce a big, bold sound. And at £2,299, they feel like a genuine bargain. The competition should definitely be keeping an eye on these.

now that’s a patented Continuous-Flare bass reflex port chromey, it actually behaves like another drive unit, personally, i wouldn’t leave my helmet there, you have been warned!!

Try Them for Yourself

Check out some of the tracks we used below…

Tom Misch & Yussef Dayes

The title track on this album has Yussef Dayes kick drum absolutely front and center, and there isn’t an ounce of “boxyness” to it.

You just want crank up the volume.

Speedy J

The track Fill 14 is another swirly ambient track that just spreads and opens out across the front of the soundstage.

Djrum

A top of many a best of the year list. This electronica piece “a tune or us” reveals itself and permeates

Our playlist also included artists such as: Matthew Halsall, Toumani & Sidiki, Horace Silver, Stereolab and many more.

If you're curious to hear what the DALI RUBIKORE 2 can really do, we’d highly recommend coming in for a listen. Whether you're looking to build a new system or upgrade your existing setup, hearing them in a properly set-up demo room can make all the difference — and we’d be happy to walk you through it.

Drop by your local Audio T or give us a call to book a demonstration. We're always happy to chat about your musical tastes, system goals, or just geek out over good gear. With speakers like these, hearing really is believing.

Thanks for reading

Munir, James and Dave - Audio T Manchester

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

DALI can be found at the following Audio T stores

Rega Planar 6 vs Planar 8 – Is the Upgrade Worth It?

/ Audio T Cardiff/

Matt from Audio T Cardiff goes deep into the Rega turntable lineup, comparing his trusted Planar 6 with the higher-end Planar 8. Is the jump worth it? Let’s find out.

rega logo

Hi again folks. As the title suggests, I’m once more exploring changes to the beating heart of my home Hi-Fi system. It’s been almost four years since I bought my beloved Rega Planar 6 turntable, which has never skipped a beat or let me down. If you’ve read my blogs before, you’ll know my passion for vinyl and its uniquely musical way of reproducing sound. To me – and maybe to many of you out there – vinyl remains the ultimate way to listen to music.

I’m writing this while cranking Ozzy Osbourne’s Mr Crowley from Blizzard of Ozz. There’s only one way to listen to the Prince of Darkness – LOUD. Anyway, let’s get back to business.

Why the Upgrade Question Came Up

Lately, I’ve been wrestling with one big question: should I upgrade from my Planar 6 to the Rega Planar 8?

The Planar 10 – and the flagship Naia – are a step too far for me at the moment. But on paper, the Planar 8 looks like a meaningful step up from the P6. So before we dive into listening impressions, let's take a look at the specs of both decks.

For this comparison, I’ve removed the cartridge variable by using my own Dynavector 10X5 Mk2 high-output moving coil.

Starting with my current turntable, let’s have a look at their respective specifidcations:

Planar 6 in black

Rega Planar 6 Specifications

  • RB330 tonearm with stainless steel balance weight

  • Dual-layered float glass platter

  • Double brace technology

  • Tancast 8 foam-core plinth

  • Custom-matched Neo PSU

  • EBLT reference drive belt fitted as standard


planar 8 in white

Rega Planar 8 Specifications

  • RB880 precision tonearm

  • Super flywheel-effect triple-layer glass platter

  • Double brace technology

  • Tancast 8 foam-core plinth

  • Custom-matched Neo PSU

  • 24-volt low-noise motor assembly

  • Two EBLT reference drive belts as standard



Looking Back – Why I Chose the Planar 6

It feels like time has flown since I picked up the P6. I remember the exact demo setup I used in our shop at the time: a Rega Planar 3 with an Exact cartridge, a Planar 6 with an Ania Pro, a Nytech CDP 122 phono stage, a Rega Elex-R amplifier, and a pair of Acoustic Energy AE300 speakers. Some of you might recall this system from when I first joined Audio T.

The Planar 3 was fantastic, but the P6 brought something extra. Beyond the cartridge differences, I immediately noticed a lower noise floor and a more refined overall presentation – I remember spinning Iron Maiden’s then-new album Senjutsu and being properly wowed.

planar 6 black with neo psu

Even now, I think the P6 stands tall among turntables in its class. The combination of Tancast foam-core plinth, advanced motor assembly, and overall design detail gives it a real sense of musicality. These are the reasons I’ve held onto it for so long – but something recently nudged me to reconsider.

So, Why Change?

If I’m so happy with the Planar 6, why even entertain the idea of switching?

Well, as you might’ve guessed I’m always chasing that next level of sonic performance. The turning point came during a demo I set up for a customer using the Planar 8. As I sat back and listened, I thought: this deck has something special. That moment planted the seed. I had to hear it for myself at home, using my own cartridge, in my own system.

Design Evolution – What Makes the Planar 8 Special?

Rega drew clear inspiration for the Planar 8 from their no-compromise Naiad turntable, and it really shows in the design. The plinth is strikingly skeletal, saving mass without sacrificing rigidity.

A major upgrade is the RB880 tonearm, with a redesigned vertical bearing assembly made from aluminium and stainless steel. It offers vastly improved rigidity and tracking stability over the RB330. Then there's the 24V motor and twin-belt drive on the sub-platter, which delivers more consistent torque.

planar 8 black with neo psu

One of the biggest innovations is the super flywheel triple-layer glass platter, developed in collaboration with a UK glass engineering company to Rega’s exact specs. It offers improved speed stability – and, in my opinion, a noticeable sonic gain.

The Listening Session Begins

Right – coffee in hand – time for the fun part…

big wreck lp displayed with matts very own strat

My Test Tracks

  • Ozzy Osbourne – Blizzard of Ozz (1980) – Mr Crowley

  • Iron Maiden – The Final Frontier (2015) – El Dorado

  • Big Wreck – Albatross (2025) – Albatross

Let the evening of guitar-driven vinyl madness commence 🤟 (Apologies in advance for the nerdy detail. You’ve been warned.)

Planar 6 Listening Impressions

planar 6 fitted with dynavector 10×5

Kicking off with Mr Crowley, the Planar 6 delivers a powerful sense of presence. Don Airey’s keyboard intro sounds huge, with great clarity between notes. Then Randy Rhoads’ iconic riff cuts through – full of grit and character. You can really sense that gear combo: his Sandoval polka-dot Flying V with DiMarzio Super Distortion pickups through the Marshall 1959 Super Lead. It’s the kind of track you just have to crank.

Planar 8 Listening Impressions

Cartridge transferred. Planar 8 powered up. Let’s go.

Calling the P8 "a bit better" than the P6 just doesn’t cut it. While it retains Rega’s signature sound, the differences are more than subtle. Right away, the RB880 feels smoother and more precise in tracking. While the RB330 is excellent – and something of a Hi-Fi icon – the RB880 takes things up a notch.

the essential tools for swapping the cartrdige over

Back to Mr Crowley – Rhoads’ guitar had even more texture and bite, and Ozzy’s vocals were better placed within the soundstage. Everything felt more alive. With Albatross by Big Wreck, there was greater clarity between notes and more space in the mix. Ian Thornley’s guitar tone was richer, and his vocals seemed more dynamic – made me want to grab a guitar and jam (emphasis on try).

planar 8 fitted with dynavector 10×5 high output

El Dorado by Iron Maiden was the biggest surprise. With three guitarists in the mix – Dave Murray, Adrian Smith and Janick Gers – there’s a lot going on. Around three minutes in, there's a blistering guitar battle between all three, and the P8 gave each player their own space in the mix. It sounded spectacular.

Final Verdict

As much as I love my Rega Planar 6 – and always will – the Planar 8 has definitely got me thinking. It builds on everything the P6 does well and pushes it further. I can easily see myself ordering one before the year’s out.

But before that, I’ve got another exciting upgrade on the way – the new Cyrus 40 PPA phono stage. I’ll be writing all about it when it arrives next month.

Try It Yourself

This weekend’s turntable shootout was eye-opening, and I highly recommend doing the same if you're curious. If you’re considering a step up from the P6, come in for a demo – hear the difference for yourself and let me know what you think.

Thanks for Reading

Matt Aaron - Audio T Cardiff

Out of the Blue: Why I Collect Multiple Copies of the Same Album

/ Audio T Cheltenham /

I’ve been an enormous fan of Out of the Blue by The Electric Light Orchestra ever since I was at school. It was one of the first albums I bought with my own (fairly) hard-earned money! It has stuck with me far longer than most others, and I still play it regularly because across its four sides, there isn’t a weak track. This obsession means that over the years, I have amassed fourteen — yes, fourteen! — different copies, each unique in some way. This blog is a bit of a self-indulgent dive into the phenomenon of collecting multiple copies of the same album. Surely I can’t be the only one?

In My Blue World

There are plenty of albums I own multiple copies of: Olias of Sunhillow by Jon Anderson (four), Marquee Moon by Television (three), The Lamb Lies Down on Broadway by Genesis (also three), plus two copies of albums by Rush, Camel, Porcupine Tree, Yes, Pink Floyd, and The Grateful Dead. But Out of the Blue is different.

most of the collection so far

I was already a fan of ELO and had a copy of A New World Record that my mum and dad bought me for Christmas 1976, when I was just fourteen. So by the time Out of the Blue was released on 28th October 1977, I was (as the saying goes) gagging for it — and I fell in love immediately!

Say Goodbye to All Your Friends

The striking sci-fi gatefold cover folds out to reveal the band’s logo transformed into a spaceship, possibly beaming their perfect cocktail of glam, prog, rock, and pop to every corner of the universe.

ready for take off

The fold out poster

Inside the gatefold, there’s an incredible image depicting the control room of the spaceship — packed with retro-futuristic detail and glowing with the same imaginative flair as the music itself. It’s the kind of artwork you can get lost in while the record spins, and it perfectly captures the album’s cosmic ambition. But the treats didn’t stop there. The original release also came with a pop-out cardboard model of the spaceship featured on the front cover — yes, you could actually build your own ELO ship! Alongside that was a large fold-out poster featuring the band in full 1970s splendour, plus inner sleeves printed with full lyrics and credits. It was, and still is, one of the most lavish and lovingly put together album packages of its era — a total feast for fans of music and design alike.

I’ve Been Thinkin’ It Over

Legend has it Jeff Lynne wrote the entire album holed up in a hotel near Musicland Studios in Munich in just three weeks! The trademark ELO sound reached its peak on this album, thanks in large part to the keyboard genius Richard Tandy and orchestral arranger Louis Clark. Together, the three crafted a powerhouse glam/prog/pop masterpiece.

Innovative use of the vocoder and those eerie, almost Disneyesque backing vocals add an otherworldly sheen to many songs, reminiscent of earlier ELO albums like Eldorado and Face the Music. Some critics say Out of the Blue is overproduced (whatever that means). I say it’s a perfect work of art, with no space wasted — every moment has something to make it fab!

The Japanese pressings sound amazing

Concerto For A Rainy Day

My favourite part is side three: a four-song prog rock suite subtitled “Concerto for a Rainy Day,” touching on themes of love, loss, and loneliness against a backdrop of gloomy weather. It finishes joyfully with the stone-cold classic Mr. Blue Sky. It gets me every time!

the most recent addition to the collection

It’s A Beautiful New Day

I have no rational explanation for why I own so many copies. The most recent is a red and yellow coloured vinyl edition HMV released for Father’s Day — and it’s just wonderful.

just a few of the different labels

double vinyl picture disc

I also have two different Japanese pressings, a clear vinyl version, three different blue vinyl editions, various foreign pressings, a cheap reissue without the gatefold, different label variations, and a picture disc!

My favourite hype sticker

My favourite version, without a doubt is the first edition blue vinyl which I think sounds the best out of all of them and I even used it recently for a demo here in the Cheltenham store when I got talking to a lady about “guilty pleasures” as a genre of music in its own right and Out of the Blue came up in the conversation. I played it for her on the Rega Planar 1 turntable with Rega Io amp and Acoustic Energy AE100² speakers system in our demo room and it blew her away! Yay!!

rega, acoustic energy and The elo…a match made in heaven

Calling All Collectors

If any of you out there in Audio T Blog Land share this affliction and have numerous copies of the same album, please let me know. We can drink tea, eat biscuits, and compare notes! I’ve already met someone with four copies of …And Out Come the Wolves by Rancid, and another with multiple Dire Straits albums. So come on — tell me what you collect!

I’ll Remember You This Way

Coincidentally, this ties in nicely with Jeff Lynne’s recent farewell concerts, retiring the ELO spaceship for good. Thanks for the long, strange trip and all the wonderful music, Jeff… love you x.

Thanks for reading,

Andy, Jon and Farid - Audio T Cheltenham.

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

A REGA AND SONUS FABER VINYL BASED SYSTEM: SOULFUL SYMMETRY

/ Audio T Swindon/

Happily, the vinyl revival is showing no sign of ever abating. With this in mind, I thought I would compose a blog featuring a turntable based system. The most important part of a Hi-Fi is the source; we all know the adage of ‘garbage in, garbage out’ and this is particularly true of vinyl based systems, where the quality of the engineering of the turntable is vital: With this in mind I chose the superb Rega Planar 3 (with ND3 cartridge) as the front end.

rega Planar 3 (Nd3)

Rega Planar 3

Launched in April 1976 (Led Zeppelin were riding high in the album charts with ‘Presence’), the Planar 3, whist not being the very first Rega turntable, certainly went on to become the most iconic. It has gone through numerous revisions over the decades, being constantly revisited and improved upon, using modern engineering and best practices. Rega are advocates that low mass and high rigidity are fundamental for exceptional performance. With this in mind, the plinth has a low mass rigid core, with skeleton bracing supporting the bearing and arm. The RB 330 tonearm represents forty years of experience and know how. A 24v low torque asynchronous motor drives a thick glass platter, for low noise and good speed stability (there is an option of an external Neo PSU for even better speed control). The latest ND3 cartridge comes pre fitted. It costs the same as the outgoing Elys but actually outperforms not only the Elys, but also the more expensive outgoing Exact. A dust cover is provided. Set up is a doddle and if you know what you are doing it will only take a few minutes. If you don’t, we will be happy to do it for you.

Sound

The Planar 3 exhibits a smooth sonic signature and neutral tonality. Vocals are silky and soulful. Bass is full and deep, with a touch of upper bass warmth. There is a reason why the Planar 3 is considered the gold standard of all sub £1000 turntables.

Rega Brio Mk7

Rega brio mk7

The amplifier chosen was the latest generation of the Rega Brio, the mk7. It represents a complete reworking over the previous model Brio. The circuitry has been improved in every aspect for lower noise and improved performance. For the first time the Brio incorporates a DAC (Wolfson) with optical and coaxial inputs. A high quality headphone output is also provided. The circuitry of a phono stage is very different to that of a line level. It goes without saying that, with their long history of turntable production, the moving magnet inputs fitted to Rega amplifiers have always been excellent. Indeed the moving magnet input is not only superb, but is also superior to that of its predecessor. Power is 50 wpc into 8 ohms, plenty for most expected applications.

brio rear

Sound

Like the Planar 3, it is also tonally even. Bass extension is both low and taut. The presentation is solid and punchy. The Brio is a musical and engaging amplifier and very enjoyable to spend many hours of time listening to. I didn’t have an example of the previous Brio to compare it to, but my impression is that the Mk7 is both a touch more dynamic and also more insightful.

Sonus Faber Lumina II

lumina II

Whilst Rega is a British company, manufactured in England, Sonus Faber are Italian and have that gorgeous Italian styling that we have now come to expect: The cabinets are wrapped in leather and have a glorious polished wood front baffle. Build quality is excellent. The gateway to high performance, the Lumina II is a compact two way stand mount loudspeaker. It sits between the diminutive Lumina I and the floor standing Lumina III. High frequencies are handled by a 29mm soft dome tweeter, damped apex dome sits in front of the assembly, reducing breakup and distortion. Midrange and bass are covered by a 150mm doped paper driver. There is a front mounted port neatly integrated into the plinth. The speakers sport a figure of 86dB sensitivity and 4 ohm impedance and as a result they do require a suitably capable amplifier.

Sound

The Luminas pose excellent sound staging, with the cabinets seemingly disappearing during playback. They possess a believable sense of weight and scale. The treble is detailed but non fatiguing.

System synergy

Our system was cabled using Chord Shawline X speaker cable, the Sonus Fabers sit on Atacama Moseco 6 speaker stands. The result is a combination that exhibits both tonal realism and richness and is capable of unpicking complex recordings. They possess a musical performance that is both propulsive and unfatiguing. A truly enjoyable long term listening experience.

If you would like to experience what Rega and Sonus Faber can achieve, Andy and I would be delighted to set up a demonstration for you in our showroom. Feel free to bring along your favourite albums — this system deserves to be heard with tracks you love.

Thanks for reading — we look forward to welcoming you soon.

Jon and Andy - Audio T Swindon

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to contact us.

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Rega can be found at the following Audio T stores - Sonus Faber is exclusive to Swindon

Splendid isolation – ways to control the ever-present audio gremlin of mechanical interference

/ Audio T Portsmouth/

Interference and, for the purposes of this blog we are focusing on mechanical interference rather than electromagnetic, increases background noise levels meaning you hear less of your music. So what is it and what can be done about it?

Hi-fi manufacturers spend huge amounts of time and money developing ways to reduce signal interference.

Shielding on cables, circuitry design in components, separation of signal paths from power supplies, power conditioners and, indeed, the whole concept of hi-fi separates are all ways to reduce electromagnetic interference.

The aim is to reduce the noise floor in your system, which is to say minimise the noise that is present in your system the moment you turn it on. Because these hums, hisses and other sonic interference are often inaudible, you may not even realise you have noise floor issues!

Whilst much of the wizardry to control electromagnetic interference is designed into good quality hi-fi products, much of the task of reducing mechanical interference is left to us.

The good news is that there are plenty of solutions on the market, including equipment racks, isolation products and room treatment, all of which can help us tame mechanical interference in our systems and listening rooms.

Additionally, there are a few simple things we can do ourselves to make sure our systems sound as good as possible.

Audio nirvana - minimising mechanical interference pays sonic dividends

Not so good vibrations

Basically, mechanical interference is vibration. This is to a large extent caused by the sound, whether direct or reflected, coming from our own hi-fi speakers which energises the room and everything in it, including all our hi-fi equipment and cables.

If care is not taken then we can end up with our listening rooms ‘humming along’ to our music. And, if mechanical interference isn’t bad enough, the vibrations can leach back into the electronics in our system and become electromagnetic interference too!

Many of us will remember from school physics that just about everything has a resonant frequency. This is the frequency - determined largely by the composition and construction of different materials and objects - at which something will vibrate with maximum amplitude when in contact with an energy source which, in this case, is mainly (but not exclusively) the music coming from our loudspeakers.

Given that there are so many different frequencies in a piece of music, it is a safe bet that almost everything in our rooms will have its resonant frequency activated at some point or other while listening to music. The louder the music, the more energy is transferred to our rooms and their contents.

Things don’t only vibrate at their resonant frequency, it’s just that this is when the vibration, or energy transfer, will be greatest.

What’s more, it’s not just energy from the sound waves produced by our speakers. Vibrations emanate from other sources such as household appliances, someone walking about in the house or from the traffic outside. Even our turntables and CD players introduce an element of mechanical noise into our systems.

The result is an unwanted chorus of extraneous buzzing, thrumming and booming going on alongside our music. As mentioned, not all of this noise will be audible to the human ear but, whether audible or not, it does interfere with the sound of our hi-fi.

wall brackets can reduce vibrations affecting turntables

Here’s how mechanical noise can affect audio:

  • Microphonic Effects: Sensitive electronic components, such as capacitors and valves, can act like microphones - picking up physical vibrations and converting them into unwanted electrical noise.

  • Timing Smear: Vibrations can subtly alter the timing of digital circuits, potentially leading to jitter or loss of low-level detail.

  • Distortion in Analogue Playback: Turntables are especially vulnerable and any vibration that reaches the stylus can be interpreted as part of the signal.

  • Resonant Coupling: When components share vibrations through a shelf, stand or rack, they can resonate with each other, introducing tonal colouration or masking fine detail.

Putting a dampener on things

There are a number of ways to combat vibration, most of which revolve around some kind of isolation system and/or a deadening medium.

Isolation products - ranging from equipment feet and platforms to racks and cones - are designed to reduce and, ideally, eliminate the impact of unwanted vibrations.

quality racks like the Naim FrameLite provide a stable and acoustically isolated platform

The goal of isolation is twofold: preventing external vibrations from reaching your components and preventing internally generated vibrations from coupling into the support structure which would include your rack, speaker cabinets and floor.

Isolation products typically work through one or more of the following mechanisms:

  • Damping - some materials convert vibrational energy into heat. Sorbothane, viscoelastic polymers, and certain foams are commonly used in feet and pads. These materials are tuned to absorb vibrations within specific frequency ranges, reducing resonance.

  • Decoupling - by creating a mechanical barrier between a component and its environment, you can decouple it from structural vibrations. This can be achieved through soft suspension (springs, air bladders) or opposing hard interfaces, for example ceramic balls on steel cups.

  • Mass loading - heavy platforms made of dense materials (like granite or constrained-layer composites) absorb energy and prevent components from “shaking themselves.” A good example is filling metal speaker stands with a dense filler to stop then ‘ringing’.

  • Mechanical grounding - some isolation systems aim to drain vibrations away from a component by providing a low-resistance mechanical path, often using rigid cones or spikes into heavy bases.

The key is to match the isolation approach to the component and environment. What works for a turntable might not be ideal for a DAC or preamp.

Isoacoustics gaia feet provide isolation for speakers and speaker stands

The sound of silence

Isolation products can benefit your system in many ways by reducing the noise floor. This means a quieter background allowing you to hear more of your music. The result is improved clarity and detail, better instrument separation and enhanced spatial imaging.

You may also experience a tighter and more tuneful bass response. Unruly bass is one of the biggest offenders when it comes to mechanical interference thanks to the amount of energy in bass notes and the fact that many things in our homes have resonant frequencies at the lower end of the audio spectrum.

Isolation should also give you greater dynamic range, so that quiet passages are properly quiet and when the music really kicks in the difference between quiet and loud is vivid and real.

You may also notice that, with good isolation, longer listening sessions become less fatiguing on your ears. This is because unwanted resonances can introduce a harshness or glare in a system and this can be wearing on the ears.

Here are a few ideas for isolation products for different components:

invest in a good pair of speaker stands

Other things to consider

While all the products above will improve sound quality there are, in addition, other things we can do to treat our listening rooms – the aim being to control vibration and, just as importantly, sonic reflections.

Most listening spaces will be reasonably well-furnished with sound absorbent materials, for example sofas, carpets and curtains. But if your listening area is on the minimalist side and you’re not a fan of rugs and soft furnishings then consider acoustic treatment panels and bass traps. You can get some pretty trendy designs these days.

The other thing to consider is speaker placement. By moving a speaker away from rear and side walls you can reduce the sound reinforcement you get from boundary walls and thereby help to reduce issues with boomy bass.

Likewise toeing your speakers inwards, towards your listening position, can help to focus your music and can help control reflections, leading to a clearer sound.

Reaping the rewards

Isolation and other measures to control mechanical interference are grounded in sound engineering principles.

That said, the effectiveness of any isolation or damping products can vary depending on the quality of those products, your hi-fi equipment, you room and your expectations because, let’s face it, no real-world room is going to be acoustically perfect.

If you own a medium to high-end system then you really owe it to that system to introduce some measures to control mechanical interference – a decent rack, speakers stands and some thought about the acoustics in your listening room at the very least. But even more modest systems benefit from the addition of a few choice isolation solutions.

Let’s put it this way, it’s a shame to spend all that money on a good hi-fi system only to have your room humming along with every song.

If you’d like to discuss isolation solutions and products then simply pop into the shop or call on 0239 266 3604 or email portsmouth@audio-t.co.uk.

Alan, Luke and Steve - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other hi-fi or home cinema enquiries, be sure to Contact Us

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Put some magik back in your life! - Linn Majik DSM 5th generation streaming all-in-one integrated system

/

Hello all, and welcome to the July blog from Audio T Brighton! This month, we’re looking at the fifth generation of a long-standing model in the range of all-in-one streaming/integrated amplifiers from Scottish manufacturer Linn products. What fairy dust have Linn sprinkled to entice new customers? Well, let’s have a look—and a listen—to find out!

Linn Majik DSM 5th generation...

Lovers of the French comic characters, Asterix the Gaul and Obelix, will know all about magic potions and Linn have certainly used their own majik in the production of the latest Linn Majik DSM. Fortunately, unlike the potions Asterix & Obelix consumed, the effects of the latest Majik DSM will be more than temporary, with Linn’s famed reliability, after-sales servicing and upgradability an attractive proposition when making a substantial purchase such as this.

The first thing to notice in the new Linn Majik DSM, now in its 5th generation, is a more substantial construction, with a more consistent, streamlined approach, akin to the Linn Selekt DSM Classic hubs higher up the Linn food chain.

All things to all men...

The Linn Majik DSM really is a one-size-fits-all machine, offering connectivity for a turntable with both MM or MC cartridges and the perfect match just so happens to be the Linn Majik LP12 or with either a Linn Adikt(MM) or Linn Koil(MC) cartridge. Other analogue connections include two RCA line inputs, an RCA line output and an output for a subwoofer.

Digital playback is also very well catered for; Ethernet or Wi-Fi connectivity, standard digital Co-ax SPDIF and Optical Toslink connections, more up-to-date flexibility with HDMI e-Arc when connecting TVs and Exakt-Link, running LInn’s Exakt-box for improvements to time-alignment/phase problems when doing so. The intricacies of Linn’s Exakt connectivity and Space Optimisation DSP are too long and complex for this blog, so I will link to Linn’s website for more information here, but it is nice to have an elevator in upgradability.

Another thing to consider before choosing the Linn Majik DSM, are the in-house options to enhance usability and sonics via the matching Linn 119 bookshelf speakers or Linn 150 floorstanding speakers.

Not so tragik - plenty of majik!

So how does the latest Linn Majik DSM sound? In all honesty, the latest Majik DSM is a noticeable step forward sonically, at least to our ears here at Brighton Audio T. Linns’s tweaking of DSP, Class D amplification, upgraded power supplies and in-house F.G.P.A. processor technology have pushed their sound into the limelight. The abilities of the Linn Majik DSM as an all-in-one system really make the argument for separates all the more difficult, with a clean, detailed and dynamic sound from one box, excluding speakers, of course!

Given the current trend away from boxed separates, with advanced sonics at its disposal and space-saving aesthetics to match, in the current hi-fi market it offers a convincing case. Maybe Getafix’s magik potion won’t be necessary after all, just get a Linn Majik DSM!

As always, the proof of the pudding is in the eating – so get in touch to book a demonstration and hear for yourself.

Thanks for reading.

Ade, John and Paul - Audio T Brighton

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Not Your Average Demo Tracks: Tiago’s Top 5 Albums to Test Your System

/ Audio T Southampton/

Greetings, fellow music enthusiasts, and welcome back to another Audio T Southampton blog — brought to you, as always, by yours truly, Tiago. This month, I’m doing something a little different. Rather than diving into kit alone, I wanted to share five albums I keep coming back to when I’m testing Hi-Fi gear — not the usual demo tracks, but personal favourites that reveal what a great system can really do. Some might surprise you, but all of them sound phenomenal when played through the right setup. So, let’s dive in and crank it up…

The System Used

The B&W PX7 s2e in anthracite black. simple yet elegant.

Before we get stuck into the list, a couple of quick notes. First — this list is very personal. You might agree, or you might think I’ve lost the plot. Either way, that’s fine! Music is deeply subjective, and everyone has their own preferences across genres and styles. These picks are based on what speaks to me — and there are loads I love that didn’t quite make the final cut.

Second — the kit. Some albums were listened to through headphones, others on a full stereo setup. The headphones I used were the Bowers & Wilkins Px7 S2e*, which delivered detailed and dynamic sound with every listen.

The stereo system I used to play the albums was as follows:

Together, this system provided a stunning soundstage with gorgeous clarity and pace — the perfect way to experience these albums.

#5: Avenged Sevenfold – City of Evil (2005)

Let’s kick off with a heavy hitter: City of Evil by Avenged Sevenfold. This album is full of catchy riffs, tight production, and a punchy, melodic metal sound. It marked a shift in the band’s style — a bold experiment that paid off. Fans loved it, and critics did too.

This album is terrific — full of catchy riffs and a thumping, clear bass, all wrapped up in classic metal style. It was a bit of an experiment for the band, and much to their delight, the fans loved it. In fact, it was so well received that it earned a spot at number 100 in Rolling Stone’s list of the 100 greatest metal albums of all time.

City of Evil was the band’s third studio album, released under Warner Bros. and Hopeless Records, and contains some of the band’s most iconic and popular tunes, such as “Bat Country” or my personal favourite, “M.I.A”.

#4: Wardruna – Birna (2025)

The next album isn’t metal. In fact, it’s almost the complete opposite — a traditional Old Norse/Viking album: Birna by Wardruna.

When I first listened to this album, I was shocked by how much I enjoyed it! It’s not something I would normally gravitate toward, but I found myself completely engrossed in the sweeping soundstage and the intricacies woven into each and every track. From the haunting atmosphere of “Dvaledraumar” (my personal favourite) to the heartbeat at the beginning of “Hertan”, each song is crafted to tell a story.

Add in the fact that they used traditional instruments from that period in Norway and Scandinavia — and even recorded some tracks in fields and on frozen lakes — and you end up with a sonic experience like no other.

#3. Linkin Park – Hybrid Theory (2000)

For album number three, I had a tough time picking just one. There were so many options from my favourite artists and bands that it was incredibly difficult to choose. But after a lot of deliberation, I went with Linkin Park’s debut album Hybrid Theory.

This album is (in my opinion) the absolute pinnacle of nu-metal. With heavy, rhythmic guitars and drumbeats alongside hip-hop-inspired flows, it defined the nu-metal sound. Every song is packed with energy and emotion, featuring powerful and often raw lyrics.

Even today, Hybrid Theory is widely recognised as a modern classic, and many artists have tried — and failed — to replicate how technically brilliant it was when it launched. Standout tracks include the iconic “In the End”, “One Step Closer”, and the club classic “Crawling”.

#2. Disturbed – Immortalized (2015)

Album number two was another tricky choice, but I eventually settled on Immortalized by Disturbed.

Let me just say — Disturbed is one of my all-time favourite bands. While many artists have shifted their sound to keep up with trends, Disturbed has remained true to their style, consistently releasing high-quality albums that hit hard.

One of the standout tracks you’ve probably already heard is their cover of Simon & Garfunkel’s “The Sound of Silence”. It’s a haunting, rich vocal performance with a sombre tone that gradually builds into a metal-meets-orchestra epic. It was so successful that it topped the UK Rock & Metal Chart with ease — and even earned praise from Paul Simon himself.

Another personal favourite from this album is “The Vengeful One” — pure power and presence from start to finish.

Honourable Mentions

Before we take a look at the top-spot, I thought I’d mention a few albums I absolutely love, but sadly didn’t quite make the top five. Every one of these is worth a listen — I just had to be ruthless for the sake of this list. Rather than go deep into each one and risk dragging this lovely blog out too long, here they are (in no particular order) for you to explore:

#1. Shinedown – ATTENTION ATTENTION (2015)

Taking the number one spot for me is Shinedown’s 2015 album ATTENTION ATTENTION — easily one of their best, in my opinion.

The album is filled with fantastic tracks — from the explosive title track to songs like “special” — and every single one feels like it has purpose. Each track tells a story, and the album is packed with brilliant drum work, rhythmic guitars, and Brent Smith’s signature raspy vocals.

On top of all that, they’ve incorporated electronic textures and sonic layers throughout the album, giving it a really rich and masterfully produced sound. It might not be their most popular release, but for me, it ticks every box I look for in a great album — and stands a cut above the rest.

Final thoughts…

And that’s everything from me this month! These are some of the albums I personally love and regularly use when I’m testing out Hi-Fi gear — and while the honourable mentions didn’t quite make the list, they’re absolutely worth a listen too.

Of course, don’t just take my word for it. I encourage you to try some of these albums for yourself — or better yet, pop into your local Audio T store and share your favourites with us. I’m always on the lookout for new music, and I’d love to hear what you’re listening to.

And if you’re interested in the equipment I used, feel free to get in touch with us here at Audio T Southampton — or contact your nearest store. We’d be happy to demo any of the products mentioned. Every component I used was chosen because it pairs beautifully with the others, bringing out the best in the music.

Thanks for reading — see you next time!

Tiago - Audio T Southampton

If you have any questions about any of the equipment featured in this article, or any other hi-fi or home cinema enquiries, be sure to Contact Us

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Bringing the Cinema Home: What to Know Before Building an AV System

/ Audio T Reading/

There’s something special about experiencing a well put-together home theatre system. Whether that’s watching a film, immersing yourself in a gripping series, or enjoying a live music or sporting event with a few friends. It’s not just about loud sound or a big picture — it’s about scale, immersion, and feeling like you’re inside the story.

But putting together a home theatre system isn’t always as simple as grabbing a soundbar and sticking some speakers around the room. While this may be sufficient — and most cost-effective — in some cases, as there are some great soundbars out there, some want to reap the full benefits and experience sound and picture as they’re meant to be heard and felt, getting all the minute details that the film producers and sound engineers intended us to hear.

To build a balanced AV system that’s capable of doing the small things as well as the big things, a number of considerations need to be taken into account.

This month, we’re running through some of the key areas when it comes to building surround audio systems. Whether you’re planning a full-blown 7.3.4 Atmos install or just looking to add some rear speakers to your lounge setup, this guide should help point you in the right direction for how to add scale to your system.

Start With What You Want the System to Do

The best AV systems start with a simple question: What do you want this system to do?

Some people are chasing that big, cinematic feeling — explosions, deep rumbling bass, voices that float across the room. Others want something that complements their two-channel hi-fi system without becoming overwhelming. Then there are setups that need to be family-friendly, easy to use, or discreet and hidden within cabinets — all of which require a slightly different approach.

So the main questions are: how are you planning to use the system, and how immersive do you want it to be?

Knowing this upfront can save you a lot of time (and money) down the line.

Room Shape, Construction & Acoustic Gremlins

It’s easy to overlook, but the room itself is just as much a component as the amplifier or speakers.

Rooms with solid walls (brick or stone) tend to reflect and trap bass differently from stud walls. A suspended wooden floor can amplify low-end vibrations in a way that can either help or hinder — especially if the floor isn’t well-isolated. Even the ceiling plays a part: is there a void for in-ceiling speakers, or is it solid plasterboard with no access?

Also think about cable routing. Will you be lifting floorboards? Hiding speaker wire in the walls? Or are you happy to save a chunk of cash and use simple trunking to keep things neat?

In open-plan spaces or oddly shaped rooms, we often find bass nodes (hot or dead spots), flutter echo, or just general muddiness that affects dialogue clarity. It’s not always fixable with gear alone — sometimes a well-placed rug, some thick curtains or a bookshelf full of irregular items can make more difference than a new speaker.

Ceiling height also plays a role, particularly with Atmos. Lower ceilings tend to reflect sound too quickly, reducing the ‘overhead’ sensation, while very high ceilings may require more power or speaker directionality to get proper vertical impact. Sloped ceilings can cause their own directional quirks too, often leading to imaging being pulled off-centre or uneven surround balance.

Another thing worth checking is what’s above and below the room. Is it a suspended floor with cavity space beneath (which could cause bass to travel and resonate)? Is there a bedroom above, and do you need to consider soundproofing or isolation? For those in flats or terraces, neighbour-friendly bass might be a consideration.

Lastly, the listening position can make or break a setup. Sitting too close to a back wall can exaggerate bass; sitting directly between speakers can hollow out the soundstage. Even just nudging the sofa forward a foot or two can improve clarity and lock the system in place.

The Beauty in Dolby Atmos

Before diving deeper, I think it’s a good idea to explain what the Dolby Atmos sound format is and what it does for a home theatre system.

In short, a Dolby Atmos system adds height to surround sound by placing speakers above in the ceiling or using upward-firing drivers to create a 3D soundfield. Instead of just hearing sounds around you (like in 5.1 or 7.1), Atmos lets you hear effects above you.

5.1.4 - DOLBY ATMOS WITH OVERHEAD SPEAKERS

But it’s not just about more speakers or hearing a helicopter fly overhead. Standard 5.1 or 7.1 systems are channel-based, meaning sound is mixed and assigned to fixed speaker positions. Here, each speaker plays a dedicated audio track mixed specifically for that position — nothing moves outside of those predefined channels.

5.1.2 - Dolby Atmos with Dolby Enabled Speakers (sitting on top of front L & R speakers)

Atmos, by contrast, is object-based — meaning sound elements can move anywhere in a 3D space or ‘bubble’, making the experience more immersive and lifelike. Sound engineers are able to manoeuvre sounds with a lot more precision, transcribing that into a much more expansive sound experience, with sound flowing around the listening position and not restricted by the positioning of the speakers.

5.1.4 Dolby Atmos - Top view

While Dolby Atmos is a great tool, it’s not critical — you can still get a great surround experience with a well-positioned and correctly balanced 5.1 (or other non-height) configuration. Adding Atmos can also become expensive depending on the room design, and it can be tricky to get right. It’s always worth speaking to one of our staff to help plan the project properly before starting to cut holes in your ceiling and avoid any unwanted pitfalls.

Dolby Atmos recommended Height Speaker positioning

AVR vs Processor + Power Amps?

One of the first gear decisions you’ll face is what to choose as the brain and the heart of the system. You can opt for an all-in-one AV Receiver (AVR), or split the system out into a dedicated processor and separate power amplification.

An AVR (Audio Video Receiver) is a single box that does it all: it takes in audio and video signals from your sources (like Blu-ray players, streamers, or game consoles), decodes the surround formats (like Dolby Atmos or DTS:X), processes the sound, converts the digital signal into analogue via built-in DACs, applies room correction (optional), and finally powers the speakers through its internal amplifiers.

In short: it switches, decodes, processes, converts, and amplifies — all in one box.

Rear Panel of a Denon AVC-X3800H AVR. Speaker outputs found at the bottom as well as pre-amp outputs IF WANTING TO RUN EXTERNAL AMPLIFICATION. ALL THE RELEVANT HIGH QUALITY VIDEO INPUT AND OUTPUTS FOUND AT THE TOP.

Most AVRs will handle standard 5.1 or 7.1 layouts out of the box, with mid-to-high-end models extending to 9.1 or even 11.2 configurations. They’re compact, cost-effective, and relatively straightforward to install and operate — perfect for most living rooms and mid-size home cinema setups.

If you’re building a higher-end system, want the flexibility to scale up later, or have more demanding speakers, then separates come into their own.

A dedicated AV processor (also called a pre-amp or pre-processor) handles everything mentioned above except amplification. It takes care of all the heavy lifting: surround decoding, bass management, digital-to-analogue conversion, room correction, and video passthrough — but it sends the signal out to external power amps, which do the actual work of driving the speakers.

The main advantages of going this route?

  • Cleaner signal paths (no shared power supply between processing and amplification)

  • More headroom and control over amplification

  • Better DACs and internal architecture, particularly in high-end models

  • Advanced room calibration systems (like Dirac Live or RoomPerfect)

  • Modular flexibility: you can upgrade amps or processors separately as the system evolves

The trade-offs? Separates cost more, take up more space, and require more cabling and setup time — but if performance is the goal, especially in dedicated cinema rooms, they’re often worth it.

Room correction

Most AVRs and processors have built-in room correction technologies. In simple terms, it’s the process of measuring how your speakers interact with your room, and then automatically adjusting the sound to compensate for the room’s acoustic quirks. It goes beyond just EQ, by analysing things like early reflections, reverb time, speaker distance, and phase alignment.

Room Perfect from Lyngdorf measuring a B&W 700 Series system in Audio-T Reading

Using a calibrated microphone (sometimes included with the equipment), the system sends test tones around your space and builds a profile of how the room affects the sound. It then applies precise digital filters to fix timing issues, tighten up bass response, and ensure all speakers are working together cohesively.

Systems like Audyssey, Dirac Live, and RoomPerfect vary in depth and approach, but all aim to give you more accurate, balanced sound — even if your room isn’t acoustically ideal. In many cases, it can be a very important factor in making a system sound right.

Current Brand Options and Their Qualities

• Denon – Denon AVRs are very capable, straightforward to use, and packed with features that are great for the money. Audyssey room correction is included on most models and offers a solid starting point for tailoring sound to your room. Prices start around £1,000, with models like the AVC-X3800H being a popular sweet spot. At the top of the range sits the AVC-A1H at £4,999, delivering more power, channels, and headroom for larger and more ambitious setups.

• Marantz – Shares much of its platform with Denon but is tuned with a warmer, more musical voicing. A great choice for those wanting strong cinema performance with a hint of two-channel finesse. The Cinema series starts at £649 for the slimline Cinema 70s, and stretches to £3,799 for their highest-end AVR. For those going fully down the separates path, the flagship AV10/AV20 processors and AMP10/AMP20 power amps (yet to be fully tested by me) aim to take things to a new level, both in performance and price, around £10,000–£12,000 for the pair.

Customer Install - Arcam AVR21 Driving B&W Speakers

• Arcam – More “Hi-Fi-first” in character. Sound is rich, analogue-like, and unforced. Once the initial setup is dialled in, the units are easy to use and don’t require any further tinkering. All models include Dirac Live room correction, giving precise control over the sound in difficult rooms. The AVR11, AVR21, and AVR31 range from £2,499 to £5,499, with the top-tier AVR31 using Arcam’s Class G amplification for added clarity and dynamic control.

Lyngorf MP-40 Processor + Lyngorf MXa-8400 & SDA-2400 Power Amps

• Lyngdorf – A different league altogether. Sound is ultra-clean, open, and deeply immersive. Lyngdorf’s RoomPerfect remains one of the most effective room correction systems we’ve ever used. When we talk about Atmos and the 3D soundstage, Lyngdorf handles it with remarkable subtlety, where the sound seems to “live” in the space around you rather than being tied to individual speakers, making you just sit back and enjoy the experience rather than think about where the sound is coming from. The MP-40 processor starts at £9,350, with the flagship MP-60 coming in at £14,995, both requiring external amplification and a well-matched speaker system.

The Power Options

Trinnov Altitude 32 Processor

If you’re going down the separate amplification route, the choices are vast and often come down to what processor you’re using, what speakers you’re driving, and what kind of sonic character you enjoy.

For example, the spacious and open nature of a Lyngdorf processor pairs beautifully with Dynaudio speakers when powered by the MXA-8400, Lyngdorf’s own ultra-clean 8-channel power amplifier. On the other hand, Denon’s more neutral and slightly drier presentation can benefit from a warmer amp, like the Arcam PA720, which adds some richness and musicality.

There’s no one-size-fits-all solution here. Power amps vary massively in tone, dynamics, and synergy with different speakers. This is why we always recommend speaking with your local dealer and, more importantly, auditioning combinations in person. Trust your ears — your ideal sound signature may not be what the spec sheet suggests.

Stereo Integration for Music Lovers

If music is just as important as movies in your system, another great option is to run a dedicated stereo hi-fi amplifier alongside your home cinema setup. Some stereo amps feature AV Bypass (also known as Home Theatre Bypass) — a fixed-level input that allows the amp to be part of your surround system without interfering with its stereo performance.

This means you can enjoy true hi-fi sound for music playback via your stereo amp, and still use the same front speakers as part of your surround setup for films. It’s a great way to blend two-channel performance with multi-channel convenience.

That said, if you are using front left and right speakers from a brand that doesn’t manufacture a dedicated centre channel, it can lead to a disjointed soundstage during films — especially if speakers from two different brands operate in different frequency ranges. This brings us to the next important part of a surround system…

Speakers: Consistency Is Key

In an ideal world, you’d use the same speaker model across your front left, centre, right, and surrounds. That way, when a voice or a sound effect pans from one side of the screen to the other, it doesn’t change in character or tone. More so, when listening to concerts, musicals, high-quality films or dedicated Dolby Atmos music — where surround speakers play a more prominent role — having a full-range set of speakers throughout will create a more captivating and balanced experience.

We recently visited Meridian’s headquarters in Huntingdon, sitting down in two of their home theatres that arguably outperform most commercial cinemas in the UK. Here, the use of three identical speakers — also known as an L-C-R setup — was demonstrated on a huge scale with Meridian’s flagship active speakers hidden behind an acoustically transparent screen.

Meridian DSP750 Architectural In-Wall Speaker (For front, surround) for discrete Installs.

In reality, most people either don’t have the space or budget to run large floorstanders across the front and back. But keeping the centre and left/right as close as possible in voicing is critical. The centre channel (in our opinion) is the most important speaker in the system, as it accounts for most dialogue and focuses the centre of the image. A mismatched centre channel is one of the quickest ways to ruin dialogue clarity. A centre speaker that matches the rest of the system — and includes a great midrange driver and tweeter — becomes one of the best ‘hacks’ to make a sound system feel great and natural.

Height channels don’t need to be full-range (although they can be), but they should still be cut from the same sonic cloth — ideally from the same brand and series as the rest of the system.


Current Brand Options and Their Qualities

• Bowers & Wilkins 700 S3 Series – A fantastic choice for home cinema, offering scale, detail, and drama. The HTM71 S3 centre is a standout, providing real authority and vocal clarity. The 700 S3 range tends to have an energetic voicing, with a lift in the treble and bass that makes them immediately exciting, especially for film soundtracks, action scenes, and immersive effects. Pairing them with slightly warmer electronics (like Marantz or Arcam) can help balance their enthusiasm, particularly in reflective rooms. (Around £5,000–£8,000 for a 5-speaker system)

B&W 700 S3 System

• Dynaudio Evoke Series – More natural and neutral in tone, the Evoke range excels in musicality and nuance. It doesn’t shout for attention like B&W, but rewards listeners with clarity, composure, and balance — especially in dialogue and subtle ambient effects. The downside? They’re less forgiving on amplification. A good AVR may not be enough to bring them fully to life — they shine with higher-end processors and quality power amps. But once properly driven, they’re astonishingly transparent and immersive. (Around £5,500–£7,300 for a 5-speaker system)

• DALI Rubikore Series – If B&W represents the cinematic “wow” and Dynaudio leans more toward refined musicality, DALI Rubikore lands somewhere in the middle. The sound is clean and precise but with a touch of sparkle on top, thanks to their hybrid soft dome and ribbon tweeter design. This also gives them excellent horizontal dispersion, meaning a wider sweet spot for listeners sitting off-centre. They’re controlled in the low end, articulate in the mids, and carry enough energy to suit both music and film — making them a flexible all-rounder in a multi-channel setup. (Around £8,500–£10,000 for a 5-speaker system)

Dali Rubikore 6

There are plenty of other great speaker options out there, whether you’re after compact cabinets, larger floorstanders, or something more discreet like on-wall or in-wall designs. Sadly, we can’t cover them all in one blog, so as always, your best bet is to speak with someone who’s spent time listening to a wide range of these systems — and pop into your local Audio T store and chat with the team.

That said, special mentions go to the Monitor Audio and DALI ranges in the AV sector, covering needs all the way from entry-level systems (with full packages starting at around £1,500 for a 5-speaker setup), up to mid and high-end tiers. Both brands offer flexibility and ranges ideal for more unique, discreet and architectural installations.

Klipsch Speakers with Built in Dolby Enabled Drivers in the top of the Left and Right speakers

Speaker Positioning

Having a great speaker doesn't always guarantee great sound. What's equally important is the positioning of the speakers and how they work together — with and against the room. Getting this right takes a bit of knowledge and good listening skills.

Speaker positioning affects everything from soundstage and imaging to clarity and bass performance. One key element is the toe-in — the angle at which the front left and right speakers are turned toward the listening position. The goal is to have the sound from both speakers meet and “lock in” just in front of the listening spot. Too far inward and the soundstage can feel narrow and centre-focused; too wide and the image can become vague or diffuse.

Another often-overlooked factor is speaker rake — the backward tilt of the speaker — which can subtly adjust how the high frequencies reach your ears. This is particularly important for speakers that are tall, short, or placed well off ear height.

The centre channel also needs careful attention. It should sit at a height that keeps dialogue anchored to the screen — not floating above it or buried below. If the height isn’t ideal, a slight tilt (either upward or downward) can make a big difference in clarity and image placement.

Rear speakers (or surround and height channels) should work in harmony with the front to complete the soundstage. It’s not just about being behind you — they need to recreate ambience, movement, and spatial effects, so positioning and angle matter there too.

All of this takes a little patience. But once the system locks in, you’ll know — and you’ll hear the difference immediately. If you’re purchasing a new system and haven’t had much experience setting one up in depth, don’t worry — we’re here to help. Our staff are happy to assist with speaker positioning and calibration, and it’s something we take seriously.

It’s also worth noting that new speakers and electronics have a run-in period. When we install a system, we typically return after a few weeks to make final adjustments once the system has had time to settle. That’s when we revisit things like toe-in, balance, and room correction — because by then, you’re hearing and measuring the system in its true form.

Subwoofers: It’s Not Just About the Boom

Last but not least, let’s briefly discuss subwoofers. There’s a temptation to think of them as one-size-fits-all — just stick a big box in the corner and let it shake the room. But the truth is, a good sub (or two, sometimes even three) adds control, weight, and depth to a system — not just volume.

Some people stick with subs made by the same company as their speakers, which makes sense cosmetically and sometimes sonically too. But going with a dedicated brand like REL can give you more performance per pound, especially if your room is awkward. We often reach for REL when it comes to tackling low frequencies.

REL shines in dual-use systems where music and movies are both priorities. Their High-Level inputs let the sub track your main amp’s output, which means seamless integration with stereo playback — helping to support the low frequencies your main speakers can’t quite reach. They still offer standard LFE inputs, so you’re not missing out on that low-end impact during movies either.

Great results can often be achieved by running two subwoofers instead of one. This not only smooths out bass across multiple seating positions — reducing dead spots and inconsistencies — but also provides a more immersive and controlled low-end. Placing a second sub at the rear helps complete the spatial picture. By reinforcing low frequencies from behind the listener, it improves the sense of realism, making effects like explosions, rumbling vehicles, or ambient textures feel like they’re truly happening around you, not just in front.

REL 3D Setup

The ‘final boss’ in a home theatre sub setup is adding a third subwoofer to support the centre channel. Since most centre speakers are smaller than full-range floorstanders, reinforcing them with dedicated low-frequency support can yield big benefits and bring them closer in performance to the Left and Right speakers — especially effective in improving dialogue clarity and mid-bass impact. This is the foundation of what REL calls a 3D system — a setup where front, rear, and centre channel subs work together to create a seamless, dimensional soundstage.

For a single-sub configuration, REL’s S-Series hits a sweet spot — giving great musicality alongside home theatre impact. Alternatively, the HT subwoofer range focuses more purely on cinema performance, and this can be further expanded with something like a T-Series connected via High-Level.

Wrapping It Up

The world of home cinema is more accessible — and more advanced — than ever. Whether you’re starting with a modest 5.1 package in your living room or planning a reference-grade system like the Meridian theatre we visited, there’s a path for every space, budget, and ambition.

At Audio T, we work with systems at all levels: from compact, value-led setups that make a big difference without breaking the bank; through mid-sized installations that involve some structural or architectural planning and advanced calibration; all the way to bespoke six-figure cinema installations requiring architectural design, automation integration, and dedicated acoustic treatment. No matter where you’re starting from, it all begins with a conversation.

If you’re thinking about building or upgrading an AV setup, pop in for a chat. We’re always happy to walk through what’s possible and what’s practical for your space and budget. And if you’re unsure where to start, we’ve got systems running in a number of our stores — and in some cases, we can take customers directly to manufacturers’ dedicated cinema rooms.

Because once you’ve felt a good home cinema system — really felt it — you’ll never want to go back.

Final Thoughts

  • We highly recommend trying streaming Dolby Atmos music through services such as TIDAL, Apple Music, or Amazon Music.

  • Film to check out: Sound of Freedom — an action film with a dark theme, based on a true story.


Thanks for reading – Dan, Gareth & Rishi – Audio T Reading

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

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For any AV/Home Theatre or general audio related queries contact your local Audio T store -

*All prices, credit terms and interest rates quoted are correct at the time of going to press but may be subject to change. E&OE

“Captain, Sir! I've Got ‘DC On the Line!” The Isotek V5 Syncro Uni 10 DC Blocker

/ Audio T Swansea/

the silver Isotek syncro uni 10. not the prettiest bit of kit, but most effective.

Whilst we’re perennially on the lookout for hi-fi performance upgrades on your behalf (ahem), some product lines can sit in the shadows while shinier, sexier things capture our attention. Having recently changed their UK distribution partner and with a raft of new products, the lovely people at Isotek thought it high time to swing by, demonstrate some of their latest gear, and re-educate us on the theory of mains power conditioning.

First Impressions in the Demo Room

It’s no exaggeration to say we were all very impressed by the performance uplift in-store — especially when used with our current reference system: the Linn Selekt DSM Classik network audio player (currently available at a bargain price), Chord Electronics pre-power amplifiers (Ultima 3 and Ultima 5), and ATC SCM40. You might not think that such illustrious electronics would benefit from relatively modest mains conditioning products... and yet, here we are.

the isotek v5 polaris 6-way mains bar. it filters out mains noise and provides current surge protection for your hi-fi.

Giles from Isotek first installed their new V5 Polaris 6-way ‘power-cleaning mains bar’ in our demo room. This provided an immediate improvement in clarity, detail, and solidity — particularly with spatial information and lower bass register, which became much more apparent. Not more bass, but more detail in the bass.

Giles then added the Syncro Uni 10 ‘DC-cancelling system’. Wow! So much more air and space around the performers against a black background — but what struck me most was the freedom of expression. Instruments had more emotional impact, more vivacity, more joie de vivre. Vocals shone through, as if a grey veil had been removed from in front of the artistes. Quite remarkable.

So, What Is DC on the Mains?

In Isotek’s own words (far more succinct than mine…):

“So-called ‘DC on the mains’ is an increasingly common issue affecting the quality of your home’s power supply. Caused by a variety of everyday electronic devices around your home that are connected to the power grid — things like dimmer switches, hair dryers, and coffee machines — these items generally run a diode electrically in series. But it doesn’t end there: solar panels on the roof, elevators, and fast-charging stations for electric cars cause even more DC issues.

These could be in your house, your neighbourhood, or even further down the road. Strictly speaking, the problem with ‘DC on the mains’, as it is referred to, is the imbalance of the mains sine wave on the zero volts line. Technically speaking, it is not really a mains noise, but nevertheless, it’s bad power. It can cause considerable mechanical vibration within products (not only in amplifiers but in all electronics), which will dramatically affect performance.”

The Practical Impact

If any of your audio gear has a hum from inside the casework, chances are it’s caused by some DC on the line. We’ve had considerable success with Audiolab’s own £99 DC Block with many customers’ noisy equipment. They often report a modest improvement in sonic performance too, which is encouraging.

an audiolab dc blocker. a very modestly priced upgrade at £99, but in the correct circumstances, very effective.

However, the Audiolab unit should not be installed before a mains block or bar, as it cannot safely cope with higher levels of current draw — this is where the Syncro Uni 10 steps in. (Audiolab do make a multi-way unit called the DC Block 6-Way should you wish to treat multiple pieces of equipment.) Isotek also offer a heavier-duty 16-amp version of the Syncro — the Uni 16 — for systems with serious and/or multiple amplification units or subwoofers. Talking of which…

Trying It at Home

I asked Giles very nicely and took the Syncro Uni 10 home, along with an Isotek EVO3 Initium Mains Cable, to try in my two-subs-and-an-AV-amp home theatre system. Regular readers of this blog might enjoy a certain familiarity with it.

norah jones’ album ‘come away with me’ something of a house favourite.

Fortunately, I’ve owned a venerable Isotek GII Orion 8-way mains block since the early 2000s — still providing sterling service in my cinema rig. I installed the Syncro in front of my Orion, as recommended by Giles. To warm everything up, I played some two-channel music courtesy of Norah Jones and grinned at the immediate improvement. The soundstage was crisper, taller, and deeper — but the improvement in vocals and instrumental texture was the real USP.

stanley clarke’s track ‘we supply’ from his 1980 album ‘rock, pebbles and sand’

Bass guitars now shimmer with a glorious, fat, fruity richness — each note blooming with texture and presence. There’s a newfound sense of weight and authority, yet it never feels overblown or sluggish. Drums hit harder, sound deeper, and carry a dramatic sense of scale, with each strike landing with greater definition and intent. The overall sound is noticeably tighter, more controlled, and undeniably more three-dimensional. Spatial cues are clearer, instruments have more physicality, and timing feels locked-in — as confidently delivered by the master himself, Mr Stanley Clarke.

Home Cinema: Another Level

the 2017 period science fiction romance movie ‘the shape of water’ highly recommended viewing.

With film, everything is extra: extra air, extra scale, extra drama. Guillermo del Toro’s 2017 movie The Shape of Water was rendered with wonderful poise and proved stunningly beautiful.

Hoo-boy! I’m having one of these...

Thank you for reading.

Words and images by Adrian, (tea by Nic & Andy) - Audio T Swansea

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Cyrus 40 Series Event Recap – A Night to Remember in Cardiff

/ Audio T Cardiff/

This month, I’m talking about one of my – and our – favourite Hi-Fi brands: Cyrus. The highlight of the month was our special event at the Cardiff store, where we showcased the all-new 40 Series.

If you’ve popped into our Cardiff store for a chat about Hi-Fi, music, or just to ask what’s currently playing on our demo system, there’s a good chance we’ve talked about Cyrus Audio. For me, it’s one of those brands that’s become part of my own personal Hi-Fi journey — and I know I’m not alone.

So when Cyrus hit their 40th anniversary this year, and launched a brand new range to mark the milestone, I knew we had to do something special. A listening event was the obvious answer — an evening where like-minded enthusiasts could come together, hear the new 40 Series in action, and share in our mutual love of great sound and great music.

And that’s exactly what we did.

Celebrating 40 Years of Cyrus Audio

If you’re not familiar with Cyrus, let me bring you up to speed. This is a British Hi-Fi company that’s been pushing boundaries since 1984 — known for its compact, half-width components, clean design, and emphasis on musical performance above all else.

What’s always stood out for me is how musical their gear sounds. It doesn’t just play the notes – it gives you the feeling behind them. I’ve personally owned two Cyrus amps over the years, and I can say with confidence that few brands offer that same balance of precision, rhythm, and engagement.

When the 40 Series was announced – featuring a brand-new design, upgraded internals, and a sleek new chassis – it felt like a fresh chapter, while still staying true to Cyrus’s core DNA. It deserved a proper launch, and I was more than happy to put something together.

The Event – Setting the Stage

Hosting events like this is one of my favourite parts of the job. It’s not just about showing off shiny new kit (although let’s be honest, that’s part of the fun). It’s about creating a space where music lovers can connect, listen critically, ask questions, and maybe discover something new.

cyrus 40 series event fridat 13th June 2025

A Guest Appearance from Cyrus’s Finest

Jason Saxon, a familiar face to many of you from the Bristol Hi-Fi Show and Cyrus’s own video content, joined us for the evening. Jason is one of those rare people who combines deep technical knowledge with genuine enthusiasm – and his ability to explain the thinking behind each product while keeping things engaging is second to none.

Screen shot from our interview

Before the event kicked off, I sat down with Jason to record a short interview. We chatted about the early days of Cyrus (including some of the original designs from 1984), how the brand has evolved over time, and where it’s headed next. Brad from our marketing team cheekily said I was “channelling my inner Michael Parkinson” – which I took as a compliment! The video will be shared very soon, and I hope you’ll give it a watch.

A Little Cyrus System Magic

Our event system was a bit of a showstopper. It kicked off with the Cyrus TTP turntable fitted with a Benz Micro Ace low-output cartridge. For digital sources, we had both the 40 CD and the 40 ST streamer.

Cyrus ttp fitted with benz micro ace

Then came a real treat: Jason brought along the all-new Cyrus 40 PPA phono stage and matching 40 PSU. It’s not available just yet, but it absolutely will be the focus of a future blog – I’m already first in line to order one.

At the heart of the system sat the Cyrus 40 Amp, again paired with its dedicated 40 PSU to deliver that extra edge in performance.

Power conditioning was handled by the IsoTek Sigmas, and for loudspeakers we went with something a little different: the Dynaudio Contour Legacy floorstanders. They really impressed me at this year’s Bristol Hi-Fi Show and sounded nothing short of phenomenal in our demo room.

With the system singing and refreshments laid out, we were ready to welcome our guests.

A Brilliant Evening of Music and Conversation

Dynaudio contour legacy

One of the best parts of the evening was the variety of music chosen by our guests. From classic rock to jazz, modern electronica to stripped-back vocals, it was a real demonstration of the system’s versatility.

I couldn’t resist playing Sweet Soul Sister by The Cult (from their 1989 album Sonic Temple) – a personal favourite of mine. I’ve heard that track hundreds of times over the years, but never like this. There was an immediacy and energy that made the hairs on the back of my neck stand up. That’s the magic of good Hi-Fi – it makes the familiar feel brand new.

The feedback from those who attended was brilliant. Whether they were Cyrus veterans or first-time listeners, everyone left with a smile on their face and a deeper appreciation for what this gear can do.

cyrus 40 series amp, st, cd, psu, ppa with psu, ttp & sigmas

What’s Next?

We’ve got more events in the pipeline – including another one this September with our friends at A Strings, just up the road from us. Across the Audio T family, our stores are always running events, so be sure to keep an eye on our website and social media for details.

40ppa with 40 psu

As we often say: the Bristol Hi-Fi Show doesn’t have to be the only time of year to hear something special. We’re keeping the show on the road, all year round.

Thanks for reading – and if you’d like to hear the Cyrus 40 Series for yourself, or chat about building your perfect system, come and see us in Cardiff. You’re always welcome.

Matt Aaron - Audio T Cardiff

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Cyrus can be found at the following Audio T stores

Dynaudio can be found at the following Audio T stores

New Arrival: Acoustic Energy AE320² – A Cheltenham Perspective

/ Audio T Cheltenham/

We’ve been very excited about the arrival of the new Acoustic Energy AE320² loudspeakers for quite some time. We first heard a pre-production pair last year and then again at February’s Bristol Hi-Fi Show, where they produced one of the best sounds at the event.

tALL AND SLIM

Totally New Design

SOFT DOME TWEETER DERIVED FROM tHE cORINIUM

Inspired by, and based upon, the much more expensive Corinium model, these new AE320² had a lot to live up to — and they truly do. Bear in mind, they’re fresh out of the box with barely any running in, yet they’re already sounding utterly epic. This is not simply an improved version of the old model; it’s a complete reworking. Not a single component has been carried over from the previous 300 Series. Instead, they showcase an entirely new acoustic and aesthetic design from the ground up.

They feature an all-new mid-woofer, crafted from a blend of paper and coconut husk. This delivers a smooth, natural and refined response, full of warmth and clarity, while retaining the punch and pace of the previous aluminium-cone design. This groundbreaking driver ensures consistent sonic performance across its range.

Partnered with a newly developed soft-dome tweeter — derived from the aforementioned Corinium project — the result is open, delicate and natural high frequencies, perfectly matched with the mid-woofer for seamless integration across the entire audible spectrum.

Built-in Subwoofer

BUILT IN SUB WOOFER

The two bass drivers at the base of each cabinet effectively act like a built-in subwoofer, yet remain agile and beautifully integrated with the mid and top end.

COMBINATION OF PORTS ON THE REAR

This impressive complement of drive units is housed in an inert, slimline 18mm constrained-layer RSC™ MDF/bitumen cabinet (essentially a cabinet within a cabinet, with damping in between). This construction offers a significant step up in both audio and material quality at this price point. The slot-shaped duct port on the rear augments bass output and has been carefully developed to minimise air turbulence, delivering clean, undistorted bass performance.

They weigh in at a substantial 26kg each and measure 1050 x 200 x 350 mm (HxWxD — or 1070 mm high including spikes), so they’re not exactly enormous either!

Chunky Binding Posts

CHUNKY BINDING POSTS

There’s a reassuringly chunky pair of binding posts that will accept bare cables, spades or banana plugs.

The cabinet is available in a choice of walnut or a newly developed ‘silk-touch’ matte black or white finish, featuring screen-printed logos and colour-matched trims and grilles. The AE320² also comes with aluminium feet and spike covers, making them easy to integrate into any home décor while being kind to your floors.

SPIKED ALUMINIUM FEET

Looking Good in the Demo Room

LOOKING GOOD IN THE DEM ROOM

Anyway, that’s quite enough of the technical gubbins... I was itching to put these new AEs through their paces. The system in the picture above consists of the stunning new Cyrus 40 CD player and the practically perfect Rega Aethos amplifier. I plugged the AE320² straight in and, in no time at all, was having an absolute blast!

The Golden Road To Unlimited Devotion

Entirely by accident (?!) a recent reissue of the first Grateful Dead album found its way into the CD player. Before I knew it, the AE320² had me jumping around and playing air guitar to the opening track, The Golden Road (To Unlimited Devotion). Ignore all those musty old hi-fi clichés about pace, rhythm and timing — this was sheer fun. The AE320² sounded effortless and huge, and sometimes I still can’t believe this is my job: playing the Grateful Dead on a killer hi-fi system. OK, so I have to write about it afterwards, but that’s a small price to pay!

A Bit Of Green

After my little boogie with the Dead, I took things down tempo with “Primrose Green” from Ryley Walker’s album of the same name, released on Dead Oceans in 2015. This record is never far from my system at home and gets plenty of play here too. Coming across like a cross between Tim Buckley and a good Van Morrison, it should transport you straight to that land of Primrose Green — and the AE320² do just that. Vocals soar, guitar drifts, bass swings and the whole thing surges transcendently, helped in no small part by the wide open soundstage these speakers create.

To Conclude

Obviously, these new AE320² are never going to sound quite as breathtakingly beautiful as the flagship Corinium they’re derived from — but make no mistake, the influence is clearly audible. Much of the Corinium’s clever engineering and acoustic know-how has trickled down into these speakers, and the result is genuinely remarkable at this price. They deliver a big, open sound that fills the room effortlessly, with bass that’s tight and controlled, mids that have a wonderful natural warmth, and treble that shimmers without ever getting harsh.

Even fresh out of the box, they impress — but I know from experience that once they’ve been nicely run in for a good hundred hours or so, they’ll relax even more, opening up the soundstage and adding a touch more refinement and fluidity to everything they do. That’s when they really hit their stride and show just how much performance Acoustic Energy have managed to pack into this slim, elegant cabinet.

In short, the AE320² are an absolute joy to listen to, whether you’re blasting out some classic rock, spinning a bit of folk, or sitting back with a beautifully recorded jazz album. They punch far, far above their weight and prove once again that Acoustic Energy know exactly what they’re doing when it comes to building a speaker that makes music genuinely exciting.

If you’re curious — and you should be — come and hear them for yourself. Contact us at Audio T Cheltenham to book a demonstration and discover what these brilliant new loudspeakers can do in your own system. Prepare to be amazed — we certainly were!

Thanks for reading,

Andy, Jon and Farid - Audio T Cheltenham.

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

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Entering the Goldilocks zone: the appeal of large stand mount speakers

/ Audio T Portsmouth/

We had the pleasure of listening to a few big stand-mounts in the Portsmouth shop recently. Are they the ‘just right’ option that are neither too big nor too small? We have to say that, in many respects, yes they are.

In larger families, they say it is often the middle child that gets forgotten. The oldest, and usually the biggest, get the respect, while the youngest and smallest are cut a great deal of slack because they are “only little”.

And so it tends to be with hi-fi speakers.

Most of us are likely to be impressed by the sound of a well-driven pair of floorstanders and, in our experience, that respect often increases with cabinet size and price tag. There is a reason that some of the best-sounding and most expensive speakers in the world are very often extremely large floorstanding speakers driven by powerful amplifiers.

When we look at compact stand-mount speakers, we tend to tailor our expectations accordingly. Well-informed Audio T customers with small listening rooms tend, usually wisely, to choose compact stand-mounts because they know how easy it is for larger speakers to over-pressurise small spaces. Equally, they know that compact speakers have their limitations in terms of scale and bass.

So, in this big-is-better-but-small-is-beautiful hi-fi world, is there a place for the big stand-mount speaker? We listened recently to the Harbeth Super HL5 Plus XD2, Dynaudio Contour 20 Black Edition, Triangle Magellan 40th Duetto and Spendor Classic 1/2, and here are our views on some of the best larger-form stand-mounts out there.

Technical merits

Larger stand-mount speakers are a great alternative to floorstanders, offering bass weight and scale that compare well with many of their big-cabinet cousins, yet they also retain much of the speed, accuracy and imaging that make smaller stand-mount speakers so appealing.

1. Reduced diffraction and floor bounce – by elevating the drivers above the floor via stands, these designs reduce reflections from walls and the floor that can affect floorstanders. The result is improved driver response and more accurate imaging.

2. Cabinet resonance control – smaller cabinets are inherently less susceptible to panel resonances. When properly braced or damped, stand-mounts can offer cleaner midrange reproduction.

3. Driver integration – two-way stand-mounts with carefully chosen crossover points can minimise interference from drivers and timing issues. With fewer drivers and a single crossover, designers can tightly match phase and amplitude response across the audible band. However, three-way speakers are more likely to offer a full-range sound.

4. Room coupling and boundary behaviour – with less bass extension compared to larger floorstanders, even a fairly big stand-mount can avoid the low-frequency boom that results from over-pressurising a room.

Harbeth Super HL5 Plus XD2

  • Configuration: 3-way, 200mm RADIAL4 mid/bass, 25mm ferro-cooled tweeter, 20mm dome supertweeter

  • Cabinet: Thin-wall, lossy MDF construction with tuned panel resonance

  • Sensitivity: ~86 dB/W/m

  • Impedance: Nominal 6Ω

Harbeth SHL5 Plus XD2 in Cherry

The SHL5 Plus XD2 is a BBC-inspired monitor that leverages Harbeth’s proprietary RADIAL4 polymer cone, which offers high internal damping and very low harmonic distortion in the midband. The integration of a super-tweeter supports airiness without excessive forwardness.

Notable Technical Strengths:

  • Incredibly smooth frequency response

  • Linear impedance and benign phase angles

  • Tuned cabinet resonance used intentionally for natural midrange

Dynaudio Contour 20i Black Edition

  • Configuration: 2-way, 180mm MSP mid/bass, Esotar2i tweeter

  • Cabinet: CNC-milled MDF with internal damping upgrades

  • Sensitivity: ~86 dB/W/m

  • Impedance: Nominal 4Ω

Dynaudio Contour 20 Black Edition

Dynaudio’s 20i Black Edition incorporates their ultra-refined Esotar2i tweeter, using a precision-coated silk dome, ferrofluid cooling, and rear damping chamber to suppress resonance. The MSP (Magnesium Silicate Polymer) woofer features an ultra-light voice coil and optimised airflow basket. The crossover in the Black Edition uses Mundorf capacitors, improved internal wiring and enhanced cabinet damping.

Notable Technical Strengths:

  • Excellent off-axis response and vertical integration

  • Bass linearity down to ~39Hz (-6dB), with minimal port chuffing

  • Remarkably low distortion in the upper midrange and HF

Triangle Magellan 40th Duetto

  • Configuration: 2-way, 165mm cellulose/fiber mid-bass, horn-loaded TZ2900 tweeter

  • Cabinet: High-density MDF with multiple internal braces and decoupled driver mounting

  • Sensitivity: ~88 dB/W/m

  • Impedance: Nominal 8Ω

Triangle Magellan 40th duetto in golden oak

The Magellan Duetto is the most forward-sounding speaker in this group, with Triangle’s signature horn-loaded titanium dome tweeter offering ultra-high transient speed and directivity. A proprietary mid-woofer uses a treated cellulose diaphragm with phase plug for enhanced off-axis energy. Triangle goes for high sensitivity and immediacy, creating a more “live” sound.

Notable Technical Strengths:

  • High dynamic headroom; great for micro- and macro-dynamics

  • Excellent group delay performance through the crossover region

  • Cabinet resonance well-damped with multiple layers

Spendor Classic 1/2

  • Configuration: 3-way, 220mm polyamide and polymer bass cone, 150mm polymer mid and 22mm soft dome tweeter

  • Cabinet: Polymer-damped wood composite with large internal volume

  • Sensitivity: ~87 dB/W/m

  • Impedance: Nominal 8Ω

spendor classic 1/2 in cherry

The Spendor Classic 1/2 is a modern reworking of their vintage BBC-style monitors, retaining a large baffle for improved baffle-step compensation. Its bass driver is specifically damped to produce minimal cone breakup, giving the speaker its effortless, rich character. Crossover design is a highlight: time-aligned and phase-consistent, with excellent integration.

Notable Technical Strengths:

  • Controlled cabinet design for smooth decay, especially in vocals

  • Minimal crossover-induced phase rotation

  • Wide horizontal dispersion; smooth power response

Conclusion

Large stand-mount speakers can be a rewarding choice for those who value nuance, intimacy and emotional connection in their listening experience, while not sacrificing scale and weight in their performance. Even larger stand-mounts can disappear in a room — visually and sonically — in a way that bigger floorstanders struggle to do.

It is also worth noting that none of the above speakers is cheap — you get a very capable floorstander for around £5,000 or £6,000 — but with less cabinetry, the stand-mounts we listened to have a beautifully finished, jewel-like quality that contrasts with the sometimes monolithic appearance of some big floorstanders.

Each of the models featured here brings something special to the table. Whether it’s the vocal purity of the Harbeths, the analytical strengths of the Dynaudios, the dynamism of the Triangles, or the graceful presentation of the Spendors, these speakers make a compelling argument for themselves.

For those looking to invest in an emotionally engaging, beautifully crafted and room-friendly pair of speakers, large stand-mounts in this range are more than just an alternative — they can be a revelation.

Thanks for reading,

Alan - Audio T Portsmouth

If you have any questions about any of the equipment featured in this article, or any other hi-fi or home cinema enquiries, be sure to Contact Us

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SONOS FABER DUETTO - ACTIVE WIRELESS LOUDSPEAKERS

/ Audio T Swindon/

Sonus Faber are an Italian company based in Vicenza, in the Veneto region, known for creating high-quality loudspeakers that balance impressive sound with elegant, thoughtful design. Their approach combines traditional craftsmanship with modern engineering, resulting in speakers that look as good as they sound.

Design

The Duetto speakers share much of the design detail found in the Sonetto range and, unsurprisingly, look stunning — Italian craftsmanship at its finest.

They bring together traditional skills with cutting-edge technology. The cabinet cross-section is lute-shaped to minimise standing waves, which reduces colouration and distortion. I particularly love how the rear port has been seamlessly integrated with the heat sink; so much care and attention lavished on a part of the speaker you might never even see in daily use.

Sonus Faber Duetto

The tops are wrapped in leather, giving a wonderfully premium feel under the fingertips. The master speaker features LED strips cleverly cut into the leather — more on these shortly.

Two finishes are available: walnut and graphite. The walnut veneer is laid at a 45-degree angle, lending the speakers a distinctive and elegant appearance that stands out in any room.

The undersides are finished with a rubber pad for effective isolation, helping the speakers perform at their best no matter the surface.

Duetto Rear

Technology

A 250-watt Class D amplifier drives the 133mm mid/bass unit, while a 100-watt Class A/B amplifier powers the 28mm silk dome tweeter. Both drivers are designed and manufactured in-house by Sonus Faber — no off-the-shelf units here.

The stated frequency range is an impressive 37Hz to 30,000Hz, though, as always, the measurement criteria are not specified.

The Duetto use the very latest Ultra Wide Band (UWB) technology, allowing robust communication between the two speakers. This wireless transmission is designed to eliminate latency and avoid interference from other networks, while delivering high-speed data across a wide frequency band.

Connectivity 

The master speaker (which can be positioned either left or right) has its inputs discreetly located on the bottom rear panel. You’ll find connections for mains power, Ethernet, MM/line input, HDMI eARC, and optical digital input. There’s also a subwoofer output, which opens up a range of flexible configuration options in the app.

Wireless connectivity covers all the bases:

  • AirPlay 2

  • Chromecast

  • Spotify® Connect

  • Tidal Connect

  • QQMusic

  • Bluetooth AptX HD and SRC

They’re also Roon Ready, making them a superb choice for streaming high-resolution music with ease.

Master SPEAKER undersidE

Control

Source selection and basic functions can be operated directly from the touch-sensitive LEDs and buttons on the master speaker’s top panel. A small remote control is included, but most people will find themselves using the excellent Sonus Faber app.

The app enables detailed setup, including boundary compensation, high-frequency adjustments, balance, and a loudness selector — which, by default, is switched on. Personally, I find the speakers sound even better with this defeated.

adjustments

A neat touch: the master speaker’s LED strip changes colour depending on the source selected, providing clear, intuitive feedback.

Auditioning

When you first power up the Duetto, the master speaker’s LEDs perform a playful little animation — a small touch, but one that hints at the care and attention to detail Sonus Faber pour into every aspect of their design. I’d be fibbing if I said I haven’t powered them down a few times just to watch it again!

I started my listening with Charlie Rich’s If You Wouldn’t Be My Lady. The vocals emerged deep, crisp and beautifully clear, with a warmth and texture that draws you straight in. The midrange presence is simply superb — voices sound human and lifelike, not processed or clinical.

Next up, Californian Soil by London Grammar demonstrated just how effortlessly the Duettos fill a room. They’re more than capable of going loud — very loud if you want them to — and the low end is remarkable for speakers of this size. Bass notes hit with satisfying weight and control, but never overwhelm the rest of the music.

I then put on Messy by Lola Young, one of my favourite new discoveries. The Duetto presented this track with real authority and poise. There’s an impressive sense of scale; the soundstage extends well beyond the speakers themselves, with instruments and vocals precisely placed. The build-up in the song is handled beautifully, showcasing the dynamic range and the effortless way these speakers transition from delicate passages to big, bold crescendos.

I also tried a few lower-quality streams to see how forgiving they’d be — and while they certainly reward good recordings, they don’t punish poor ones, making them enjoyable for everyday listening, no matter the source. In short, they’re serious performers that never forget music should be fun.

Conclusion

In my view, the Sonus Faber Duetto are a brilliant choice for anyone who wants uncompromising sound quality, stylish design, and the convenience of a modern wireless system — all without needing a rack full of separates and a nest of cables. They prove that you don’t have to sacrifice performance for practicality.

They’ll look equally at home in a contemporary living room or a more traditional space, and their understated elegance means they complement your décor rather than dominate it. Whether you listen quietly with a glass of wine in the evening or want to fill the house with music at the weekend, they’ll do it all with confidence and charm.

If you’d like to experience what the Duetto can do, Andy and I would be delighted to set up a demonstration for you in our showroom. Feel free to bring along your favourite music — these speakers deserve to be heard with tracks you love.

Thanks for reading — we look forward to welcoming you soon.

Jon and Andy - Audio T Swindon

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to contact us.

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Sonus Faber is available in the following stores:

Audio ‘con Brio’: Taking a Closer Look at the New Rega Brio Mk 7 Amplifier

/ Audio T Brighton/

Hello all, and welcome to the June blog from Audio T Brighton! This month, we’re looking at the seventh iteration of a long-standing model in the range of integrated amplifiers from English audio manufacturer Rega. Could it have a new trump card up its sleeve? Well, let’s have a look—and a listen—to find out!

rega brio mk 7 front fascia

The new Rega Brio Mk 7...

So what’s different about the Rega Brio Mk 7?

Well, Rega has implemented their own DAC into the casework of the new Brio. How did they fit it into that case? If you look closely at the previous version and this one, you’ll see the new case is a few centimetres deeper, allowing the DAC to be positioned at the rear of the circuitry. This improves noise suppression by distancing the digital section from the analogue circuits.

There’s an interesting rule in physics called the Inverse Square Law—also useful in flash photography—whereby doubling the distance between sources of noise reduces it by a factor of four. So, maintaining separation between noisy digital and sensitive analogue components is highly desirable in hi-fi design. Space inside the Brio is limited, but this design decision explains why some audio manufacturers opt for separately boxed power supplies to reduce interference and improve sound quality. Hi-fi is always designed to a budget, though, so separate power supplies are typically reserved for higher-end gear—not really applicable here.

Rega brio mk 7 rear panel

Looking carefully at the rear of the Rega Brio Mk 7, you’ll find the usual turntable phono input, three line-level RCA inputs, one SPDIF coaxial input, and the ubiquitous Toslink optical input—ideal for integrating a TV into your home setup. Plenty of inputs for most listeners.

In terms of specs, the Brio outputs 50W into 8 ohms and 72W into 4 ohms—plenty for most price-appropriate speakers, as long as their impedance doesn’t dip below 4 ohms (most don’t!).

Sample rates of 32kHz, 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz and 192kHz are supported. If you’re a DSD file fan, though, you’ll have to look elsewhere, I’m afraid! Interestingly, the 32kHz sampling rate caters for early DAT (Digital Audio Tape) machines and the BBC’s NICAM systems—now that’s what you call backward compatibility!

rega brio mk 7

Rega Brio Mk 7 in use...

First up, comparisons with the last generation of Brio. Aside from the increased depth of the case, the additional inputs, and a revised circuit board layout, there are some noticeable sonic differences.

I’d describe the newer Rega Brio Mk 7 as a smidgen cleaner, more resolving, and tighter in the bass, with improved control overall and a more neutral balance. This aligns it nicely with the family sound of the Rega Elex Mk 4 and Rega Elicit Mk 5 integrated amplifiers.

To our ears, the latest Rega Brio Mk 7 is the pace-setter in the sub-£1,000 amplifier market, offering a level of fidelity, flexibility and musical communication few—if any—can match.

Recommended system...

rega planar 3, bluesound node icon, rega brio mk 7 and a pair of wharfedale lintons

A great system match would be something like a Rega Planar 3 with a Rega Nd3 MM cartridge, the Rega Brio Mk 7, and a pair of Wharfedale Lintons. The detail and refinement of the Planar 3, the dynamic neutrality of the Brio, and the scale and warmth of the Lintons make for a lovely listen.

The fact that the Rega Brio Mk 7 now comes with an onboard DAC means you can plug in your TV and enjoy Glastonbury in all its glory. A Bluesound Node or Bluesound Node Icon streamer would also be a great sonic match if digital connectivity and streaming playback are required—a modern-day equivalent of the classic music centre!

As always, the proof of the pudding is in the eating – so get in touch to book a demonstration and hear for yourself.

Thanks for reading.

Ade, John and Paul - Audio T Brighton

There’s no substitute for a proper listen—drop us a line and come in for a demonstration, so be sure to Contact Us.

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Rega can be found at the following Audio T stores -

Wharfedale can be found at the following Audio T stores


High-Fidelity for Under £10K: Building a Magical Vinyl-Based System

/ Audio T Southampton/

Hello fellow Hi-Fi enthusiasts, and welcome to another blog from Audio T Southampton. As some of you may remember, a few months ago I shared a three-part series on systems under £2,000. Now we’re upping the ante (and the budget) to £10,000. So, without further ado, let’s dive in…

Breaking It Down

Before we begin, I’d like to explain the premise of these blogs. A question we’re frequently asked in-store is: “I have an £XXXX budget—what should I get?”

These blogs aim to explore that question by offering a few options to consider. Each instalment focuses on one of the three primary sources: records, CDs, and streaming (in that order). Naturally, these are personal recommendations—selected for sound quality, utility, or aesthetics—but nothing is set in stone. You can swap out or replace any component to suit your preferences.

In this first part, we’re going back to the roots of Hi-Fi and looking at what we can build around the timeless turntable.

The Original

I’ll admit, narrowing down the choice of turntables was difficult—there are so many excellent options available. But the tighter budget did help focus the decision. That’s why the first pick is none other than the Rega Planar 8, fitted with the all-new Rega Nd7 MM cartridge, coming in at £2,345*.

A Rega Planar 8 in black with the nd7 cartridge fitted; what a beauty!

The Planar 8 is a superb turntable and the first in Rega’s lineup to introduce their striking skeletal frame, built from a Tancast 8 foam core for rigidity and low weight. It features the excellent RB880 tonearm and a triple-layer glass platter that adds even more stability—the platter is, in fact, the heaviest part of the turntable!

It also comes with the Neo Mk2 PSU, an external power supply designed to drive the motor cleanly with minimal interference.

For the second option, I’ve selected the Michell TecnoDec, paired with the T2i tonearm and Michell Cusis E MC cartridge—a lovely combination at £2,700. Like the Planar 8, the TecnoDec also features a skeletal-style frame, though its motor is uniquely placed separately from the plinth, sitting just beside the deck. It also includes a handy record clamp, which helps keep your vinyl flat and firmly in position during playback.

The Main Hub

Next up: the brains (and brawn) of the system—the amplifier. Choosing just two amplifiers from the wide selection we carry felt like a monumental task, but I managed it. Let’s take a look at the contenders.

First is a two-box combo: the Advance Paris X-P700 pre-amplifier and Advance Paris X-A160 EVO power amplifier, each priced at £1,500. Together, they form a truly formidable pairing.

The Advance Paris A-160 EVO power amp is stunning to watch!

The X-A160 delivers a robust 160W into 8 ohms via Class A/B amplification. It also boasts a lovely pair of analogue VU meters—mesmerising to watch while enjoying your favourite albums. The X-P700 pre-amp is equally impressive, featuring a range of inputs and functions, including an MM/MC phono stage, adjustable headphone amplification, and much more.

The second option is a one-box solution: the superb Naim Nait XS 3 integrated amplifier, priced at £2,499*. This amplifier does it all—with elegance. It features a beautifully smooth control layout, and delivers a solid 70W into 8 ohms. The Nait XS 3 offers a lovely touch of warmth to your system, ensuring your listening experience is engaging and comfortable.

The naim nait xs3 is visually calming..

Musical Windows Into The Soul

The acoustic energy ae509 in walnut are so lovely

And now, we reach the most room-defining component in any system: the speakers. Whether floorstanding or standmounted, it’s crucial to find speakers that work well in your room and complement your system. Narrowing it down to just two pairs was no easy feat, but here are my picks.

First, the Acoustic Energy AE509 floorstanding speakers, priced at £2,400*. These 2.5-way speakers are outstanding, offering deep bass, sparkling treble, sweet vocals, and an impressively wide and well-separated soundstage. They’re also visually understated—slim and elegant, they almost disappear into the room once the music starts.

Second, the Harbeth P3ESR XD2 standmount speakers, starting at £2,595*. Don’t be fooled by their compact size—these speakers are magical. With their classic BBC-inspired design and lifelike vocal clarity, they create a studio-like listening experience. Available in various finishes, they’re small enough to fit discreetly into any space, but sonically, they make a big impact.

Wrapping Up Your System

Now for the practical stuff—cables and phono stages. No system works without the right connections, so it’s important to get this final piece right. In this vinyl-focused setup, we also need a quality phono stage to do justice to the turntables.

For speaker cable, I’ve selected Chord Company ShawlineX speaker cable, priced at £44 per metre. These cables are well-shielded to minimise interference and preserve clarity. With a typical 2.5m run per channel, including terminations, you’re looking at around £292*.

For the phono stage, I’ve chosen the Chord Electronics Huei MM/MC, priced at £1,150*. This compact, high-performance unit supports both MM and MC cartridges and is easy to tuck away. Paired with Chord Company ShawlineX ARAY 2RCA-2RCA interconnects (from £230* at 0.5m), you’ll have a clean and transparent link between your deck and amplifier.

The Chord electronics huei phono stage may be small, but it’s certainly mighty!

Time To Accessorise!

Now onto the optional upgrades. None of these are essential, but all will enhance your system in one way or another.

First up are IsoAcoustics Orea isolation feet, from £45 each. These can replace the existing feet of equipment, improving vibration control and isolation.

Next, the mighty REL T/7X subwoofer, priced at £999. A sub can help fill in lower bass frequencies your main speakers might miss—or take the bass from your favourite Prodigy track and make it hit even harder. Subwoofers often (somehow magically) improve midrange and treble performance too, making everything sound cleaner and more open.

The rel t/7x is a brilliant sub that will put a smile on your face.

the isotek v5 polaris mains distribution strips are fantastic, and a worthy upgrade.

Lastly, something many people overlook: mains conditioning. Not cleaning your mains supply with a cloth, but electrically—removing noise from your power line. For this, I recommend the Isotek V5 Polaris 6-way mains distribution strip, priced at £695* (available in various plug types). It filters the power coming into your system and isolates each socket, preventing electrical interference between components.

Time To Relax

And with that, we wrap up the first blog in this new three-part series! To summarise: we’ve explored vinyl-based systems under £10,000, featuring turntables, amplifiers, and speakers, along with the cables and accessories that bring everything together. Every product mentioned pairs well, creating a rich, analogue sound—but of course, you can mix and match according to your taste.

If you’re interested in any of these items, please contact your nearest Audio T store to find out more or to book a demonstration.

Thanks for reading

Tiago - Audio T Southampton

If you have any questions about any of the equipment featured in this article, or any other hi-fi or home cinema enquiries, be sure to Contact Us

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

*All prices, credit terms and interest rates quoted are correct at the time of going to press but may be subject to change. E&OE

The products mentioned in this blog can be found at the following Audio T stores -

The New Listening Experience OR Next Level Entertainment? Harbeth NLE-1

/ Audio T Bristol/
image: Harbeth NLE-1 with Naim 222

Whatever it stands for, the new Harbeth NLE-1 speakers are really something to behold. A lovely set of modern finishes are available in a myriad of colours. This departure/development feels like the audio equivalent of the new Morgan Supersport – just not available in pink... yet. A modern twist on a Harbeth P3.

Active?

The bonus of a speaker manufacturer going active is that they can tune the drivers and the overall character of the speaker – optimised for their vision (or hearing), defining exactly how they want their speakers to sound.

The midrange and tweeter drivers are individually controlled by the internal digital signal processor (DSP) and powered by a pair of 50W ultra-low distortion, high damping factor Class-D amplifiers. This level of amplification and DSP control allows them to get the most out of the newly developed RADIAL cone and tweeter driver designs.

image: Harbeth NLE-1 with magnetic grill off and on

harbeth nle-1 with grill off and grill on

Some argue that active speakers have an inherent advantage over passive designs. In an active setup, the signal from the preamp (or source) goes to the speaker's crossover first, where frequencies are separated and then sent to the amplifier and on to the relevant driver. So the amplification, tailored only to the specific driver, occurs after the crossover. In theory, this means better driver control.

Active versus Passive

In terms of convenience, pairing the amplification with the speaker makes setup a lot easier – less fuss about choosing the right amplifier, and overall, the system footprint is smaller. Pricing-wise, it's also more cost-effective to go active.

The downside is that there’s less scope to tailor the character of the sound – unless you have a preamp with tone-shaping tools. Thankfully, Harbeth has given us a ‘personality switch’ on the rear of the speakers.

image: Harbeth NLE-1 personality mode switch

  • Default Mode (A): This mode gives the speaker a similar tonal balance to other small, closed-box speakers such as the P3ESR. Harbeth considers this mode to be optimised for normal listening with the speakers positioned away from walls.

  • Extended Bass Mode (B): With the switch in the middle, deeper bass output is generated, and the speaker sounds larger than it really is - useful in larger spaces. Again, this is intended for away-from-wall positioning.

  • Near-Wall/Desktop Mode (C): In this position, the speaker response is slightly reduced in the lower midrange and bass regions to compensate for the boost given to these frequencies when the speakers are placed close to walls.

As with placement, the best switch position will depend on your room, musical tastes, and preferences – and Harbeth (and we) advise you to experiment to find what sounds best to you.

Harbeth NLE-1 Rear of speaker

Harbeth NLE-1 rear - personality mode switch, xlr or rca connection and volume trim control

Also, rather handily, each speaker has its own volume control knob on the rear panel. In domestic situations, this can be used to adjust speaker balance and centre the stereo image in your listening space. Harbeth recommends starting with both controls at maximum. If vocals or other centrally placed elements lean left, simply turn down the left speaker slightly until the balance is right.

The Evaluation

Via XLR with the Bluesound Node Icon – at under £1,000 – this is a blend of technology, performance and user-friendliness that’s best in class at this price. The Icon (reviewed by our colleagues in Manchester) is probably the simplest and most cost-effective source/pre that works beautifully with the Harbeth NLEs. Great fullness of character.

But we thought we’d up the ante. This is probably the best way to test just how good an active speaker is – give it a better source, an impeccable pre, and see how it flies.

Active Flexibility

We've found that a well-designed active speaker punches harder, resolves more detail, and exquisitely conveys the character of a high-quality preamp and source. A no-fuss and unequivocal auditory delight, showcasing just how good a front end can be.

I remember reviewing a setup of Acoustic Energy AE1 Actives a few years ago, moving from a Bluesound Node, through a Linn Selekt with Katalyst DAC, and ending with a Chord DAVE. Each upgrade brought better sound. Can the Harbeths pull off the same trick?

Source is King?

With that in mind, we ran a few experiments. Starting with the Bluesound Node Icon, we then paired the Harbeth NLEs with the phenomenal AURALiC Vega S1. And finally, we tested them with the audio nirvana that is the Naim NSC 222.

image: Harbeth NLE-1 with Naim 222

harbeth nle-1 with naim 222

This was a clear case of Good, Better, Best. Our ever-evolving Audio T Bristol Qobuz playlist was the starting point – favourite tracks, varied recording quality, all genres covered. As with all standmount speakers, the NLE-1s don’t go particularly low at 75Hz. Yes, a venture into Queen Mary by Francine Thirteen or anything by James Blake won’t quite shake the earth – but that’s what subwoofers are for.

As with all Harbeths, their beauty lies in the sweet midrange, detail and emotion. The Bluesound Icon did its best. With the Naim 222 the Harbeths shone, conveying all the texture and fast transients that Naim is famous for. The “Goldilocks” match was the AURALiC Vega S1. With DAC controls featuring tone mapping and filter options, the Harbeth NLE-1 conveyed even these subtle changes with real finesse – a very engaging listen.

In Summary

The Harbeth NLE-1 – or Nellies, as we now affectionately call them – are no elephant in the room. We haven’t packed our bags and said goodbye to the Hi-Fi Circus. The only elephant is the size of the soundstage these speakers can throw out!

Looking at pricing, the new Harbeth passive P3ESR XD-2 retails at £2,635*. The Harbeth NLE-1 is £2,995* – or just £364 more for the active version. Paired with the Bluesound Node Icon, you’d still have to spend over £1,200* on top of the passive P3 price to get a system that performs as well as the NLE-1.

Book an audition and experience these speakers firsthand. Whether you're after exceptional clarity, dynamic range or an immersive soundstage, a personal listening session will let you hear exactly what they can do in a real-world setting. Visit us in-store to discover how they perform with your favourite music.

Thank you for reading,

Justin, George and Max - Audio T Bristol

If you have any questions about any of the equipment featured in this article, or any other Hi-Fi or home cinema enquiries, be sure to Contact Us.

If you’ve enjoyed this, why not go ahead and read some more of our other blogs, and be sure to follow us on our social media channels below…

*All prices, credit terms and interest rates quoted are correct at the time of going to press but may be subject to change. E&OE

Harbeth can be found at the following Audio T stores

Bluesound can be found at the following Audio T stores

AURALiC can be found at the following Audio T stores

When Bass Fights Vinyl: Subwoofers and Low-End Frequencies within Turntable Systems

/ Audio T Reading/

Sometimes in Hi-Fi, fixing one problem reveals another.

On a recent install, a customer loved everything about their home cinema system—except one thing: it lacked that low-end punch during movie night. Music sounded fantastic thanks to a REL S3 running in High-Level mode, but LFE (Low Frequency Effects) for cinema simply didn’t hit hard enough.

We introduced the REL S/510 to the system, and it did exactly what it says on the tin: more depth, more presence, more theatre. The customer was thrilled.

Until the vinyl came out…

When Vinyl Says “No Thanks”

Once we turned up the volume for some vinyl playback, a low-end hum started creeping in—the kind that doesn’t belong on any record. It wasn’t present with the previous sub and only revealed itself when things got loud. After ruling out the usual suspects (grounding hum, dodgy cables), we tried using a Bassline Blue cable dedicated for Naim systems, as well as running the signal directly from the speakers.

The issue was still there.

What we were hearing wasn’t electrical—it was physical.

Vibration Wars: Stylus vs. Low-End

At a certain point, the subwoofer was feeding so much energy into the room that the vibrations found their way into the turntable cartridge. It was a feedback loop: the stylus picked up a vibration, the signal got amplified, the subwoofer output it again, the stylus picked up even more. The result? A runaway low-frequency rumble that only stopped when we backed off the volume.

What Was Actually Happening?

The cause of the issue can be broken down into two distinct types of feedback, both of which were likely contributing to the problem:

1. Airborne Acoustic Feedback

Also known as acoustic coupling, this happens when powerful low-frequency sound waves travel through the air and cause the cartridge and stylus to resonate. The stylus acts like a microphone, picking up these waves and creating a feedback loop. This is especially common at higher volumes or when the turntable is exposed and close to a sub. In powerful subs like the REL S/510 (or in some large floorstanding speakers) that move a lot of air, especially below 30Hz, the low-end energy isn’t just felt in your chest—it can also be picked up by the stylus, causing unwanted output.

2. Structure-Borne Feedback

This type of resonance—often called mechanical or structural feedback—occurs when low-frequency energy from the sub travels through the floor or furniture into the turntable’s chassis or plinth. These vibrations don’t travel through the air; they move through solid material. Once they reach the tonearm and stylus, they’re amplified just like a music signal would be. This is particularly problematic with wooden floors, shared furniture, and lightweight plinths.

Both forms of feedback create the same result: an unpleasant, often deep rumble or hum, especially audible during quiet passages. The key difference is how the unwanted vibration gets to the stylus—through the air, or through the structure.

The Troubleshooting Begins

The first thing we tried was closing the lid on the customer’s Planar 3 to reduce airborne feedback. While this made a marginal improvement, the rumble still reared its head as the volume climbed. We then repositioned the turntable, moving it as far from the subwoofer and walls as the short phono cable allowed, avoiding corners and potential room nodes (areas where bass naturally builds up due to reflections). We also adjusted the toe-in of the subwoofer to redirect energy. Still, the problem persisted.

Without any accessories to hand, I asked to borrow the customer’s wife’s yoga mat. Understandably, this raised eyebrows—but I wasn’t planning on doing stretches. I placed it underneath the subwoofer as a makeshift damping layer to absorb energy being transmitted into the floorboards. While not a REL-approved method (and only to be used in specific cases), it was surprisingly effective: we gained around 20% more volume before the feedback returned.

That confirmed it—structure-borne vibration was a significant part of the issue.

Back to Base: A Few Calls and Some Controlled Testing

Back at the shop, I made a few calls and did some research. The consensus was clear: try wall-mounting the turntable, or upgrade to a heavier, better-isolated deck. High-mass or suspended designs tend to fare better against structural vibrations.

This led us to test the Rega Planar 3, 6, and 8 in-store. With headphones connected, we gently tapped each plinth and the surface it sat on. The difference was immediate. The Planar 3 amplified the knocks into clearly audible thuds—hollow and easily disturbed. The Planar 6 was more restrained. The Planar 8? Practically silent. The resonance was absorbed, the structure more inert—a clear win for the P8’s improved isolation feet and build.

The Return Visit: P8, Pucks, and a Filtered Fix

Armed with better gear, I returned with a Planar 8, IsoAcoustics pucks, a Zazen isolation platform, and a phono stage with a subsonic filter.

We started with the filter, which helped roll off ultra-low frequencies that aren’t musically useful but can still wreak havoc with a powerful subwoofer. This gave the sub more breathing room and allowed a few extra decibels before the loop began.

The Planar 8 also made a meaningful difference—not just in terms of vibration resistance (not night and day, but enough), but musically, the improvement was immediate and appreciated by the customer.

Still, despite these upgrades, loud, bass-heavy tracks could still push the system into a feedback loop at higher volumes. It was better, but not bulletproof.

One Last Trick and the Real Culprit Emerges

We decided to try one last test, moving the turntable to the far side of the room onto a drinks cabinet with its own isolation platform, away from shared furniture, subwoofer air pressure, and wall reflections. Sadly, the issue still crept in at higher volumes.

At this point, we were confident that structure-borne feedback had been addressed. We had used a better turntable, isolated it physically, and moved it well away from the subwoofer’s direct influence. Still, something was missing.

As a last-ditch effort, we placed a cardboard box over the Planar 8 and topped it with a thick blanket.

And… Voila.

Protecting Turntable from Subwoofer Airborne Waves

THE Temporary, NOT-SO SOPHISTICATED TURNTABLE COVER

That did it! Whilst looking comical, it gave us the answer we were looking for.

We could finally crank up the volume—with deep, powerful bass—and the loop didn’t return. Not the prettiest solution, but incredibly effective. The thicker materials created a protective bubble, dampening the low-end pressure waves before they reached the stylus. The standard lid on the Planar 3 had made only a very small difference. Now we knew why.

With this information, the customer was able to order a bespoke acrylic cover that would be a bit thicker than standard. At last, we were able to play vinyl at loud volumes with the much-improved S/510, whilst getting the desired home cinema effect he was after when he initially contacted us.

A Final Note on System Balance

It’s worth noting: the issue never became apparent with the smaller REL S3. It simply didn’t reach as low or move as much air at normal listening volumes. However, upon further testing and pushing the system a bit harder, the loop began to creep in with the S3 too—it just took a lot more input to get there.

That’s the paradox here: the better your bass system, the more revealing—and potentially problematic—it can be. And while this story focused on a subwoofer, the same issue can arise with full-range floorstanding speakers, especially those capable of digging below the 30Hz range.

If you’re considering upgrading your speakers or adding a subwoofer into a system that includes vinyl playback—or you’re already experiencing mysterious low-end hum or feedback—some of the approaches above may help. That said, every setup is different. The combination of turntable, subwoofer, room acoustics, and even the construction of your home all play a part. It often comes down to trial and error to find what works best in your specific environment, and we’re always happy to help troubleshoot—whether that’s in-store or on-site.

Below is a summary of the solutions discussed:

Structure-Borne Feedback Solutions

• Move the turntable away from subwoofers or floorstanders

• Add weight to the surface the turntable sits on for added stability

• Wall-mount the turntable to decouple it from floor vibrations

• Use a phono stage with a subsonic filter

• Use a dedicated isolation platform or Rack on the turntable

• Add decoupling pucks or feet under the turntable

• Use a high-mass or better-isolated turntable

• Avoid placing the turntable on shared AV racks or lightweight furniture

• Add damping beneath the subwoofer (heavy plinth or dedicated platforms) in emergencies)

• Use suspended turntable designs for built-in isolation (where possible)

Airborne Acoustic Feedback Solutions

• Use the turntable lid

• Cover the turntable with a heavier enclosure

• Position the turntable away from the subwoofer and speaker output paths

• Place the turntable behind furniture or acoustic barriers

• Use a phono stage with a subsonic filter

• Apply room treatment (e.g. bass traps, absorptive panels) near the turntable

• Toe-in or reorient the subwoofer to redirect air pressure away from the turntable

Thanks for reading – Dan, Gareth & Rishi – Audio T Reading

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