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

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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

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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

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*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

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 subwoofer, turntable or general audio related queries contact your local Audio T store -

Staff System Upgrade: The REL T7x/i Odyssey - Part Deux

/ Audio T Swansea/

Last month I told you the story of the upgrade to my own kitchen/diner Hi-Fi, where I replaced my existing REL T7i subwoofer with the latest iteration, the REL T7x, and hinted I’d retask said REL T7i in my home cinema system to augment my centre channel speaker. And here we are…

The REL T7i in the wild — spider plant, model’s own. The granite plinth and IsoAcoustic Gaia III feet are there to isolate the sub from the floor; my media suite is on the first floor of my home, and without them, the ‘tweendeck void and the ground floor resonate like a ship’s hull.

According to REL (who paraphrase Dolby Labs, the creators of the technology we use in our home cinema systems):

“Even with the best will in the world (and gleefully I have installed such systems), it’s a struggle to place five, full-range loudspeakers into a normal domestic environment. AV amp manufacturers realised this quite early on, so include a function that automatically apportions bass frequencies below 80Hz to the subwoofer. The subwoofer also has the role of reproducing the Low Frequency Effects channel of course, so can be overwhelmed with information quite easily as a result.”

According to Dolby, on average, about 85% of all sound in the front of the stage is produced by the centre channel. Once you place a subwoofer to underpin the main left and right speakers (like I have), the going becomes very tough indeed for most centre channel speakers.

REL go on to say:

““Home theatre is only capable of delivering superior performance if a few core tenets are followed scrupulously. Chief among these is the understanding among professionals that all channels within a theatre need to be full range. While Dolby’s original stipulation was a remarkable 20 Hz flat response at an enormously high output level, so much of that range can be delivered at around 25 Hz that for the purposes of all but a professional transfer studio, we believe that figure is sufficient to deliver the full range response that Dolby envisioned. It does so at a price that is thousands of dollars less than if we insist on 20 Hz whilst demanding speed and agility.
It starts with Full Range Sound from all channels. Yes, you understood it correctly, full-range audio from all channels.””

connecting a centre chanel rel subwoofer is pretty straighforward, as you can see. note that both positive cables are attached to the centre positive terminal.

well worth seeking out, if you favour a bass-baritone..

As discussed in last month’s blog, REL subwoofers are designed to sample the output of an amplifier and then reproduce what the speaker cannot. Where the output from the speaker rolls off (my Focal Electra in-walls start rolling off at about 45Hz), the subwoofer is rolled on. By a quirk of fate, the mid-fi electronics companies that dominate the AV marketplace decided to factory-set all their AV receivers to a cliff-edge 80Hz crossover point. That starting point is unnecessarily high for virtually any 2-way speaker that sports a 6.5” (165mm) bass driver – they’d sound terrible with music if they didn’t work below 80Hz. Famous Welsh bass-baritone opera singer Bryn Terfel’s vocal range extends down to around 65Hz (E2). It’s a poor pair of speakers that can’t reproduce a bit of Bryn!

Lightening the load on my main subwoofer (a venerable REL Britannia B3) and removing the need for my AV amp to use up valuable processing power diverting the low frequency component of the centre channel information to it, I wired my T7i to the centre speaker output of my AV amplifier. I reset the centre speaker to Full-Range in the amp’s menu and removed the positive speaker leads from my front L&R and rear L&R speakers (to avoid muddying the waters). Then, running the amp in 5-channel stereo mode, I performed the recommended REL setup sequence. Using a music track with a familiar, repetitive bassline to determine the frequency roll-off and gain (volume) on the back panel of the T7i, it took about ten minutes. I used Track 4 from the movie Sneakers OST.

The eagle-eyed amongst you will have spotted I’ve mounted the T7i on a granite plinth with IsoAcoustic Gaia III feet. My cinema is on the first floor and this helps prevent the floor cassette and ground floor resonating like an empty oil tanker.

there’s no two ways about it, it looks an absolute dog’s breakfast, but this was the best shot i could get. as you can see, only the centre speaker has both terminals in play during calibration.

track 4 from this cd - “cosmo…old friend”. the repetitive deep bass note is very useful indeed.

Once that was done to my satisfaction and, after switching my amp off (professional, see!), I reconnected the leads and dug out one of my favourite AV demo discs — Master and Commander (a row-locking — see what I did there — rollercoaster of a Napoleonic War naval saga starring Russell Crowe & Paul Bettany). I cued up Chapter 2, “A Shape in the Fog,” where the tranquil start to the frigate Surprise crew’s day is rudely interrupted with a Beat to Quarters after the Officer of the Watch thinks he’s seen... a shape in the fog.

The Marines’ desperate drumroll calling the crew to action is thrilling and urgent, the men’s bare feet slapping on the oak decks above our heads are suitably meaty, the cabin resonates with the amplified thuds and then the subtle FX of the wind soughing in the rigging and the men’s hushed breathing as they wait, straining their ears for the enemy and awaiting their captain’s orders. The whole scene prickles with anticipation and the sense that this tiny, isolated community is terribly vulnerable on this huge and hitherto empty sea.

A great movie — “an historically accurate portrayal,” according to Dan Snow, the History Guy.

I’m sure you’ll have guessed by now that there’s an engagement with “Bonesapart” complete with rolling broadsides that’ll have you ducking “lest a ball knock you on the head.” Most satisfying!

From Kitchen Companion to Centre Stage

The improvement on the system’s previous performance is expressed in terms of a much greater sense of space and scale. Vocals are clearer and weightier, sure, but the real revelation lies in the textures — those subtle shadings and nuances that give sound its emotional heft. If you’ll indulge me in a wine analogy (and why wouldn’t you?), it’s the difference between Chianti Classico and Brunello di Montalcino. Both are born of Tuscany, both from the same Sangiovese grape, both singing with cherries and chocolate — yet the Brunello brings something extra: depth, elegance, structure, a velvety richness that lingers. Yes, it costs more, but the payoff is a greater emotional connection, a deeper satisfaction. And really, isn’t that what we’re all chasing in this hobby?

So, the journey continues. The T7i, once retired from kitchen duties, has stepped back into the limelight and found its true voice — not merely filling in the bottom end, but bringing cohesion, drama and grace to the centre stage. My home cinema has never sounded better.

Thank you 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

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ARCAM SA35 AND SA45 INTEGRATED AMPLIFIER AND STREAMERS. HAVING YOUR CAKE AND EATING IT.

/ Audio T Swindon/

Arcam has recently introduced two new ‘all in one systems’: The SA35 and SA45

Over the last few years, all in one systems have become increasingly popular, for a number of reasons; these being: Space saving, CD replay becoming less popular and the absence of tuners in the market.

Arcam SA 35 (top) and sa45 (bottom)

Specifications and connectivity

SA45: The flagship of the range. The SA45 boasts 180 wpc class G amplification into 8 ohms, increasing to 300 into 4 ohms. Dirac (with bass control) Dual mono DAC’s Internet radio. In built music services and casting options Huge 8.8” full colour display.

Connectivity:

XLR (inputs and outputs). MM and MC phono inputs. Two way Bluetooth (Snapdragon) . EArc. Multiple analogue and digital inputs. SA35 Similar to the SA45, but with 120 / 220 wpc 8/4 ohms. 6.5” full colour display. Dirac Live (without bass control) Stereo, as opposed to dual mono design.

ARCAM Radia app

rear panels

Design

Continuing with the smooth lines and curved radii (I wonder if this is where the Arcam Radia name came from)? The overall impression is of a non aggressive aesthetic. Over time I have become accustomed to the yellow pinstriping and it adds a touch of distinctiveness. Both the SA35 and SA45 are standard Hi-Fi separates width, but the SA45 is both deep and tall at 390mm and 140mm respectively. The SA45 is also reassuringly heavy at 17kg.

Sound quality

Both of these systems offer the warm, non fatiguing sound that is typical of Arcam products. I do like the sound of the class G amplification (found on Arcam’s top ranges of amplifiers); combining the lovely sweetness of class A at most volume levels, but allowing the extra punch, power and dynamics of class A/B, to seamlessly take over when required. It’s a very clever design and one that has been honed to perfection over the years. I connected these two systems to a pair of Monitor Audio Silver 50’s.

Listening to ‘Three wishes’ by Roger Waters. I use this track to help with correct speaker setup. Once the speakers have the correct toe in, and when you are sitting in the sweet spot, the Q Sound effect with the woman speaking behind you to the left, never fails to impress. If you try this yourself, and you don’t hear this effect, then either your speakers and / or listening position need adjusting. Both of the Arcam’s imaged beautifully and the steering of the sound was excellent.

Another track that I use to set up systems is ‘Ballad of the Runaway Horse’ by Jennifer Warnes and Rob Wasserman. Jennifer’s voice should be absolutely dead centre and it should be possible to pinpoint both the height and width of her vocals as if she was standing in front of you. The SA 35 sounds lush and un-fatiguing. The SA45 (in comparison) exhibits more presence and weight to Rob’s double bass playing. The SA45 also gave more body to the vocals. Both present a warm, sumptuous, detailed sound.

Another great bass line is on Lou Reeds ‘Walk on the Wild Side’. Herbie Flowers iconic double / electric bass again showed more body and weight, when played on the SA45 as opposed to the SA35, though both sounded glorious.

‘Bubbles’ by Yosi Horikawa again demonstrated how good these systems are at at presenting an expansive and believable sound stage. The ‘bouncing’ of the spheres was totally believable and the representation was clear and detailed. The SA45 however, definitely had the edge with this track; with the SA45 you could more easily tell what the material the spheres were made from as they bounced; impressive.

Conclusion:

Both of these products represent very credible alternatives to the opposition in the higher end ‘all in one’ field and if you are in the market for an amplifier/ streamer, these should most definitely be on your shortlist. If you have a large room and like to play loud, or if you have inefficient loudspeakers then the SA45 should be an easy choice. However, even if you don’t, the SA45 definitely is worth the extra cost on sound quality alone. Compare them both and see what you think.

Thanks for reading

Jon and Andy - Audio T Swindon

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Arcam is available in the following stores:

Dynaudio Emit 20: High-End Sound Without the High-End Price Tag

/ Audio T Cheltenham/

All too often when the word “Dynaudio” gets a mention in these blog pages, it’s in reference to expensive things which, although amazing, can be well out of reach for a large number of prospective purchasers of lovely hi-fi things! In an attempt to correct that bias, this blog is all about what is probably the best pair of loudspeakers that it’s possible to purchase for less than one thousand UK pound notes: the Dynaudio Emit 20.

fresh out of the box

Entry-Level, But Far from Basic

The Emit range may be the entry point into the Dynaudio family, but they are far from basic. They’re packed full of many of the innovations you’ll find in some of their much higher-priced speakers. For one thing, Emit speakers use the same coated fabric soft-dome Cerotar tweeters found in the more expensive Evoke range. And those tweeters, in turn, derive their technology from the top-of-the-tree Confidence family and Core professional studio systems. Cerotar is powered by a Ferrite+ strontium carbonate ceramic magnet system, which gives the tweeter all the power it needs to play loud without breaking up, while maintaining all the nuance you could want—even at neighbour-bothering levels!

Tweety thing

That All-Important Tweeter Magic

The tweeter also uses Dynaudio’s Hexis, a tiny dome that sits just behind the fabric dome. This clever little addition acts like a waveguide and smooths out the frequency response, reducing unwanted resonances. The result is market-leading clarity and detail, unsurpassed at this price.

Built from the Ground Up for Performance

The mid/bass drivers use Dynaudio’s own MSP (Magnesium Silicate Polymer) cones—made in one piece, with the integrated dust-cap bonded directly to the voice-coil motor behind them for supreme control and detail in the low and midrange frequencies. This design philosophy runs all the way back to Dynaudio’s very first models, produced in 1977.

Close up of the fronts

The Emit 20’s crossovers were designed and tuned by the same team behind the Confidence, Evoke, Contour, Special Forty, Core, Heritage Special and more. The Emit 20 uses a hybrid first- and second-order topology for the tweeter and woofer respectively, giving them exceptional control and integration across each driver’s behaviour.

flared bass port

A flared bass port tunes the bass impressively deep, while at the same time minimising unwanted noise from the port itself, keeping the sound clean and tight.

The whole package is neatly finished off with a chunky pair of gold-plated 4mm banana sockets/binding posts for easy cable connectivity.

chunky banana sockets

What Do They Actually Sound Like?

Performance-wise, these little marvels will sound simply stunning with whatever genre of music you choose to throw at them. For the purposes of this little blog, I just happened to have the brand new, proggy genius that is the all-new and factory-fresh Glass Hammer album Rogue on hand.

going rogue with glass hammer

Glass Hammer have a long and illustrious career behind them, and Rogue is studio album number 22 (phew!). After their Jon Anderson-a-like lead singer was headhunted by no less than Yes themselves (bar stewards!), there came a period of readjustment—a shame, as he was better in Glass Hammer! Rogue is (in that great prog rock tradition) a concept album, mixing influences from as far and wide as Radiohead, ELO, Tangerine Dream, and—on my favourite track “Terminal Lucidity”—Ozric Tentacles!! It’s another great recording and production job too, which the Dynaudio Emit 20s really bring to life.

Terminal lucidity

Big Sound, Small Box

Being a fairly small box with the drive units placed close together means the Dynaudio Emit 20s behave more like a single point source. With less cabinetry, there’s also less colouration, meaning these little wonders produce a big, open stereo image that would shame many a larger, more expensive design. The depth of bass is just staggering for such a compact speaker. Emit 20 comes in three custom-designed laminate finishes—Black, White and Walnut—that beautifully complement the cabinets’ clean Scandinavian design (conceived in-house at their headquarters in Denmark). Black magnetic grilles come as standard in the box.

Little Details That Matter

They’ve even lavished attention on the cover rings, which hide the drive unit mounting screws. They’re one-piece moulded, with the surface finish embedded in the material—so there’s no need for lacquer, and they won’t degrade over time.

Perfect for Small Spaces—or Surprising Larger Ones!

If you have a small room—or perhaps you’re looking for a great little near-field speaker for your office desk—then look no further. The Dynaudio Emit 20s could be the perfect loudspeaker for you. They’re a great option to consider when upgrading your speakers and would integrate well in a wide range of home systems. Their well-balanced nature offers versatility when it comes to pairing with almost any amp. I’ve even used them as a great upgrade on little micro systems—which really shouldn’t work, but does! Rules were made to be broken, I suppose. This little speaker system really can sound amazingly good, and they’re not afraid of performing in a larger room either, thanks to that surprising bass response.

Give us a call at the Cheltenham store to arrange a demo. Bring along some of your favourite music too—and see if you love them as much as we do.

Thanks a lot 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 get in touch.

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🎙 BONUS: Andy and Farid on the Radio!

Andy and Farid recently popped back onto Cotswold Confidential: The White Room over on Cotswold Radio for a second round of musical nattering, hi-fi chat, and general tomfoolery. It's two parts of toe-tapping tunes, top system recommendations, and the occasional tangent (you know how we are…). Perfect for a listen while brewing up or pretending to work!

🎧 Part One – Click here to listen
🎧 Part Two – Click here to listen

Have a listen and let us know what you think—or just come into the shop and tell us we’ve got great taste (or not, we can take it).

Power and Sound (Part 2): The Magic of Cyrus’s New 40 Series and Things to Come

/ Audio T Cardiff/

Hi folks, Matt here from Audio T Cardiff. This month, I’m picking up where I left off in my previous blog and diving deeper into how we power our Hi-Fi systems—specifically, with a look at something I’ve been especially excited to add to my own setup: the Cyrus 40 PSU. I’ll talk through what it brings to the Cyrus 40 AMP and how it compares to my previous experience with the Cyrus Classic and PSX-R2. I’ll also let you in on something we’ve been planning that Cyrus fans—like me—won’t want to miss.

So, kettle on, favourite Colombian roast brewed (yes, I’m predictable), and let’s get into it.

Looking Back to Move Forward

the cyrus 2

Those of you who’ve followed my ramblings for a while will know I’ve had a long-standing relationship with Cyrus gear. Over the years, I’ve listened to a fair few of their amps and CD players, but there’s always been one theme running through my Cyrus journey: external power supplies.

Cyrus have been pioneers in this area since the ‘80s, back in the Mission Cyrus days. Their first PSX outboard power supply appeared in 1984 with the Cyrus 2, and it marked the beginning of a long and continually evolving approach to upgrading component performance through external power.

Fast-forward to more recent history, and I had my Classic amplifier partnered with a PSX-R2. That combination brought a clear jump in dynamics and soundstage—it made music feel bigger and more spacious, without losing the detail I loved in the Classic’s signature sound. I used to describe it to customers as unlocking the rest of the amp’s potential—and I still stand by that.

The New 40 Series: Familiar Philosophy, Evolved Execution

Now, with the arrival of the Cyrus 40 series, the game has moved on again. The 40 PSU is an evolution of everything Cyrus have been working towards—and while it may share the same principle as the PSX-R2, it’s a very different beast.

cyrus 40 amp & 40 psu combination

Where the PSX-R2 focuses mainly on stabilising the voltage for the front-end circuitry—think preamp stage and DAC—the 40 PSU goes further. It feeds the power amp stage directly as well, increasing output power from 2 x 100W into 6 Ohms to 2 x 113W into 6 Ohms. That’s not just numbers on a spec sheet—you can feel that extra headroom when you push the system. Yet, crucially, it also continues to refine the signal path for the DAC and preamp, just like the PSX-R2 did.

In short, it’s giving the amp a shot of espresso and a warm blanket at the same time—more drive, but more control and finesse too.

Listening Time – With and Without the PSU

Of course, the real test is how it sounds. So I did what I always do when something new comes into my system: a proper A/B demo, starting without the PSU connected.

First up: ZZ Top’s “Vincent Price Blues” on CD. Even without the PSU, the Cyrus 40 AMP is no slouch—tight rhythm section, open mids, and that signature Cyrus precision. Billy Gibbons’s guitar tone was rich and unmistakable, and the interplay between the band members really shone. (Side note: I actually had the pleasure of meeting Billy once… but I’ll save that story for a rainy day.)

For those curious, I’ve settled on the Linear Phase Fast Low Ripple DAC filter setting on the 40 AMP—it strikes the right balance between detail and musicality in my system.

Now, I hooked in the 40 PSU, restarted the track, and boom—the noise floor dropped. Like, immediately. More air around the instruments. Better vocal focus. The amp had a touch more grip, especially in the bass. A guitar nerd moment: Gibbons used a ’55 Gold Top Les Paul with P90 pickups on this track, and the way the PSU revealed the loose, overdriven texture of those single coils was brilliant. You could hear the amp working harder, and the guitar flirting with feedback in a way that just wasn’t as present before.

Switching over to vinyl, I spun Jerry Cantrell’s “Afterglow”. Same story. The bass, handled by Duff McKagan, became more articulate. It had shape, not just presence, and the separation between vocals and guitars opened up noticeably. That’s the magic of lower noise and more consistent power delivery—it doesn’t just make things louder, it makes them clearer.

Format: CD
Artist: ZZ Top
Album: Rhythmeen (1996)
Track: Vincent Price Blues

Format: Vinyl
Artist: Gov’t Mule
Album: Like a River (2023)
Track: Same as it Ever Was

Format: Vinyl
Artist: Jerry Cantrell 
Album: I Want Blood (2024)
Track: Afterglow

matts hom setup with added 40psu

So—Is the Cyrus 40 PSU Worth It?

In my opinion? Absolutely. I’ve lived with power supply upgrades for years, and I’ve never felt they were gimmicks. In the case of the 40 PSU, it’s not just an upgrade—it’s an unlock. It takes an already brilliant amplifier and lets it breathe, drive, and articulate to a whole new level.

If you own, or are considering, any part of the 40 Series, the PSU is something you need to hear to fully appreciate what the range is capable of.

And yes, to answer the inevitable question: I’ll definitely be keeping it in my system. It’s worth every penny.

Join Us in June – Cyrus Event at Audio T Cardiff

Want to hear it for yourself? Good news—we’re hosting a Cyrus 40 Series Listening Event right here at Audio T Cardiff on Friday 13th June, from 5pm until 9pm.

We’ll be joined by none other than Jason Saxon, UK Sales Manager for Cyrus Audio. I’ll be having a chat with Jason before the event kicks off, talking all things 40 Series and what lies ahead—including some exciting teasers about the upcoming Cyrus 80 Series.

It’s shaping up to be a fantastic evening, with hands-on demos, great music, and plenty of time to ask questions or just chat Hi-Fi. If you’ve ever been curious about what these upgrades can do, this is your chance to experience it firsthand in a relaxed and friendly setting.

Thanks as always for reading, and I hope to see some of you at the event!

Matt – Audio T Cardiff

To book your place or find out more, just give us a call on 02920 228565 or email cardiff@audio-t.co.uk – we’d love to hear from you.

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Cyrus can be found at the following Audio T stores

Part 2: Delving new depths with the Dynaudio Contour 20 Black Edition, Plus a pair of REL T9X Carbon subwoofers

/

Hello all, and welcome to the May blog from Audio T Brighton! This month, we’re following up our April blog on the brand-new iteration of a long-standing model in the Dynaudio Contour range – the Dynaudio Contour 20 Black Edition standmount speakers – by incorporating a pair of REL T9X Special Edition subwoofers to delve into new depths of subterranean bass, allowing a full-range speaker sound to be achieved.

dynaudio contour 20 black edition with a pair of rel carbon t9x subs

Dynaudio Contour 20BE with REL T9X Carbon SE

Last month’s blog, which can be viewed here, talks about Dynaudio’s latest version of the Contour 20, the Dynaudio Contour 20 Black Edition – what a fine speaker it is!

For all the sonic prowess of the Dynaudio Contour 20BE, there isn’t a speaker known to mankind that can’t benefit from some bass enhancement, with commensurate gains in extension, both in the obvious bass department but perhaps, more surprisingly, across the higher frequencies – a strange phenomenon and slightly counterintuitive, but one that is there nonetheless. The laws of physics apply to virtually all speakers used in the domestic environment, and in the rest of this blog, we hope to enthuse you about the benefits of adding a sub or two to your system!

I can confidently say that, once heard, it cannot be unheard, and the desire to add multiple subs to your system will be strong. Indeed, I’d say anything less will be substandard – pun intended.

Where the magic lies

The key to getting the sound one desires from a hi-fi setup is system component synergy, room acoustics and a little know-how!

All of these are important, but the last is based on some diligent choices and the science behind sound. Fortunately, this category costs more in time acquiring the knowledge than throwing hard cash at the situation – although this certainly can help.

Bass convention

We’re all familiar with the boom, boom bass of that low-rider vehicle passing by in the street! If that’s your desire, then the remainder of this blog may not be of any use.

In conventional bass subwoofer setups, placing a subwoofer near the room boundaries, in particular the corners of the room, can be a useful means of obtaining more gain from the subwoofer. This is very useful if the sub is a smaller type, with smaller drive units and a smaller interior volume, or if the room in which the sub is to be used is quite large. Remember, as I said earlier, the laws of physics apply and there is no substitute for large drivers, large cabinets and powerful internal amps if bass extension and volume are your raison d’être!

Another method is to use the “subwoofer crawl” – placing the subwoofer in your usual listening position, playing some suitably bassy music and crawling on your hands and knees until you hear the most bass! Swap your position with the subwoofer and voilà!

Based on the crawl, the chances of your subwoofer being positioned in the “most aesthetically pleasing” location are slim, and nobody wants “slim” bass!

It’s all in the timing

Bass sound reproduction is often considered omnidirectional, and this isn’t strictly true. Bass sound waves are often very long and wrap around speaker cabinets, reflecting off various room surfaces and consequently give the impression of not having any clear source point, unlike high-frequency drivers, where direction in sound is much more obvious. Along with the ensuing amorphous sound pattern, bass sound waves can often arrive out of time with the mid or high frequency drive units. The “time smearing” effect can affect sound, causing a poor sense of rhythm in the music, especially with higher quality equipment and those more sensitive to time alignment. In poorer systems, haphazardly set up in acoustically untreated rooms, the bass can swamp the sound of a system with a commonly occurring “boomy” and “ploddy” bass, sucking any timing or dynamics from the sound and integrating poorly with the mids and highs.

Sadly, this type of sound is one we get used to hearing and not the one we want our customers to experience. So what can be done?

Integrating subs

Our REL representative, Stuart, spent a considerable amount of time educating us on the how and why of subwoofer setup, with careful positioning of dual subs to integrate with the main speakers, in this case, our Dynaudio Contour 20BE.

The basis for positioning is in understanding that the sound wave doesn’t begin at the driver position on the front baffle but in front of the driver by a distance equivalent to the driver’s diameter. The Dynaudio Contour 20BE’s 7-inch driver wave starts 7 inches in front of the speaker, and the REL T9X Special Editions 10-inch driver wave, 10 inches in front of it. What this means is that if you place the front baffle of the Dynaudio and REL equidistant from the listening position, then the drivers are not time-aligned because of the 3-inch difference between where the sound wave of each driver starts. This time-alignment error spoils subtle timing cues, obvious to those listeners more sensitive to time-smearing effects.

If you look more closely at the photos in this blog, you may see the REL T9X Special Editions located slightly behind our Dynaudio Contour 20BE’s. How far behind, I hear you say? Answer: 3 inches behind!

Interestingly, when Stuart set up the subs, he was listening and altering their position by ear. It was only after the setup that I got my tape measure out to check the distance, and lo and behold, the distance was 3 inches.

Conclusions

Subwoofers can divide opinion, especially when used to augment the low end of a stereo system. User requirements vary depending on whether you want additional thump when watching movies or owners with small, LS3/5a type monitors wanting more bass extension, whilst retaining the qualities of their main speaker. Either way, the integration of a pair of quality subwoofers capable of superior control and bass extension cannot be underestimated. Even some colleagues in the “hard to be won over” camp enthused about how the system sounded when the REL T9X Special Editions subs were implemented correctly. The combination of a Naim ND5XS2 streamer, Rega Aethos integrated amplifier and Dynaudio Contour 20BE’s sounds great as it is, but adding a pair of subs into the mix really does allow the listener access to wide bandwidth sound that could be just the ticket!

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

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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Feeling a bit stressed? Then fire up your hi-fi and enjoy its surprising health and well-being benefits

/ Audio T Portsmouth/

Hi-fi enthusiasts may be reaping rewards well beyond the joys of being able to listen to high-quality music any time they choose. In this blog, we look at some of the evidence for the health and well-being benefits of listening to music on a good system.

Much is written about the hectic pace of modern life and how important it is to find ways to de-stress and decompress. Finding a bit of ‘me time’ can feel like a rare luxury.

The good news for hi-fi enthusiasts is that research shows listening to music can reduce stress and cortisol levels, lower blood pressure, reduce symptoms of depression and anxiety, and lead to better sleep quality.

Now, it might be argued that you can get all, or at least many, of those benefits by listening to music played through a cheap smart speaker or your old kitchen radio. But consider this: is listening to music in the background while you’re busy doing other things the same as setting aside time to sit down and actually listen to an album or some of your favourite tracks?

Clearly not. There is a difference between background noise and attentive listening. The first is like glancing occasionally at a TV in a hospital waiting room (been there); the second is like going to see a good film at the cinema.

Added to which, hi-fi enthusiasts are more likely to set aside that listening time in the first place because they have taken the trouble to build (and pay for) a quality system.

Musical Mindfulness

Yes, mindfulness is a bit of a buzzword. But, in old money, mindfulness pretty much means focusing on what you’re doing.

Listening to music on a hi-fi system is an intentional act. It requires you to select a record, CD or a playlist, and then give that piece of music the attention it deserves. There is a ritual element to this process, especially if you are using vinyl as your source.

There is a lovely scene in the otherwise high-octane and often violent 2011 film The Mechanic in which Jason Statham’s hitman character comes home after a hard day at ‘the office’.

Jason Statham fires up his hi-fi in The Mechanic. Courtesy of CBS Films, MIllennium Films and Chartoff-Winkler Productions.

The first thing he does is select a record and place it on his turntable (apparently a Pro-Ject RPM 9.2 Evolution). The camera zooms in on him switching on the motor, moving the carbon arm over, followed by a side view of the cartridge and a shot of Jason lowering the arm onto the record. Some Schubert starts to play, and Statham’s character has a mindful moment in his otherwise brutal life.

This sort of listening is a bit like meditation, where you focus your attention on something other than the million and one thoughts racing around your head — or even your work as a hitman. When listening to music, you are in the moment, and your thoughts slow.

Actively listening, as opposed to having music as background sound, has also been shown to improve attention span, working memory, and processing speed.

As digital media acts to shorten human attention spans — think TikTok clips, YouTube Shorts, Instagram Reels, constant notifications, and endless scrolling — it may be that sitting down and listening to music provides some respite and recovery in our increasingly bite-sized lives.

The Science

MRI (Magnetic Resonance Imaging) scans have revealed that music activates multiple regions of the brain, including the auditory cortex, limbic system, and prefrontal cortex. Studies show that listening to music increases activity in areas associated with reward, emotion, memory, and motor coordination.

A 2011 study by researchers at McGill University in Canada found that emotional responses to music can trigger the release of dopamine — the same chemical released when people eat something delicious, experience physical intimacy, or — not that we advocate it — take drugs.

It was reported that one participant’s dopamine levels increased by more than a fifth when listening to music they enjoyed. Most experienced a rise of up to 9 per cent.

Although not tested in the McGill study, it could be argued that the level of enjoyment — and therefore dopamine release — may be enhanced when listening through a good hi-fi system that delivers high-quality sound.

Many studies have also shown that music can reduce levels of cortisol (often referred to as the stress hormone), which in turn can slow heart rate and lower blood pressure.

It’s no accident that certain types of music — such as ambient, new age, and binaural beats — are commonly used to aid relaxation in alternative healing and meditation sessions.

Emotional impact

A system that can deliver micro musical details, truer tonality in vocals and instruments, as well as width and depth to the soundstage, adds to the immersive experience and allows listeners to truly ‘lose themselves’ in the music.

A well-sorted hi-fi system that captures the subtleties and dynamic range of music delivers a more authentic sound. This means our emotional response to the music is likely to be more genuine and intense.

We all know that music can stir our emotions — whether it’s the poignant song that brings us to tears or the headbanger we queue up on our gym or jogging playlist to give us a bit more ‘giddy-up’.

Music can be a healthy outlet for our emotions, helping us to grieve, celebrate, or reconnect with long-forgotten memories and feelings.

There’s also a significant social aspect to music. It might be playing a few tracks that you and your partner enjoy — songs that carry shared memories — or putting on music at a party or social gathering, perhaps even taking requests from guests for their favourites.

Social bonding is key to good mental health and has been shown to increase oxytocin levels — a hormone linked to trust and connection.

Love the tech

So far, we’ve talked about the music — but many people also take pleasure in the physical aesthetics of hi-fi and the technical details.

Having our homes and the things in them look the way we want contributes to a sense of well-being.

looking good - the Monitor Audio Studio 89 standmount speakers

A beautifully designed and finished pair of speakers, like the Focal Sopra N°1s or the Monitor Audio Studio 89s, can look stunning in the right setting. Likewise, turntables often marry engineering and design into something that resembles a piece of art — think of Rega’s Planar 8 or the Michell Gyro SE. Amplifiers such as the Chord Electronics Ultima, the McIntosh MA5300, or the Naim Nait 5si are also examples of components that are, in their own right, a pleasure to look at.

Engineering meets design in rega’s planar 8 turntable

Some people also enjoy digging into the technical specifications of a component — its construction, function, and engineering — as much as its sound. Those with a passion for the technical and developmental side of hi-fi often join online forums or attend hi-fi shows and events. These social spaces foster connection and conversation, with all the mental health benefits that come with them.

Chord Electronics Ultima integrated amplifier is beautifully made and designed

Conclusion

It seems increasingly rare in our busy lives to enjoy quality time to ourselves. When not busy dealing with work and life in general, we often find ourselves scrolling on our phones, jumping between different feeds and messages. Doom scrolling can erode our sense of well-being.

Setting aside time to properly listen to music can be an antidote to the hectic pace of life. Investing in a decent hi-fi system can enhance that experience by making it more immersive and real, which in turn encourages heightened neurological and emotional responses.

Listening to music on a good hi-fi system is a holistic experience. In that moment, you don’t just hear the music — you feel it and live it. Discovering fantastic new music and artists is refreshing and even mentally stretching.

But music can also take you back in time to happy memories of people and places. It can unlock bottled-up emotions. Or it can simply help you have a good time with your family and friends.

In that way, Audio T’s customers are, in a small way, helping themselves to lead happier and ultimately healthier lives. Happy listening!

If you’d like to explore your listening options or book a demo, please feel free to give us a call on 02392 663604 or email us at portsmouth@audio-t.co.uk

Alan, Aga and Luke - Audio T Portsmouth

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Ruark, Back to the seventies with the R610 Music Console & Sabre-R Speakers.

/ Audio T Manchester/

The new Ruark R610 Music Console and matching Sabre-R speakers instantly evokes memories of the classic hi-fi systems of the 1970s — beautifully styled, tactile, and built to be the centrepiece of your living space. It’s a comparison Ruark themselves have made, and one we fully agree with. However, while the design may pay homage to the past, the R610 is very much a product of the present. Packed with modern features, advanced streaming capabilities, and superb sound quality, it offers far more than nostalgia. It’s a system that bridges the gap between timeless style and cutting-edge performance…

agreed chromey, the walnut slats on the ruark are very 70’s, possibly even 1977!!!

The Head unit

The main console, which houses a 75W integrated amplifier, also features a fully fledged network streamer with a hi-res 5” TFT screen for displaying album artwork and navigating menus.

Interestingly, while the styling nods to the retro hi-fi look of the ’70s, Ruark itself was actually founded in the ’80s — the decade when they developed the first iteration of the Sabre speaker, which led to a litany of classic models over the years.

The new Sabre-R now includes a bi-wirable crossover on the rear, signalling Ruark’s intent to sell the Sabres independently of their electronics. So, you could purchase a pair and connect them to an amplifier of your choice.

Using the R610 console is a breeze.

If you enjoy streaming music from the Internet, you’ll be pleased to know that services such as Tidal, Spotify, BBC Sounds, and Qobuz are all supported. Whether you prefer the “Connect” method or simply casting from your phone via AirPlay or Chromecast, it’s seamless and intuitive.

For those who still enjoy tuning in to the radio, the R610 has you covered there too — with both DAB+ and FM built in, it works just like a traditional tuner.

And if you’ve got a collection of favourite albums stored on a NAS drive or USB stick, you’re in luck. The R610 is fully UPnP-capable, making it easy to access music stored on your network. Alternatively, you can simply plug a USB drive directly into the rear of the unit and play your stored music with ease.

Pipe the telebox through it?

Thankfully, Ruark haven’t skimped on essential digital inputs. There’s an HDMI eARC connection, allowing you to link your TV directly to the R610. It automatically converts surround sound formats to high-quality two-channel audio, giving you an instant and noticeable upgrade to your television’s sound.

There’s also an optical input, which is ideal for older flat-panel TVs, set-top boxes, or even a CD player — giving you flexibility no matter how old or new your source.

In with the old out with the new!

Ruark's Sabre-R takes inspiration from the classic small standmount speaker — compact, traditionally styled, and superbly engineered to deliver remarkable sound.

While they won’t match the sheer power or low-end extension of larger floorstanders, the Sabre-R still produces a clear, balanced performance with impressive detail and imaging. As many of you will know, smaller speakers tend to create fewer problematic room reflections and standing waves, which makes them easier to place in rooms that aren’t acoustically treated. Combine that with high-grade drivers, a well-designed crossover, and a quality wooden enclosure, and you get tonal richness and realism far beyond their size. The Sabre R is no exception — it’s a serious performer.

To sum up, the R610 has left us genuinely impressed, both in terms of sound quality and design.

We sat down with Alan O’Rourke, Founder and CEO of Ruark, at The Bristol Hi-Fi Show 2025 to talk about their latest products, timeless design philosophy, and what makes Ruark’s sound so distinctive.

Our colleagues at Audio T Brighton also wrote a review of the R610 and Sabre-R combo back in January, even referring to them as the "dynamic duo" — a description we’re inclined to agree with. You can check that article out here.

Meanwhile, the R610 and Sabre-R are available for demonstration at our Manchester store, alongside the equally impressive all-in-one unit, the R410.

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.

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Bringing The Stage To Life: Three Speakers That You Must Listen To

/ Audio T Southampton/

Here at Audio T Southampton we’ve had the opportunity to listen to a wide variety of systems and speakers — from the exceptionally large to the most petite and compact, not to mention everything in between. For this month’s blog, we’ve reflected on those experiences and, despite how difficult it was, each of us has chosen one standout speaker that we personally believe to be simply phenomenal — a must-hear.

So, let’s dive in…

Beauty is in the eye (or ear) of the beholder

As we all know, speakers are a key component in any hi-fi system, and choosing the right pair can be a daunting task. That’s why at Audio T, we offer both in-store and home demonstrations, allowing you to try before you buy and compare different options. But unlike this blog, it’s not just about how good they sound; your room size and interior style also need to be taken into account when making a decision.

The speakers featured here may not be to everyone’s taste (or within everyone’s budget), but each one is exceptional in its own way — whether that’s the level of bass and control on offer, their crystal-clear detail, or even their striking looks.

Tiago’s Top Pick

If you’ve met me, it will come as no shock that I am a huge fan of rock and metal music, but I also stray into more unconventional territory with bands like Wardruna and Faun, who mix electronic and alternative whilst drawing on the traditional music of their homelands of Norway and Germany respectively.

One thing these bands all have in common is a deep appreciation for bass — whether it’s punchy drum beats or booming low notes. These low-end frequencies can be difficult to reproduce, especially when they come as a constant drone or heavy thump. Fortunately, there’s one pair of speakers that blew me away the moment I heard them: the fantastic Harbeth NLE-3 Digital stand-mounted speakers.

(image courtesy of Harbeth audio ltd. price £22,950)

The First Experience

The first time I heard these monsters was during the Bristol Hi-Fi Show in 2024. Stepping into one of Harbeth’s rooms, I didn’t know what to expect. The lights were dimmed, there were plenty of chairs to sit in, and I spotted more than a few valve amplifiers. But as soon as I sat down and closed my eyes, the sound hit me — and I wasn’t prepared in the slightest. Soft, detailed highs and clear, powerful vocals filled the room, underpinned by a low, rolling bass note in the background. Paired with Harbeth’s signature warm and nuanced presentation, I was in awe.

Plenty of tracks were played, and every single one sounded outstanding from the first second to the last. Unfortunately, I couldn’t stay longer and had to get back to work — but that experience fundamentally changed my perception of what speakers can do. Yes, the speakers were huge, but the moment the music began, they completely disappeared.

If you get the chance, I highly recommend giving them a proper listen.

Wayne’s Top Choice

After over seven years working in the hi-fi industry, I’ve had the opportunity to listen to some of the best speakers money can buy — but none have impressed me quite as much as the ATC SCM50ASL speakers. While they may not be the most expensive or widely celebrated speakers in the world, I quickly fell in love with their presentation and engaging sound.

I listen to all kinds of music, but I generally gravitate towards anything with guitars. And the SCM50 honestly shocked me. Not only are they more than capable of handling even the most demanding tracks, but they also create a dynamic soundstage brimming with detail and warmth.

First Experience

The first time I heard the ATC SCM50ASLs was during a customer installation. I was immediately taken aback by their size — I hadn’t expected them to be quite so large — but their scale and weight weren’t a drawback at all. They had a lovely presence in the room, and even today, their distinctive retro styling still holds real charm. But what truly stood out was the sound.

Paired with a Chord Electronics CPA 300 preamp and a Linn Sondek LP12 fitted with a Troika cartridge, these speakers really sang. They filled the space with a beautifully warm, immersive sound, and I found myself wishing I could stay just a bit longer to enjoy it.

Since then, I’ve finally managed to get a pair into our store — and they perform every bit as well as they did back then, if not better. Out of all the amazing speakers I’ve ever listened to, these are easily among the best when it comes to balancing performance, price, and presence.

Nick’s Choice

I’ve been involved in the hi-fi world as a consumer for many many years, which has given me the opportunity to hear a huge range of systems and speakers. Choosing just one standout speaker was no easy task — but after much deliberation, I’ve decided on the Dynaudio Confidence 50. Despite their slim but towering design, these speakers simply disappeared into the room when playing. Smooth and detailed, yet with enough bass to keep things engaging, they were nothing short of extraordinary.

First Experience

The first time I listened to these speakers was in-store at Southampton — and I can’t overstate how large they really are. I’m fairly tall myself, but these were nearly eye level! Still, I wasn’t expecting them to perform quite as brilliantly as they did.

At first glance, they seemed far too big for our demo room. They were being driven by a Chord Electronics Ultima 6 power amp, a Chord Electronics Ultima Pre 3 preamp, and an Auralic Vega G2.1 streaming preamp. But the moment the first note hit, I knew we were in for something special. They filled our fairly modest demo room with ease — but crucially, they never overwhelmed the space. In fact, they offered an impressive sense of stage and depth, reproducing every note with clarity and poise. Each instrument was clearly defined and beautifully placed, while the vocals were simply divine.

They were genuinely remarkable, and I’d highly recommend giving them a proper listen if you get the chance.

Wrapping Up

And that brings us to the end of this month’s blog! It’s always a challenge to narrow down to just one favourite speaker each — especially when we’re surrounded by so many incredible options on a daily basis — but we hope our choices have sparked some interest and curiosity.

Of course, as with all things hi-fi, personal preference plays a huge role. Don’t just take our word for it — the best way to know if a speaker is right for you is to come and hear it for yourself. Whether it’s the detail and dynamics of the Harbeth NLE-3, the punch and presence of the ATC SCM50ASL, or the sheer scale and refinement of the Dynaudio Confidence 50, each of these models offers something truly special.

If any of the speakers have caught your attention, we’d be delighted to arrange a demonstration — either in our store or, where possible, in the comfort of your own home. Just get in touch with us here at Audio T Southampton, and we’ll be happy to find a date and time that works for you.

Until next time — happy listening!

Thanks for reading

Wayne, Tiago & Nick - 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…

Harbeth can be found at the following Audio T stores

ATC Loudspeakers can be found at the following Audio T stores

Dynaudio can be found at the following Audio T stores

*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

Staff System Upgrade: The REL T/7x Sub-Bass System

/ Audio T Swansea/

Working in the big-person toyshop as we do, it’s all too easy to have our heads turned by the latest shiny thing – and this big person frequently does. My second system (the one in my kitchen-diner) is the one that sees the most music played through it at home. My primary system is usually reserved for films, gritty crime series, and sport. No coincidence, then, that I’m always quietly on the lookout for a performance improvement for the kitchen setup.

TYPICALLY ARTY SHOT OF A rel t/7x, showing of how very shiny it is. YOU DIDN’Y REALLY EXPECT ANYTHING ELSE, DID YOU?

As space is at a premium, I’ve got a Bluesound Powernode amp/streamer tucked away on top of the fridge-freezer, and a pair of Bowers & Wilkins 707 compact loudspeakers perched on top of the kitchen cupboards, isolated with IsoAcoustic Orea Bronze isolation pucks.

The source components of my system. Bluesound powernode and the rel arrow signal sender unit

This setup was perfectly enjoyable, but I felt it sounded somewhat anaemic and lacking in scale, so I added a REL T/7i subwoofer to support the lower octaves. The result was a very worthwhile improvement, but I could hear the T/7i struggling to load the room effectively—what with the double French windows and the single Welsh (?) window eating most of the available bass.

BOWERS AND WILKINS 707 S3’S ON THEIR DEDICATED STANDS. COULDN’T GET A GOOD PHOTO OF THEM IN-SITU SO HAD TO REVERT TO STOCK. THEY ARE VERY LOVELY.

I’ve always fancied running a second subwoofer in my home cinema system (typically, we use the second REL to support the centre speaker, having set the centre channel to full-range in the AV processor), ever since I heard one in a demo at REL’s HQ in sunny Bridgend, South Wales. I’ve convinced many customers to do the same and have installed plenty of centre-channel-supporting REL’s in my career, but I’ve never quite managed to get round to installing one at home. The mechanic’s car and all that, I suppose. More on that in a later blog…

Favourable circumstances led me to acquire a shiny new REL T/7x. The latest REL T-Series are now much more like a miniaturised S Series, rather than simply a beefed-up T/5–7–9i, and they’re rather more premium than before. The T/7x features a front-firing 250mm long-throw active driver, powered by a 200W Class AB amplifier. The familiar Neutrik speaker-level connector remains alongside the regular line-level inputs and the clever wireless “Arrow” system input. A downward-firing passive radiator (in this case, a 200mm long-throw unit) is installed in its base. T/x Series cabinets are no longer equal-sided cubes; they’ve been given a more discreet look, helped by those radiused corners that seem to appear on just about everything these days. It isn’t just decorative—we’re reliably informed that the cabinets are now stiffer, and although they look smaller, internal volumes have been slightly enlarged compared to previous models.

AN EVEN ARTSIER IMAGE OF A REL T7X WITH the rel ARROW SIGNAL RECEIVER PEEKING OVER ITS BACK.

The new three-strong Serie T/x range represents a fresh starting point for subwoofer experts REL, and the Serie T/7x (sitting between the T/9x and T/5x) hits something of a sweet spot: a good balance between price and performance that made it the right choice for me. Mine nestles out of sight, between the shoe cupboard and the cat’s basket. Don’t fret—she never uses it when I’m playing music, curiously enough.

THAT REL ARROW V3 WIRELESS KIT IN ALL ITS GLORY. AN ABSOLUTE DODDLE TO SET UP AND USE, even with multiple units. one of my customers has three wireless rels running in his astonishing home theatre..

A subwoofer in an audio setting has to balance bass depth, speed, and integration with the rest of the loudspeaker sound. This differs from the requirements of a traditional home cinema setup, where the subwoofer is considered a channel in its own right, rather than a reinforcement of a pair of speakers. REL subwoofers are designed to do both. Typically, a REL unit will deliver the LFE channel while also providing bass support for the front left and right speakers—freeing the processor from the task of apportioning bass away from those speakers and to the sub. The result? More bass detail and a sensation of “freeing up” the soundstage. It’s one more veil removed from between the audience and the original soundtrack.

Set-up remains the same as with the T/7i. You can either use the Speakon cable and high-level input—wiring the cables to the left and right positive terminals and a single negative terminal on your amplifier—or, as in my case, use REL’s proprietary Arrow wireless system. It connects to the amplifier in the same way as the Speakon 3-cable method, but uses a very short cable that attaches to a sender unit. This unit pairs with its receiving mate, which is bolted to the subwoofer via a 9-pin plug. I’m happy to report the pairing process is a doddle. Play a simple vocal recording with the T/7x’s gain and crossover controls initially set too high, then dial them down until the sub is just past the point of audibility. Confirm everything’s working with a track featuring a good bass player—‘We Supply’ by Stanley Clarke, perhaps?

THE CLASSIC REL SPEAKON CONNECTION, AMPLIFIER END. NOTE THE TWO POSITIVE SIGNALS WITH ONLY ONE RETURN (NEGATIVE) REQUIRED. THE FULL-BANDWIDTH SIGNAL OUTPUT FROM THE AMPLIFIER IS SAMPLED AND SUMMED INTO A MONO SIGNAL THAT THE SUBWOOFER CAN REPRODUCE.

Get it right in audio, and it’s like you’ve given the main speakers the freedom to be themselves—opening out the soundstage, offering better midrange clarity, and focusing the sound more tightly and accurately. You’ll know, because your body will instinctively start shaking various parts of itself in time with the rhythm. Get it wrong, and you end up with a speaker that slows the music and booms along with the song, undermining everything that made your system sound good in the first place. Happily, REL has always batted well above average when it comes to making a subwoofer that integrates beautifully into a domestic audio system.

After setup, I played music as normal—although if I favoured a bit of Reggae Dancehall and M’darlinghoneybunny’s workout playlist while stir-frying our dinners, I’m sure you’ll forgive me. A week later, I put my technician’s head back on, turned the T/7x down a notch or two, and voilà! What the T/7x does is introduce a bit of extra speed and a lot of solidity to the bass—the sort of performance you’d normally expect from more upmarket models in the range. Weight is a tricky subject, because the Serie T/7x doesn’t make a small speaker seem simply ‘weightier’, but instead ‘bigger’—and, more importantly, ‘better’—across the midrange, and much, much more satisfying.

honestly, it’ll scare the living daylights out of you. heaven knows what she’s getting up to to this.

‘Hypermusic’ by Björk is appropriately room-filling, Yo-Yo Ma’s Soul of the Tango album is impossible to stay still to, and ‘Gunfinger’ by IRAH feat. Chase & Status (courtesy of the aforementioned workout playlist) is absolutely terrifying.

Compared to my previous REL T/7i, the new T/7x offers both more substance and form, with less intrusion into the sound of the speakers. The speed of the Serie T/7x is its standout feature. Few subwoofers deliver both bass depth and bass speed like this one does—especially at anything close to this price—and for that alone, it deserves very high praise. It means the T/7x can keep up with fast musical transients played through equally fast and reactive loudspeakers, like my 707s. Add in the kind of depth that can fill out floorstanders in this category, and it becomes an exciting addition to our audio armoury.

Thanks, Rob! (You know who you are.)

Thanks for reading.

Words by Adrian, images by Nic, tea by Andy at 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…

What to give the Linn LP12 that has everything? The Brand New Bedrok™ Plinth Upgrade

/

The Linn LP12 must surely be the most iconic high-end turntable in the world. With over fifty years in production, everything — other than its appearance — has been improved or changed over time. The one exception, however, was the plinth. This had only undergone a couple of manufacturing tweaks (internal bracing to help it retain its shape, and internal grooves for easier cable dressing). That has now changed. Introducing…

Bedrok™

The Bedrok is Linn’s first performance plinth upgrade. It follows the same philosophy — and is almost identical in design — to the Bedrok plinth used on the £50,000 LP12 50th Anniversary model. It is now available as an upgrade for existing Linn owners, although numbers are strictly limited.

Construction

Right-angled layers of beech ply are impregnated with resin before being formed under extreme pressure and heat. This creates an ultra-dense billet (more than twice as heavy as the standard plinth), which can then be machined in much the same way as aluminium. The aim is to create a plinth that is non-resonant, offering superior acoustic isolation and damping any external vibrations that could negatively impact performance. The philosophy behind using a dense, inert plinth is simple: because everything is mounted to it, every other part is affected — stability, mass, and vibration included.

In terms of turntable assembly, there are now machine inserts (rather than pilot holes for wood screws), the top plate is pre-fitted, and the wiring strap is no longer necessary. The underside is a thing of beauty — it’s a shame so few owners will ever get to see it.

BeDROK UNDERSIDE

So how does it sound?

The Bedrok was fitted to our customer’s Klimax-spec Linn turntable. We listened to the system both before and after the upgrade to gauge the difference:

First, we played the title track from Jerusalem by Alpha Blondy and the Wailers. From the moment the music started, the noise floor was completely absent — it was as if the music emerged from a pitch-black void, with absolute clarity. The soundstage felt incredibly expansive, as if the instruments were coming from beyond the speakers. Detail retrieval was nothing short of breathtaking, with every nuance and texture in the music standing out with impressive precision.

The bass, in particular, was remarkable: it had an incredible depth and attack that was both powerful and beautiful. The separation between different bass lines was effortless, making it easy to follow everything that was happening, all at once, without any loss of definition or clarity.

Next, we moved on to Western Stars by Bruce Springsteen. The improvement in clarity and timing with the Bedrok was immediately noticeable. The music flowed more smoothly, and the ability to follow more complex passages was greatly enhanced. Bruce’s vocals, in particular, were clearer, with every word coming through with greater precision. It felt as though the album was from a better pressing altogether — more open, more detailed, and more immersive.

Conclusion 

While the Bedrok is by no means a cheap upgrade, it represents a significant step forward in performance for any existing LP12. The improvement is immediately noticeable, with enhanced pace, more powerful and controlled bass, and a level of resolution that brings every detail to life. The overall presentation is more dynamic, with an added sense of energy and precision that lifts the music in ways that are hard to ignore. What’s remarkable is that, despite these improvements, the Bedrok still retains that unmistakable Linn character — the essence of what makes the LP12 so beloved by music enthusiasts. It’s just better, with a newfound depth and musicality that elevates the listening experience without ever losing the signature warmth and smoothness that defines the LP12.

For anyone seeking the absolute pinnacle of LP12 performance, the Bedrok is a must-have. It’s not just an upgrade; it’s a transformation. Whether you’re a long-time LP12 owner or someone looking to make the most of your turntable, this upgrade brings you closer to the ultimate musical experience that Linn is known for. If you’re after the finest details, the most precise soundstage, and the most accurate portrayal of your records, the Bedrok is an essential addition.

Thanks for reading

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.

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…

Linn can be found at the following Audio T stores

Hi-Fi Heaven Starts Here: Rega Naia at Audio T Cheltenham

/ Audio T Cheltenham/

The Rega Naia turntable has been around for about 18 months now, so I thought it was high time I gave the Audio T Blogworld a gentle reminder of just how wonderful it is—and why it deserves pride of place right at the very tippy-top of your luxury wish list.

WHEELS OF ÖMON

The Secret To Hi-Fi Heaven

The secret to hi-fi heaven is making sure you’ve got the best source material possible—and by now the whole world surely knows that one of those is vinyl. Personally, I’m of the view that the Rega Naia is the finest vinyl spinner I’ve had the pleasure of playing records on. And I’ve heard plenty over the years (some of them ludicrously expensive too), having been part of the hi-fi world for a very long time!

CLOSE UP OF nAIA IN ACTION

Naiad Gives Birth to Naia

The Rega Naia is what happens when you're the boss of the company (Roy Gandy, in this case) and you give your best R&D team free rein to design a cutting-edge, state-of-the-art creation with absolutely no limits—no holds barred. Admittedly, this approach initially resulted in a beautiful thing called the Naiad, of which only 50 were ever made—and they’re all long since sold.

After seven long years in research and development, the project known as Naiad was finally completed in 2017. It was a product unlike any other, created to push Rega’s philosophies to the extreme and prove beyond doubt that their lifelong mantra—ultra-lightweight, high-rigidity plinths and the use of key materials in key areas—is absolutely paramount when it comes to building a serious performance turntable.

Of course, the Naiad is no longer available—but before it bowed out, it gave birth to the Naia…

NAIA WITH ITS MATCHED POWER SUPPLY

Key Features of Naia

  • Graphene impregnated Carbon Fibre skeletal plinth with Tancast 8 foam core

  • ZTA Zirconium toughened alumina (ceramic) central bearing

  • RB titanium tonearm: One piece titanium vertical bearing and Titanium vertical spindle assembly

  • Tungsten balance weight shaft and weight

  • Ceramic top and bottom braces

  • Reference advanced fully adjustable power supply

  • Resonance controlled ceramic platter with improved flywheel effect and complex profile

  • Low mass skeletal aluminium feet

  • Triple Reference drive belts for improved stability and drive characteristics.

  • Rega Aphelion 2 MC factory fitted (optional)

  • Lifetime warranty against manufacture defects

the naia is available with the Aphelion 2 cartridge pre-loaded

Kuunatic

Hot off the presses—and sounding rather lush on the Naia—comes the brand-new album from Japanese primal psych rockers Kuunatic. I’ve been following their career for the past few years and have seen them live twice (they were brilliant, by the way), and with this new release, Wheels of Ömon, they’ve really come of age.

wheels of ÖMON BY KUUNATIC

Kuunatic is a Japanese trio made up of Fumi Kikuchi on keyboards, synths and traditional Japanese instruments; Shoko Yoshida on bass; and Yuko Araki on drums. All three contribute closely interwoven vocals to Wheels of Ömon, which follows their concept debut Gate of Klüna—a mythical tale set on the planet Kuurandia. This new record expands on that story, exploring its moon Klüna and its sun, Ömon. “Each of its eight songs pinpoints a specific moment from one 45-hour orbit of Ömon”—though if you weren’t told, you probably wouldn’t know!

Fumi, Shoko and Yuko

kuunAtic looking their freakiest

Wheels of Ömon is a trip-fest fever-dream freakout, with beautifully recorded interplay between bass and drums underpinning the pagan chant vocals and cosmic fusion of keyboards and traditional Japanese instruments. At times, the music becomes a full-blown pagan ritual. At others, it’s a dubby cosmic odyssey. Always psychedelic, always intriguing, and always bonkers—in the best possible way!

Track listing

Standout track for me is “Yellow Serpent”, with its swirling organ and vocal incantations, and a dreamy, Krautrocky, early-Floyd fuzz bass and drum vibe… totally hypnagogic, and probably like nothing else you’ll ever hear. Give ’em a try—they might just become your new favourite band

You Are Being Watched

In this exclusive interview from the Bristol Hi-Fi Show 2025, we sit down with Roy Gandy, founder of Rega, to discuss the brand’s latest developments and enduring commitment to music playback.

The Bit At The End

All of this is proof that if you want a turntable that makes everything you play sound amazing, then the Rega Naia is, without a doubt, the one to put right at the top of your demonstration list. It has everything you could want from a top-end vinyl spinner—great looks, superb build quality, and it's super-duper easy to set up and install. Best of all, it’ll still be working and sounding brilliant for years to come!

Thanks for reading – Andy, Jon and Farid – (but mainly Andy 😉) – Audio T Cheltenham Store.

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 get in touch.

If you’ve enjoyed this, why not check out some more of our blogs—and don’t forget to follow us on our social media channels below…

Entering the stratosphere with the new Dynaudio Contour 20 Black Edition

/ Audio T Brighton/

Hello everyone, and welcome to the April blog from Audio T Brighton! This month, we’re focusing on a brand new iteration of a long-standing model in the Dynaudio Contour range – the Dynaudio Contour 20 Black Edition standmount speakers. Well established in the domestic hi-fi market, Dynaudio continues to evolve its Emit, Evoke, Contour and Confidence ranges. Let’s see what these new Dynaudio Contour 20 BEs bring to the table.

Dynaudio Contour 20 Black Edition...

The latest iteration of the Dynaudio Contour range has finally reached an apex with the Dynaudio Contour 20 BE. To better them, you’ll need to look at Dynaudio’s Confidence range – which will certainly involve a more substantial outlay.

I’ve written about the quality of the Dynaudio Contour 20i in one of my earlier blogs, where I waxed lyrical about their pairing with Naim’s Uniti Nova. It proved a wonderfully synergistic combination – you can read my earlier blog here.

Before we get into the sonic differences, let’s take a look at the technical advancements – of which there are more than meet the eye!

BE all and end all drive unit tech...

dynaudio contour 20 black edition

Dynaudio Esotar 3 tweeter... their finest!

More than just a numerical upgrade, the Esotar 3 is coated with DSR material by robots to ensure the coating density is applied in the right places and in the right amounts, across the hemispherical soft-dome surface. Dynaudio has been careful not to disclose design secrets, and the only thing we’ve managed to glean is that DSR stands for “Dynaudio Secret Recipe” – thanks for that, Dynaudio! In addition, the Dynaudio Contour 20BE utilises the latest version of their proprietary Hexis device, mounted behind the tweeter, to smooth out the frequency response and eliminate unwanted resonances by carefully controlling airflow via its rear chamber.

These tweeter enhancements improve sensitivity and dynamic handling, thanks to better damping and lower operating temperatures due to optimised airflow.

dynaudio’s hexis tweeter technology

Dynaudio MSP mid/bass driver...

Like the Dynaudio Contour 20BE treble unit – the Esotar 3 – the Magnesium Silicate Polymer (MSP) bass/mid cone has also seen upgrades to enhance sound quality. The upgraded neodymium magnet boosts the already powerful ferrite magnet unit found in the Contour 20i. An extended voice-coil winding improves excursion linearity and, because the magnet is smaller, there’s more space for air movement inside the cabinet. Both drivers now offer higher sensitivity, placing less stress on your amplifier.

The bass port has been re-flared inside and out for enhanced bass control and authority, with fewer artefacts.

The crossover is a redesigned second-order circuit with component upgrades throughout – including Mundorf capacitors and resistors, air-core inductors, and improved internal cabling.

Optimised speaker stands...

bespoke custom stands for the dynaudio contour 20be

Getting the right speaker support is essential if you want to achieve the best performance from your newly purchased speakers. Dynaudio has designed a bespoke stand specifically for the Dynaudio Contour 20 BEs. A separate mounting plate allows the speakers to be bolted to the stands, while still offering a degree of decoupling isolation from the stand itself. Weighting the main column with sand to add mass is the penultimate nail in the coffin for unwanted vibrations, with custom screw-in spikes providing effective floor isolation.

The whole package forms an extremely stable and weighty speaker set-up, justifying the additional expense with significant sound enhancements befitting a speaker of this calibre.

Dynaudio Contour 20i Vs Contour 20BE?

To give us an already high benchmark, I thought it appropriate to compare the sonic qualities of an established stablemate – the Dynaudio Contour 20i.

I waxed lyrical about this speaker in my earlier blog here, using our Naim Uniti Nova – and spoiler alert: I’m about to do the same in this blog.

The original Dynaudio Contour 20i was a beautifully warm, lyrical, and musical speaker that one could both relax into or use for critically listening to a music mix, if so desired.

The Dynaudio Contour 20 Black Edition enhances the reproduction of music over the Contour 20i by a substantial amount. The ability to delve deep into the mix is quite remarkable – without dissecting the music in a way that becomes too distracting to enjoy. It’s almost as if the contours of a musical note – pun intended – are allowed to be heard far more clearly, giving music width, height, and depth like never before. The ability to convey dynamics and play loudly, without duress, is noticeably improved.

I spoke about a “marriage made in heaven” when pairing the Naim Uniti Nova with the original Contour 20is, and this leaves me little room to praise the Contour 20 BEs any more highly – so let’s just say the Dynaudio Contour 20 BEs are a Hollywood marriage made in heaven!

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

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…

POWER & SOUND - HOW WE POWER OUR HI-FI MATTERS

/ Audio T Cardiff/

Matt from our Cardiff store is once again on his quest for audio perfection, and this time he faces a familiar adversary in the world of hi-fi: unwanted noise…

This month’s part of the journey focuses on the very thing that feeds our hi-fi systems — our old friend, electricity. But how does electricity create noise in our hi-fi systems, we hear you ask? And more importantly, how do we fix it? Let’s follow Matt on his journey and see where it takes us.

Like many of you wonderful hi-fi enthusiasts and music lovers out there, I’m always looking — and more importantly, listening — for ways to improve my own listening experience. I’m constantly exploring new ways to fine-tune not only my system but also our customers’ systems, squeezing every bit of performance out of them — whether that’s through the source, amplification, speakers, or how we connect each component.

But there’s one persistent problem we encounter from time to time in the wonderful world of hi-fi — yes, you guessed it — unwanted noise. Whether it’s a buzz, a hum, or rogue radio frequencies, it all gets in the way of the listening experience, doesn’t it?

Sounds of Silence (And We’re Not Talking Simon & Garfunkel)

One of the biggest things we notice when listening to our favourite music on our hi-fi is noise. It’s always the quiet moments in music we hear the most — whether it’s the space between instruments and vocals or the brief pause between tracks, it’s often that bit of unwanted noise that affects the overall performance of a song. We also find that, because of this noise, we lose the separation between musical instruments and vocals — which is something we all want and strive for in our hi-fi systems.

Turn Up the Music and Turn Down the Noise

So what noise am I talking about, I hear you ask? Well, I’ll give you a clue — it’s what powers our equipment. Yes, it’s our old unruly friend: electricity. Cast your minds back to an old blog of mine that some of you may have read — for which I’m extremely grateful to all of you, especially considering I have a tendency to go on!

audiolab dc block

My previous blog covered similar ground — unwanted noise and mains noise I was experiencing at the time, and the solutions to that pesky problem. As you may know, I’ve been using a Wireworld Matrix trailing socket and an Audiolab DC Block to help power my various hi-fi components over the last couple of years. Both pieces of kit have done an amazing job of cutting out unwanted mains noise, and I still highly recommend this combination to all of you out there, as I believe it’s a great, reasonably priced way of solving the problem without breaking the bank.

Wireworld matrix 2 without cable

Back to the Drawing Board

So why am I revisiting this problem again, even though I feel my current solution works well? Well, as we all know, there’s always room for improvement, right? And you all know I’m a bit of a gear head.

At the Bristol Hi-Fi Show 2025, we chat with Tom Foyle from IsoTek about the importance of clean power in Hi-Fi. He explains how their latest products reduce noise and boost system performance, and why power management is key but often overlooked.

Since joining Audio T I usually work at the Bristol Hi-Fi Show every year, and one thing I noticed was that a couple of the exhibitors had one brand in common when it came to power distribution: Isotek. In fact, the main room demonstrating Isotek was run by Sound Service, who distribute IsoTek as well as brands like Manley amplification. A great many people at the show told me how good their room sounded. Sadly, I did not get a chance to pop over to see them, but it did pique my interest in IsoTek and the effect their products have on hi-fi equipment.

Fast forward a couple of weeks — we had a visit and training session with Giles from IsoTek and our representative from Sound Service, Alex. They brought a few IsoTek products with them, including:

Giles also brought with him a fantastic piece of equipment — a mains noise analyser, which shows any frequencies found in the power grid and just how noisy it can be. Believe me, when Giles plugged the analyser into our wall sockets unfiltered — yes, the analyser flatlined.

Before I talk your ears off about what a difference IsoTek’s gear made, let us talk a little about their history and their aim.

Isotek: Clean Power = Pure Sound

IsoTek was started way back in 2001 by Keith Martin in Hampshire. Keith’s aim was to develop a way of filtering the current coming out of the wall sockets in our homes. His company has since developed and evolved power management and filtering solutions for both studio (i.e. pro audio) and domestic use, right up to the present day.

When we think about it, the first input into our amplifiers is simply electricity. It is the raw material which the electronics we own need to function. The quality of that first input will affect performance — either positively or negatively.

The mains supply in our homes is distorted by numerous factors, which erode the performance of our hi-fi systems. As we know, the electronic devices we use in our homes continue to proliferate, and as the demand for electrical power intensifies, the quality of electricity often diminishes by the time it reaches our hi-fi equipment.

The escalation of mains-borne ‘noise’ means that the need for mains conditioning is becoming more important. This, of course, is where IsoTek comes in.

But what devices around the home affect this? To name but a few: your computer, your kitchen appliances. ‘Common mode noise’ is also ever-increasing thanks to wireless networking in the home, with mobile phones, Wi-Fi and Bluetooth bathing us in a sea of interference. Again, this is where IsoTek’s various conditioning and filtering solutions come into play.

Now Back in the Room! How Did the Isotek Equipment Change Our Listening Experience?

proac d20R

Let us set the scene. Before Giles and Alex arrived, we set up a system in our demonstration room. The system consisted of the Cyrus 40 ST streamer, the Cyrus 40 Amp with 40 PSU Power Supply, and on the speaker front, a pair of ProAc Response 20R floor-standing speakers we are currently trialling. On the mains side, we plugged the source and amplification directly into the Wireworld Matrix 2.

The system already sounded pretty good. Then we changed a few power options with Giles. Starting with the trailing socket, we swapped out the Wireworld Matrix 2 for the Isotek V5 Polaris trailing socket. Before we hit play on the streamer, Giles plugged the analyser into an open socket on the Polaris, and we found the mains noise was significantly reduced.

With everything plugged in and running well, we hit play on the BluOS app and listened to a track we know very well — John Mayer’s Slow Dancing in a Burning Room. To say we were pretty happy with the result is an understatement. But just as we thought it could not get any better, Giles and I added the new EVO3 Syncro DC Blocker. This, I feel, made one of the biggest changes — we could really hear the space between instruments on the track. Even small details, like John Mayer’s pick hitting the neck pickup on his Fender Strat. As I always say: there is perfection in imperfection.

The final change we made was the biggest improvement of all — we swapped out the V5 Polaris for the V5 Elektra power conditioner. This change really brought those finer details in the song to life.

To say we were blown away by the results is selling IsoTek’s range short — but nothing tells us more than a change to our own hi-fi system. So I thought I would bring home the V5 Polaris and the Syncro EVO3 DC Blocker to try in my own surroundings.

isotek v5 Polaris - SYNCRO - initium power cables

And Now It’s Time for My Favourite Thing to Do… You Know What Time It Is — It’s Home Demo Time

With my cup of coffee at the ready — here we go.

As you all know, my home hi-fi system is not too dissimilar to the system we set up in our demonstration room in the store. The main difference is the sources I am using, which are my Rega Planar 6 and my Cyrus CD Transport. My speakers are Spendor D7.1.

The keen-eyed among you may notice from my system pic that there is a Cyrus 40 PSU in there, connected to my 40 Amp. My reason for this? I thought I would try it at home to hear the difference it makes in my own hi-fi. I would like to tell you more, but I feel the power supply will be a subject for another upcoming blog.

Now we are all set up — let us continue with this sonic experiment. But before I talk your ears off about my findings, here is some of the music I used:

Matts hiome setup

Format: Vinyl
Artist: Anthrax
Album: We’ve Come for You All (2003)
Track: Safe Home (Acoustic Version)

Format: Vinyl
Artist: Led Zeppelin
Album: Houses of the Holy (1973)
Track: No Quarter

Format: CD
Artist: Zakk Wylde
Album: Book of Shadows (1996)
Track: Evil Ways

I began my listening session with my standard power distribution setup: the Wireworld Matrix trailing socket with the Audiolab DC Block — and the addition of the Cyrus 40 PSU, of course. With my system already sounding great, I then swapped out the Wireworld Matrix for the IsoTek Polaris. Straight away, I could hear the noise floor drop — especially on the Anthrax track. Being an acoustic version, I could really hear how close John Bush was to the mic — even down to Rob Caggiano’s string noise when he changed chords.

Then I added Isotek’s DC Blocker. There’s only one word for it: wow. What a massive change in sound. I could hear more separation between vocals and instruments, and greater clarity. For instance, on Zakk Wylde’s track — which is quite busy — I could really hear the string definition on his Alvarez 12-string guitar, and his vocals seemed more prominent and forward in the mix.

In Conclusion

I have always recognised the importance of good power cables and how equipment is fed — i.e. how we power our equipment. I now feel that IsoTek takes how we distribute and filter power to the next level, and I also believe you cannot put a price on that.

In other words, even at the Discovery level of IsoTek’s power distribution, I feel they are worth every penny. But the question is: will I purchase the Polaris and the DC Block to go into my system? (Sorry, wallet...) It’s a big, resounding YES.

Don’t just take my word for it — why not try the Polaris and the DC Block for yourself and tell me what you think?

Thanks for taking the time to read my blog — I hope you enjoyed it.

Matt Aaron - Audio T Cardiff

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