August 28, 2025

Chromey Gets Cosy with the Meze 105 Silva Headphones

August 28, 2025/ Audio T Manchester/ Manchester

Meze Audio is a high-end headphone and earphone manufacturer based in Baia Mare, Romania. Founded in 2011 by industrial designer, Antonio Meze, the company has built a reputation for combining reference-level sound with craftsmanship and striking design aesthetics.

Here at Audio T, we’ve been proud to stock Meze headphones for a number of years, and they’ve quickly become favourites among our customers. Some standouts include the Meze 99 Classics, the Empyrean, and the Elite.

Now, at Audio T Manchester, we have the brand-new Meze 105 Silva headphones in store — and naturally, we’ve been putting them through their paces. Chromey, our trusty silver Lego Stormtrooper, even got involved.

Comfort and Fit

Comfort is a real strong suit here. The auto-adjusting headband and suede velour earpads provide a plush, secure fit, with plenty of space inside the cups to avoid pressure points, even during longer sessions.

Clamp force is moderate, and if needed, can be adjusted by gently bending the rods — though we didn’t find this necessary. The open-back design adds breathability, which helps keep your ears cool and comfortable during extended listening.

The general consensus online highlights all-day wearability, and we agree. The pads are supremely comfortable and minimise ear fatigue. The only caveat is that, as open-backs, they don’t offer much in the way of noise isolation, so they’ll shine brightest in quieter environments.

Build Quality and Accessories

Meze has always carried a strong reputation for exceptional build quality, and the 105 Silva certainly lives up to it. Premium materials such as polished walnut wood and aluminium accents make the headphones feel every bit as high-end as they look — stylish without being overly showy.

At just 354 grams, they’re lightweight for their class, which ties back nicely to that excellent comfort we mentioned earlier.

The Silva also comes well-equipped with accessories: a semi-hard carrying case, a dual-twisted Kevlar-wrapped OFC cable (with dual 3.5mm TS jacks), and a custom 3.5mm to USB-C adapter. That last addition is particularly handy, as it lets you connect to your phone without needing a separate dongle — a thoughtful touch for mobile use.

witness the Transmogrification of chromey, ok now that’s enough!!!!!

Sounding Out the Silva

Meze products are often praised for their musicality, and the 105 Silva continues that tradition. They lean toward an engaging, natural presentation rather than a purely analytical one — these aren’t designed as studio monitors but as headphones to enjoy music with.

Under the hood, you’ll find a 50mm dynamic driver with a bio-cellulose composite dome and titanium-coated torus. With a frequency response from 5Hz to 30kHz, an impedance of 42Ω, and a sensitivity of 112 dB SPL/mW, they’re easy to drive straight from a smartphone or portable player, though they really sing when paired with a good headphone amp.

Bass: Punchy and impactful, extending deep into the sub-bass without losing control. Robag Wruhme’s Advent from Venq Tolep is a great example — the Silva nails those low notes without descending into bloat.
Midrange: Detailed and natural, making them superb for classical, jazz, and film scores. Vangelis’s Blade Runner soundtrack feels vast and atmospheric, with Harrison Ford’s dialogue sounding warm and nuanced. You could happily watch a film late at night with these on and still feel fully immersed.
Treble: Smooth, airy, and free of harshness or sibilance. The Silva’s treble balances detail with listenability, avoiding fatigue even after hours of play.

The soundstage is impressively three-dimensional, with excellent separation and imaging that rivals pricier headphones, such as Meze’s own 109 Pro. The overall tonality is warm, natural, and consistently musical across all genres.

Sustainable Through Longevity

Meze has also been very vocal about sustainability and product longevity. Here’s what they have to say directly from their website:

“As our choices of today can greatly impact the world of tomorrow, we design products that last. We believe that a longer product lifespan means a smaller footprint. Following this philosophy, 105 SILVA can be taken apart and serviced endlessly if needed, making it as perennial as the forests it alludes to.”

It’s a philosophy that puts Meze firmly in the mix with the best headphone manufacturers globally — not just in terms of sound, but in value too.

The spring steel head band works a treat, all head sizes welcome

Conclusion

We’re not really ones for lengthy pros and cons lists, but here’s a quick take.

Pros:

Solid build
Striking style
Comfortable fit
Engaging sound
Strong value for money.

Cons:

Being open-back, they’re not suited to every environment.

That’s it, really. The Meze 105 Silva is simply a compelling choice for anyone seeking style, comfort, and superb performance at a very accessible price point. They excel at delivering a natural soundstage with punchy dynamics, making them an excellent step up from entry-level open-back headphones.

If you prefer engaging, musical listening over clinical precision, the Silva is hard to beat in this bracket.

We have a pair ready to demo at Audio T Manchester, so why not pop by, give them a listen, and see if Chromey’s new favourite might just become yours too?

Thanks for reading.

Munir, James and Dave - Audio T Manchester

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

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

Meze Audio can be found at the following Audio T stores

August 28, 2025

A Magical Evening of Music with Glaswegian Hi-Fi Legends, Linn.

August 28, 2025/ Audio T Cardiff/ Cardiff

This month, Matt from our Cardiff branch is sharing his love of two things: Audio T Hi-Fi events and turntables.

The event in question was our Linn listening evening, held at the BAWA Health & Leisure Club in Bristol, organised by our Bristol store in collaboration with the Swindon and Cardiff teams. Let’s hear what Matt has to say about this magical evening of music and all things Linn.

Passion for Hi-Fi Events

As most of you know from reading my blogs (for which I’m extremely grateful), I’ve always loved working at and organising exciting new Hi-Fi events. This particular Linn evening was put together by our Bristol store manager Max, alongside our host and Operations Director Tony Revelle – one of the company’s founders. For those who remember our store’s original name, Audio Excellence, Tony started it all. Tony and Linn go back a long way, and he still overhauls and builds Linn LP12 Sondek turntables today.

Alongside Max and Tony, Nick (our store manager), Andy (our Swindon store manager), and I were invited to collaborate with them and the Linn events team. When Nick mentioned it, I jumped at the chance – especially with Linn turntables involved!

A Linn Legend in the Room

Linn also sent down their brand ambassador, Mr Gordon Linch, who co-hosted the evening with us. Gordon brought along some of the latest and greatest Linn equipment, which I’ll come to shortly.

But before diving into the gear, let’s take a quick look at Linn’s history – something Gordon kicked off the evening with.

Linn’s Legacy

Linn Products was founded in 1973 by Ivor Tiefenbrun, to produce the Linn Sondek LP12 turntable. Unsatisfied with the Hi-Fi system he bought shortly after getting married, Ivor experimented and discovered that the turntable was being affected by sound pressure from the loudspeakers. By simply putting the turntable outside the room, running the signal leads under the door, and listening, he found the sound was far more accurate and involving.

At the time, Ivor worked at his father Jack Tiefenbrun’s engineering company, Castle Precision Engineering Ltd. With his father’s help – Jack designed a very quiet-running central bearing – and a team of skilled colleagues, Ivor succeeded in building a record player immune to acoustic feedback from loudspeakers. The deck, eventually named the Linn Sondek LP12, looked like many other turntables, but almost every component served a unique purpose.

Most importantly, the suspension was optimised for acoustic isolation rather than shock resistance. With it, Ivor proved that a better turntable improved the sound of any Hi-Fi system. The principle “garbage in, garbage out” – also known as “source-first” – was radical at the time, though it’s obvious today.

Fast forward to today, and the LP12 is still going strong in the Linn range, alongside streamers, integrated amps, and active loudspeakers – allowing you to build a Linn system from the ground up, exactly as Ivor intended.

The Equipment on the Night

Let’s talk about the gear we had on the evening – starting with the sources.

We had two, almost identical, Linn Selekt-spec Sondek LP12s, with one crucial difference…

Turntable No. 1

Standard Linn wooden plinth
Kore aluminium sub-chassis bonded to a CNC-machined armboard
Trampolin suspended aluminium baseboard
Lingo hybrid internal/external power supply
Linn Arko 7075-grade aluminium gimballed tonearm
Linn Kendo moving coil cartridge

Turntable No. 2

All-new Bedrok™ plinth
Kore aluminium sub-chassis bonded to a CNC-machined armboard
Trampolin suspended aluminium baseboard
Lingo hybrid internal/external power supply
Linn Arko 7075-grade aluminium gimballed tonearm
Linn Kendo moving coil cartridge

A fun fact: LP12s are not built on a production line. Each one is hand-built by a single technician, who signs the back on completion. If you visit the Linn factory, you might even meet the person who built yours – how cool is that?

On the digital side, we had the superb Linn Selekt DSM with their flagship Organik DACs, feeding the mighty Linn 150 floorstanding active speakers. And no, you don’t need a subwoofer – these floorstanders really deliver.

How Did It Sound?

We began with vinyl on the standard Selekt-spec LP12. Gordon chose a track by The Teskey Brothers – Let Me Let You Down. Its early ’60s blues feel, with hints of Motown soul, had a natural swing that pulled you right in. On the Linn system, the dynamics were incredible, and the Linn 150s opened everything up. Definitely a foot-tapping moment.

Switching to streaming, Lana Del Rey’s Henry Come On really shone. Linn’s streaming module and the Organik DACs captured her vocals perfectly – close your eyes and it felt like she was standing centre stage. That’s the magic of a well-engineered system.

The Bedrok™ Plinth: A Vinyl Nerd’s Dream

The part I’d been waiting for: the Bedrok™ plinth. As a vinyl fanatic, this was the highlight.

Before the demo, Gordon explained the thinking behind Bedrok™: eliminate unwanted vibrations from the turntable. Vibrations in the room can cause acoustic feedback and distortion when playing records.

The Bedrok™ plinth is made from orthogonal layers of beech, compressed under extreme pressure and heat to form a dense, acoustically “dead” material. The result? More music, less noise.

The demo spoke for itself. Gordon played Bonny Light Horseman on the standard LP12, then on the Bedrok™ version – and wow. The noise floor dropped, vocals gained energy, and the guitar came alive.

My favourite moment? Shake It Baby by John Lee Hooker on the Bedrok™ LP12. The raw tone, the bridge pickup detail, and Hooker’s gravelly voice – combined with the groove – made it magical.

In Conclusion

As I said at the start, I always enjoy events like this – especially when I get to help organise them. While I can’t take credit for this one, the evening was a real ear-opener. Sonically, the star of the show for me was the Linn Bedrok™ plinth – one of many Linn upgrades absolutely worth exploring.

If you’d like to hear Linn upgrades like the Bedrok™ plinth, or others such as the Karousel bearing, contact your local Audio T store for details.

Thanks for taking the time to read my blog.

Matt Aaron - Audio T Cardiff

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

August 28, 2025

The Legend Continues – AE1 40th Anniversary First Listen at Audio T Cheltenham

August 28, 2025/ Audio T Cheltenham/ Cheltenham

Where: Audio T Cheltenham
When: Thursday 25th September (Sessions from 2:00pm – 8:00pm)
Free to attend: Book Now

Be among the first in the world to hear the brand-new Acoustic Energy AE1 40th Anniversary Edition loudspeakers – a full three weeks ahead of their official release. This exclusive in-store event is your chance to sit down and experience these iconic compact monitors in a relaxed, focused setting. While they made a brief appearance at the North West Audio Show in June, they have been subtly tweaked since, so this genuinely is the first opportunity to truly listen to the finished article up close and in detail — and with the people who designed them right there in the room.

We’re delighted to welcome Mat Spandl (Managing Director & Designer) and James Luce (Creative Director) from Acoustic Energy. Both will be on hand to talk through the journey of reimagining the legendary AE1 for its 40th Anniversary and answer any questions you may have.

We’ll have access to vinyl, CD, streaming and even cassette (!!), so we can play pretty much anything you request. If you feel the urge to spin those old Cosmic Jokers albums or any of those Grateful Dead bootlegs, please bring them along — there are no limits to what we’ll let you play!

What to Expect

Originally released in 1987, the AE1 made waves for its scale-defying dynamics, clarity, and bass extension. This 40th Anniversary Edition stays true to the character of the original, while subtly modernising its performance:

A brand-new 29mm alloy dome tweeter with a larger voice coil for improved control and lower distortion
A specially developed 125mm spun ceramic/alloy cone woofer for enhanced power handling and natural midrange
Warm, punchy sound with great bass weight and a forgiving top end
Upgraded cabinet design featuring Acoustic Energy’s RSC damping material
Finished in stunning High Gloss Black or High Gloss Walnut

Whether you remember the original AE1 or you’re hearing them for the first time, this is a speaker with serious heritage — and plenty to say.

Book Your Free Listening Session

To give everyone the best experience, each demo will be limited to 8 people per session. Tickets are free, but must be booked in advance. Sessions run throughout the day at the following times:

2:00pm – 2:45pm
3:00pm – 3:45pm
4:00pm – 4:45pm
5:00pm – 5:45pm
6:00pm – 6:45pm
7:00pm – 7:45pm

Each session includes a focused listening demonstration of the AE1 40th Anniversary speakers, followed by time to chat with Mat and James. It’s a rare chance to hear first hand the care and attention that has gone into revisiting such a celebrated classic.

Bonus Prize Draw

All attendees will be automatically entered into a free prize draw to win a pair of the lovely little Acoustic Energy AE100² speakers — just for turning up!

Tickets for this amazing event are available Here

Thanks for reading,

Andy, Jon and Farid - Audio T Cheltenham.

If you have any questions about the event 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…

Acoustic Energy can be found at the following Audio T stores

August 27, 2025

Quart from a Pint Pot: Can We Achieve Large Room Performance with Small Speakers?

August 27, 2025/ Audio T Swansea/ Swansea

The Client Request

Every once in a while we have a request from a client that, on the face of it, goes against the accepted Hi-Fi norm of:

Big room = Big speakers & a big amp
Small room = Small speakers & big amp (if you can get away with it!)

What we find ourselves faced with is a large open living space with a vaulted ceiling, but with room for only small to medium-sized bookshelf speakers. They must also live on a shelf, albeit a nice deep one. There is a requirement for AV replay too: one half of our client couple enjoys film, the other is a music lover, and together they have designed a most attractive media wall to house a TV, music streamer, amplifier and speakers.

First Principles

Going back to first principles, if we apply ourselves to catering for music properly, the AV aspect will very much take care of itself – provided we can replay music at full scale. The entire concept of stereo is that of creating a believable 3D soundstage with just two speakers and so this should be an achievable goal. Also, we have the caveat that with AV content, the dialogue needs to be particularly crisp.

The Speaker Dilemma

Our first problem is that the vast majority of speakers that can fit in the space available are designed to be mounted on stands a certain distance away from room boundaries. They usually have bass ports to the rear to give the audible appearance of much greater scale and rather more bass to bop around to when the mood takes us. This can easily make the speaker boom unpleasantly if it is placed too close to the rear wall, smearing any fine detail and leaving us with a grand mess.

A pair of dali opticon 2 bookshelf loudspeakers. mounted upon stands, they sound great.

the same opticon 2 spreaker from the rear. notice the large bass port - fatal for bass control if this unit is positioned hard up against a wall.

Our Shortlist

Happily, two of our favourite loudspeaker manufacturers – Acoustic Energy and ATC Loudspeakers – don’t (or rarely) use bass ports in their designs and so we can recommend them for demonstration, this time in the large space of our shop floor to replicate the size of the space they’ll be expected to work in. In this case, we fancied the Acoustic Energy AE300² with an Arcam A5 amplifier for a “recommended” system and the ATC SCM11 partnered with an Arcam Radia A25 amp for an “improved” system that the client will buy if they’re suitably impressed. No pressure then.

acoustic energy ae300 mk2 they don’t have a bass port, but a simple slot behind the tweeter

Our next task is to provide support for the speakers, because they’re never, ever, going to fill the room on their own. Welcome to our shop favourite – the REL T7x subwoofer at £999*.

shop favourite the rel t7x subwoofer. head and shoulders above its predecessor and the subject of a previous blog by yours truly..

Electronics and Streaming

For electronics, I chose the Arcam Radia A5 and its weightier sibling, the A25. Both have digital as well as analogue inputs and are very well regarded. For streaming purposes we shall use our flexible old friend, the Bluesound Node 4th Generation), linked digital fashion.

the bluesound node gen4. our favourite streamer under a grand

The IsoAcoustics Advantage

Our aural sleight-of-hand is assisted by the use of IsoAcoustics Aperta speaker stands. Standing just 76mm high, they isolate the loudspeaker cabinet from its resting place, which stops the shelf from resonating uncontrollably along with the music. They also have the effect of cleaning up the bass so we can distinguish an extra half octave of notes. Spatial information is further revealed, lending us a pleasant openness of soundstage. It’s £200* very well spent indeed.

the vesper - canada’s isoacoustic aperta 155 isolation stands (because once you’ve tried ‘em, you won’t want anything else)

Early Experiments

Our initial experiment with the Acoustic Energy AE300², Arcam A5 and REL T7x didn’t go very well. We could hear the Arcam struggling to achieve any presence and the system sounded like it was out of breath, even with the T7x subwoofer. I substituted the A5 for the Rega Brio Mk7, at £799*.

the pocket rocket that is the rega brio mk7. in the right room with the right speakers, is brilliant value.

This proved more satisfactory, but still not really cutting the mustard. Even after a warm-up, there’s simply not enough flesh on the bones. In a flash of inspiration I swapped the Brio for our Advance Paris X-i75 amplifier; still a reasonable £750* and still with digital inputs. (What an embarrassment of riches we do have at this price point.)

Now that’s better! Engaging the amp’s High Bias switch moves the first few watts of the amp’s output to Class A operation, finally giving us the meat we’ve been craving.

advance paris x-i75. handsome devil that IT is

the reverse of the x-i75 metal. if you squint carefully enough you can see that magical high-bias switch near the speaker terminals

Moving Up a Level

Nic is convinced that these AE300² are being flogged in this big space, so they’re replaced by their big sisters, the AE500 at £1,050*. Much more satisfying, much more relaxing to listen to now that we’re not hearing signs of strain, plus there’s a welcome slick of umami.

a pair of acoustic energy ae500s. note the carbon fibre tweeter - most unusual in our experience and yields a wonderfully natural presentation.

The Client Demo

Our clients arrive, tea arrives and I play a selection of demo tracks – Norah Jones’ version of Cold Cold Heart for its creamy vocals, Hans Theessink’s Blues Stay Away From Me for its stunning projection and soundstaging when treated to a good system, Alanis Morissette’s Hand In My Pocket Live from Shepherd’s Bush Arena for live ambience, space, scale and emotion; finally The Sound of War by Susanne Sundfør to give the REL T7x’s bass register a workout, whilst cut-glass Scandi vocals soar about us. And our jury said….

“Lovely! The size of the soundstage, the way it fills the room and how it isn’t overshadowed by that 65” TV at all. In fact, you could have a much bigger screen there. And we can hear everything. Beautiful.”

So far so good. I changed to the Arcam A25 and ATC SCM11s…

the arcam radia a25 amplifier - the first in their range of class g amps. essentially it operates as class a for the first few watts before using class a/b for the rest of its power curve. it yields a really full, meaty sound and makes it capable of driving more demanding speakers.

atc’s scm11’s. terrific speakers, right in the middle of atc’s “entry-level” range. they need a very firm hand to get the best out of them. challenge accepted.

“Oh yes! So much more dramatic and the music’s got… body? Is that the right term? I’ve never heard anything like that before. Errr… wow. That’s definitely worth the extra. They do come in white though… yes?”

“They do indeed.”

Wrapping Up

What began as a tricky brief turned into a fascinating reminder that with the right combination of speakers, amplification and support, even a large, open space can be filled with music that feels natural and full of life. It doesn’t always take floorstanders to achieve scale – careful system matching and a bit of creative thinking go a long way. At Audio T Swansea, we love tackling these kinds of challenges, so if you’re wondering what might work best in your own home, why not pop in for a chat and a listen?

Thanks for reading.

Words by Adrian (tea and suggestions that certain speakers ‘might be having a hard time of it’ and certain amplifiers ‘really are not up to this treatment Ade’ by Nic & Andy) – Audio T Swansea

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

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

Arcam can be found at the following Audio T stores

ATC Loudspeakers can be found at the following Audio T stores

Acoustic Energy can be found at the following Audio T stores

Bluesound can be found at the following Audio T stores

DALI can be found at the following Audio T stores

IsoAcoustics can be found at the following Audio T stores

REL 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

August 26, 2025

Sonus Faber Lumina I: Compact Speakers with Italian Flair

August 26, 2025/ Audio T Swindon/ Swindon

For more than four decades, Sonus Faber has been synonymous with craftsmanship, refinement, and musicality. The Italian brand has earned its reputation for producing some of the world’s most prestigious loudspeakers, blending traditional artisanship with modern design.

The Sonus Faber Lumina I brings this ethos to an accessible entry point, offering the unmistakable Sonus Faber DNA in a compact, beautifully finished package. Great things really do come in small sizes.

Design and Build Quality

The name Lumina stands for Luxurious Minimalistic Natural—a philosophy that’s evident as soon as you unbox the speakers. While this is the most affordable model in the Sonus Faber range, the attention to detail is immediately obvious.

The multilayer wood front baffle is available in three finishes: black, walnut, and wenge. This is paired with leather-wrapped sides, a hallmark of Sonus Faber design. Despite being the brand’s smallest and most cost-conscious offering, production remains proudly based in Italy.

Practicality hasn’t been overlooked either. The speakers are bi-wireable and feature a plinth-mounted port on the base for improved bass tuning. The rectangular cabinet design not only contributes to cost efficiency but also ensures the Lumina I fits neatly into a wide variety of listening spaces.

The Lumina collection also includes the larger standmount Lumina II, as well as floorstanders—the Lumina III and Lumina V—for those who want even more scale.

Technical Highlights

Don’t be fooled by their compact dimensions; the Lumina I is packed with clever engineering.

Tweeter: A 29mm silk-dome tweeter, shared across the Lumina family, covers frequencies from 2 kHz to 24 kHz. Sonus Faber’s Damped Apex Dome (DAD) technology ensures the treble remains extended, smooth, and natural without premature roll-off.
Mid/Bass Driver: A 12cm unit delivers impressive weight, extending down to 65 Hz. While not designed to plumb the very lowest depths, it strikes a fine balance of punch and control.
Specifications: With a sensitivity of 84 dB/W/m and a nominal impedance of 4 ohms, they thrive with a capable amplifier—something with both grip and finesse.

System Setup at Audio T Swindon

For our listening sessions, we placed the Lumina I around 30 cm from the rear wall. This positioning worked best in our demo room, giving a pleasing balance of openness and bass control. That said, these speakers are forgiving and can comfortably sit closer to a wall, which can even add a touch more warmth and depth.

Our system pairing included the Bluesound Node Icon as the source and the Advance Paris Xi-150 amplifier—a fantastic value-for-money combination that showcased what these speakers can do.

Sound Performance

From the very first listen, the Lumina I impressed with its ability to sound much bigger than its modest size suggests. The overall character is refined, musical, and deeply engaging—everything you’d expect from Sonus Faber.

Treble & Midrange: Listening to Aldous Harding’s The Barrel, the sweet, silky treble and smooth tonal balance stood out immediately. The familiar Sonus Faber family sound is present, even at this entry level, making for a relaxed and highly enjoyable listening experience.

Dynamics & Scale: Journey’s Separate Ways (Worlds Apart) revealed the Lumina I’s bold side—full-blooded, confident, and brimming with detail. The speakers deliver scale and nuance well beyond their size.

Bass Response: On OSI’s Stockholm, the bass was taut, articulate, and surprisingly deep. While the Lumina I doesn’t quite hit sub-bass territory, it punches above expectations for a speaker of this size. For those who want to unlock even more depth, pairing them with a REL subwoofer provides a superbly balanced ‘best of both worlds’ experience.

Conclusion

The Sonus Faber Lumina I is an ideal choice for small- to medium-sized rooms. It combines craftsmanship, musicality, and aesthetics in a way few compact speakers can. Whether you’re rediscovering your music collection or starting out on the Sonus Faber ladder, these speakers offer a complete package: stylish, engaging, and unmistakably Italian.

We invite you to hear them for yourself at Audio T Swindon—we think you’ll be pleasantly surprised at just how much performance is packed into these compact speakers.

Thanks for reading, and we look forward to welcoming you soon.

Jon and Andy - Audio T Swindon

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

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.

Sonus Faber is available in the following stores:

SWINDON

August 22, 2025

Listening Lab: The Cyrus 40 Series at Audio T Southampton

August 22, 2025/ Audio T Southampton / Southampton

Recently, I had the chance to spend some proper listening time with the new Cyrus 40 Series system here at Audio T Southampton. As someone who enjoys exploring a wide variety of music on a daily basis, I was curious to hear how the new 40 AMP, PSU, CD Player, and ST Streamer would perform together in a real-world setup.

Cyrus has long had a reputation for producing compact yet powerful British hi-fi, and the new 40 Series continues that legacy with a clean, understated design that hides a surprising amount of performance under the bonnet.

Here’s how it all came together…

More Than 40 Power

The 40 AMP Integrated Amplifier (£3,995)* impressed me straight away with how solid and controlled it sounded. Bass notes were tight and tuneful, vocals came through cleanly, and instruments were well separated without ever sounding clinical. It had that sense of grip and authority you want from a modern amplifier, but with enough musicality to keep listening engaging over long sessions.

Adding the 40 PSU External Power Supply (£2,495)* provided a subtle but immediate lift. The presentation opened up a little more, with extra space between instruments and a smoother sense of flow. Dynamics felt more natural too—quiet passages carried more delicacy, and louder sections hit with more ease. It wasn’t a night-and-day change, but it was the kind of upgrade that once heard, you wouldn’t want to be without.

New Age Music

The 40 ST Streamer (£2,995)* stood out as one of the most user-friendly streamers I’ve tried recently. The BluOS app is responsive, intuitive, and makes it effortless to browse and manage music across Qobuz, TIDAL, and Spotify. Switching between services or playlists was simple, and the whole experience felt slick and modern—no faff, just music.

Sonically, it was equally impressive. On Feel Good Inc. from Demon Days by Gorillaz, the bassline had plenty of drive and the rhythm carried real energy. On more complex and layered recordings, the presentation remained clean and well-organised, never losing its sense of timing. It’s a streamer that gets out of the way and lets the music shine.

Spinnin’ Discs

The 40 CD Player (£2,995)* was a reminder of why CD still has a place in a digital-first world. Playing Automatic for the People by R.E.M., “Drive” had a weight and atmosphere that felt more anchored compared to streaming. On Woodface by Crowded House, vocal harmonies were delivered with real warmth and smoothness, free of harshness.

It didn’t necessarily sound “better” than streaming—it was more a case of offering a different perspective. CDs had a slightly firmer, more grounded presentation, whereas streaming felt more open and flexible. Both were enjoyable, but the CD player definitely brought its own character to the system.

The Supporting Setup

For this demo, I paired the 40 Series with a carefully chosen supporting cast:

PMC Prodigy 5 Floorstanding Loudspeakers (£1,995*) - Compact in size, but quick and agile, with fast bass and great timing. They really shone with rhythm-driven material.
Chord Company ShawlineX Cabling (See website for various prices) — Transparent and consistent, allowing the Cyrus components to do their job without colouration.
Meze 109 Pro Headphones (£769*) - When I moved to headphone listening, the open soundstage and fine detail were preserved beautifully. Ideal for late-night sessions when speakers aren’t an

Reference Music

I used a familiar set of test tracks to get a rounded impression of the system:

Crowded House – “Weather With You” (Woodface) → to assess vocal clarity and balance.
Gorillaz – “Feel Good Inc.” (Demon Days) → for bass control and rhythm.
R.E.M – “Drive” (Automatic for the People) → for atmosphere and vocal depth.
Lemon Jelly – “Nice Weather for Ducks” (Lost Horizons) → for soundstage width and subtle detail.

Each track reinforced the impression of a system that could present detail clearly without losing musical flow or energy.

Final Thoughts

The Cyrus 40 Series feels like a thoroughly modern hi-fi system that balances usability with strong sonic performance. The AMP and PSU delivered control and clarity, the ST Streamer made everyday listening simple and enjoyable, and the CD Player added a sense of solidity to physical discs.

Paired with PMC Prodigy 5 speakers, Chord ShawlineX cabling, and Meze 109 Pro headphones, the system delivered a performance that was both engaging and versatile. It’s a setup that doesn’t demand fussing over but rewards time spent listening with music that simply feels right.

The Cyrus products are available to audition at the Audio T stores shown below. If you’re curious about what the Cyrus 40 Series can do, I’d highly recommend booking a demo and hearing it for yourself with the music you know best.

Thanks for reading

Tiago - Audio T Southampton

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

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

Cyrus 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

August 22, 2025

Audio Epiphanies – The Moments We Became Hooked on Hi-Fi

August 22, 2025/ Portsmouth

Many of us who have, over the years, invested considerable amounts of our hard-earned cash on good quality audio equipment will be able to recall when and where we first caught the hi-fi bug. In this blog, we explore the phenomenon and ask some of the industry’s leading lights to share their audio epiphanies.

The First Spark

There’s a moment in the lives of many hi-fi enthusiasts that feels almost mythic.

It is the first time we hear a ‘proper’ hi-fi system. It is almost as if the clouds part and a beam of light shines down and, in that moment, we realise what proper hi-fi can do for music.

This is the hi-fi epiphany.

Most of us of a certain age grew up listening to crackly radios, our parents’ Dansette-style all-in-one record players, radiograms or portable cassette players. Younger folks may have enjoyed the sonic delights of music centres or microsystems.

Many of us grew up listening to record players like those made by Dansette

The point is that none of these were likely to deliver particularly high-quality sound. So it’s no surprise that our first taste of real hi-fi was usually pretty jaw-dropping. People can often remember the precise track that did it for them.

That ‘wow’ moment may have happened during a visit to a hi-fi shop or show, perhaps it was a family member’s system or a mate’s parents’ set-up. If you were lucky, and your parents owned some decent hi-fi kit, then you would have grown up knowing what quality audio sounded like.

Whatever the story, the chances are that first time we heard proper hi-fi has stuck with us ever since.

A Sound You Can’t Unhear

We were amazed by the never-heard-before detail the system was able to dig out from a record or CD. Or it may have been the stereo separation and soundstage that wowed. Often people recall the staggering sounds-as-if-the-singer-is-standing-right-there realism that good hi-fi can deliver.

A true hi-fi experience makes us realise that much of the recorded music we heard previously was basically a facsimile or approximation of the works that the artists and producers actually made.

Good Hi-fi lets you hear more of what the artist intended. Image courtesy of PA Images.

Once we’ve heard it, it becomes hard to go back. We can’t unhear that sound. It kick-starts our lifelong quest to get the best possible performance from our stereo equipment.

And here’s the thing: if we think back to the first proper hi-fi systems we heard, they were not necessarily particularly high-end.

But, as we know, proper hi-fi from a reputable manufacturer doesn’t have to cost silly money to deliver audio enjoyment way beyond that produced by what we might call high street consumer systems, or our parents’ old mono record players.

More Than One Epiphany

While everyone’s hi-fi ‘first time’ is perhaps the most memorable, the good news is there’s often more than one hi-fi epiphany.

Once we ‘get our ear in’ as it were, and recognise the hallmarks of good quality sound, we start to listen differently.

The Deeper Revelations

The second, or maybe third, revelation is subtler and deeper. It often happens as we improve our hi-fi systems over the years.

These are the moments when we think less about there being “good bass” or “crisp highs” and start noticing the texture of the bass, or pay more attention to the micro-detail in the highs, like the decay of a cymbal.

You start to recognise how different pressings of the same record can change the emotional impact of a song. And how different equipment affects sound staging, all adding to the emotion and enjoyment of the music.

As the years roll by, we focus on building systems that sound ‘right’ to our ears – equipment that, based on our experiences, works well together to produce the kind of sound we like.

This quest never really stops. There is always something else we want to try to gain a little more performance from our systems. When we find that something, we are as happy as Larry... at least until we get that upgrade itch again.

The Soundtrack to Our Lives

People often talk about the soundtrack to their lives. Music has that wonderful ability to bear witness to our stories, connecting our present with our past, to the places and people we knew, and to emotion.

Playing that soundtrack through a decent hi-fi system is surely the least we can do for ourselves.

But enough philosophising!

Industry Perspectives

We thought it would be interesting and fun to ask a few of the hi-fi industry’s leading lights to share their hi-fi epiphanies. Hopefully, they will chime with some of your own experiences…

Alan Gibb, Brand Ambassador for Chord Company

Alan gibb, brand ambassador at Chord company

I first became interested in hi-fi at my uncle’s house in the early 70s. He had a Thorens 150 a SME Mk2 tonearm with a Shure V 15 mk3, an original Cambridge Audio P100 with a pair of Cambridge Bridge Audio R50 transmission line speakers.

Unfortunately, I had to listen to his taste of music and wasn’t allowed to touch it, but I was fascinated at how much better it sounded that my Mum‘s HMV (with carrying handle).

In 1976 I went to Edinburgh University and was reliably informed by a colleague that there was a shop down the hill that actually gave you a cup of decent coffee when you visited – this was Russ Andrews HiFi. Being a student this was a very attractive proposition and we went down on our bicycles to listen to some hi-fi, but mainly to get a cup of coffee.

I was sat down in front of a Linn Sondek, Grace Tonearm, Supex cartridge, Naim 12 preamp complete with SNAPS power supply and 250 Power amp driving a pair of very early Isobariks The record in question that was put on was Joan Armatrading and the track was Willow.

I remember sitting there staring at the record absolutely dumbfounded. The system could actually play music rather than just making an assortment of noises that was recognisable as music. I had to have that system!

I ended up getting a part-time job in the shop in order to get the system for less money as I couldn’t believe how much it cost. Along the way I had the great fortune of meeting both Ivor Tiefenbrun of Linn and Julian Vereker of Naim on their numerous visits to the shop, and ultimately ended up working at Linn products for seven years.

I’ve now been working at the Chord Company for over 20 years and I have been pursuing that elusive refinement to hi-fi systems that supplies us with a better insight into what the musician has played and why they played it.

Gordon Inch, Brand Ambassador at Linn

My first experience of home audio was on my grandmother’s Van Der Molen “music centre” and my father’s 7 inch vinyl collection sometime in the late 1970s.

As my parents, grandmother and sister would watch Morecambe & Wise on a Saturday evening, I’d be in another room listening to Chuck Berry and The Spencer Davis Group through a gigantic pair of Pioneer SE-305 headphones, clearly not designed for an eight-year-old.

In 1986, I bought my first CD player as part of a Trio hi-fi. It must have been one of the last before they changed their brand name to Kenwood. At the time, I think all I was able to buy was “Brothers In Arms” by Dire Straits, “With Or Without You” CD single by U2 and “Don’t Go” CD single by Hothouse Flowers. I still remember the astonishment at hearing the clarity of CD and thinking “It can’t get better than this…”

How wrong I was.

In the late 1990s, I bought my first hi-fi system, a Rotel RA-971 integrated amp, Wharfdale Diamond speakers and a Harman Kardon FL-8300 5-disc CD player.

In summer 2001, I was lucky enough to speculatively send my CV into Linn Products at the right time and the rest is history…

In the near 25 years since I joined the company, I’ve owned 6 different full Linn systems, the current one being an Akurate System Hub, into Akurate Exaktbox-I, driving 150 speakers in Exakt configuration (actively), and, of course, an LP12 turntable.

Whether it be the first bars of “Tinseltown in the Rain” by The Blue Nile, “Morph The Cat” by Donald Fagan, or “Moondog” by Leif Vollebekk, I know that music makes EVERYTHING better.

Long may it continue.

Jason Gould, Brand Ambassador Naim Audio

My first experience of hearing a “real” hi-fi system was in Radford Hi-Fi in 1987.

I remember walking into the shop asking the manager if they had any Saturday work, as I was a budding hi-fi enthusiast with a passion for music.

I had read Hi-Fi Choice, Flat Response and the like over many years, but I still hadn’t experienced the thrill of a proper hi-fi.

It was then I heard a Linn LP12-Ittok-Karma combination, amplified by a Naim NAC62/NAP140 through Linn Kan loudspeakers. I remember it overwhelming me, to the point where I couldn’t believe what was coming off vinyl, in a world which was just stepping into the world of digital audio, the Compact Disc!

The track played to me was Ashes to Ashes, by David Bowie, sounding more mysterious and surreal, like never before…

I got the job, a full-time position and the rest is history!

Alan O’Rourke, Founder and Managing Director of Ruark

It would have been around 1968. My dad was a cabinet maker and early on he got involved making housings and speaker cabinets for the emerging British audio industry, which spawned names such as Quad, Leak, Cambridge Audio and Wharfedale, to name just a few.

At this time the interest in stereo systems was growing strongly and what with my dad being an audio enthusiast, all manner of wonderful equipment passed through our living room and, like my dad, at the age of 10 I also became a lifelong music and audio enthusiast.

I can’t remember ‘the moment’ exactly, but around this time it would have probably been a Garrard or Thorens turntable with an Armstrong amplifier and a pair of kit speakers. At the time stereo test records were popular, in trying to achieve an authentic sound, so we’d have The Flying Scotsman roaring through our living room.

The musical piece that has always stuck in my mind is Also Sprach Zarathustra by Richard Strauss. The film 2001: A Space Odyssey had just been released and hearing this intro music with organ and orchestra in our lounge, was amazing.

Nick Clarke, Managing Director of Cyrus

It would have been mid-1988 at the Audiolab factory, which back then was in a small unit on an industrial estate in Godmanchester, Huntingdonshire.

It was a Marantz CD-94 (possibly a mkII - I still have a CD-63SE), an Audiolab 8000A amplifier with Wharfedale Diamond speakers - the album was Peter Gabriel's So. Up until then, like most people I'd really only heard music on a portable cassette player, radio or an in-car so the depth and clarity was a total revelation!

Bob Surgeoner, Founder and Managing Director, Neat Acoustics

It evolved over a few years but the real 'wow moment' was September 1984, I think, at Heathrow HiFi News Show.

It was a pair of Magneplanar MGIIIb panel speakers with a vertical ribbon tweeter, perhaps 48 inches long. I don't recall all of the partnering equipment but probably an Audio Research preamp and a Krell power amp driving them. The track was 'Hoja de Coca', the title track from an an album by a Bolivian band called Rumillajta. It featured pan pipes heavily and is still one of my favourite albums.

A very special Audio T thank you to those hi-fi legends who shared their hi-fi epiphanies with us!

Perhaps it has stirred a few memories of your own – that first moment you realised music could sound so much more alive, detailed and emotional. If you’ve yet to experience your own hi-fi epiphany, why not let us help you discover it? Our team at Audio T have been guiding music lovers for decades, and we’d love to help you find the system that makes the hairs on the back of your neck stand up.

And if you’re already well along on your hi-fi journey, we’ll be delighted to advise you on the next step – whether that’s refining what you already have, exploring new technologies, or chasing down those last details that make the music truly sing.

Thanks for reading,

Alan - Audio T Portsmouth

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…

August 19, 2025

The road to Nirvana! System hierarchy - some thoughts, deliberations and opinions

August 19, 2025/ Audio T Brighton/ Brighton

Hello all, and welcome to the August blog from Audio T Brighton! A few weeks back I saw an article where music enthusiasts were canvassed on their opinions on the importance of system hierarchy. Not that we’re opinionated here at Brighton (well, perhaps John is), but I thought it interesting enough to blog about this month, so here goes.

Source first...

The first question might be – what do you consider to be a source?

The obvious answers are: a turntable, a CD player, a streamer and, if from an “old school” or retro set-up: a tuner, cassette deck or, if you’re serious about playback, an open-reel tape deck! The “old school” retro sources are not so readily available brand new these days, so the second-hand market will be your saviour if these are your choice.

The argument for “source first” is: unless the information from the musical signal is captured at this point, it can never be recovered further down the signal path. This is quite logical, but there will be folks who’ll argue differently – do you want the five-minute argument or are you going for the full half-hour (quoting from Monty Python!)?

Recommended sources - at Budget, Mid-priced and High-end might be:

Turntables - Rega Planar 1(Carbon), Rega Planar 8, Rega Naia(Aphelion 2)

CD players - Marantz CD6007, Rega Saturn Mk3, Cyrus CD40/Cyrus PSU

Streamer/Network player - Bluesound Node, Audiolab 9000N, Naim NSS333

Some readers may well say that none of the above are actually a “true source” because music production happens before you even get to use them. Now we get into the equipment used to record and produce music – including microphones, mixing consoles etc. There is little doubt that recording, mastering, mixing and compression affect playback sound quality further down the line, including whether you record using analogue tape or digital methods – let’s not even go down the PCM versus DSD debate!

Ultimately, there are more questions than answers where the “source first” argument kicks in, and that’s before we discuss the other parts of the sound chain. I have already written about digital sources in one of my earlier blogs – you are welcome to read about that here.

Here at Audio T in Brighton, we would argue that we have no control over the music production process, so our “source first” recommendations are based on equipment that we think offers good sonic performance and decent value, whilst allowing worthwhile upgrades to be done further down the music chain when the customer is able.

Amplification...

Now, there are those folk who feel the amplifier choice is the most important part of the sound chain, given it is the “engine room” of your music system.

This makes a lot of sense because an amplifier needs to boost a source signal cleanly and with sufficient power, current, bandwidth, damping factor and headroom to drive your loudspeakers sufficiently to retain musical detail at low volume levels for late-night listening, and yet have enough clout to party out when loud, dynamic volume swings are needed.

A perfect amplifier is often described as a piece of wire with gain, not affecting the sound characteristics of the source and with as little added distortion as possible. Again, some will say the source needs some additional sauce, and this is what a well-matched amplifier will bring.

Recommended amplifiers - at Budget, Mid-priced and High-end might be:

Amplifiers - Rega Brio, Rega Aethos and Naim 332 pre-amp/Naim NAP250 power amp

Not all amplifiers meet the exacting requirements of perfect playback, and a visit to Audio T in Brighton can assist with your particular use case and arrange a demo.

Loudspeakers...

When asked, a majority of people will vote the loudspeakers as the most important part of a sound system. Although we may not necessarily agree, in a lot of ways this makes sense, because loudspeakers impart the most “colour” into the sound of a music system, being the most “characterful”, both in terms of their sound and looks.

Speakers’ character can take the form of cabinet resonances, driver distortion, port resonances, phase problems and, the one most people don’t consider (at first) to be part of your system sound – the elephant in the room – the sound characteristics of the room itself!

Positioning your speakers has such an influence on the sound of your system that one might consider their interaction with the room acoustics as important as the speaker itself. This also explains why customers should listen to loudspeakers in their home environment, if at all possible, before purchasing. We’d highly recommend narrowing down your choice of speaker options by auditioning some at your local Audio T store before a home demo to verify your choice as the best option.

Recommended stand mount speakers - at Budget, Mid-priced and High-end might be:

Loudspeakers: Acoustic Energy AE100Mk2, Proac DB1’s, Dynaudio Contour 20BE’s

Cables... Speaker cable and interconnects.

Some folks consider the cabling of your music system to be the most important part of the chain. There is no denying that cables allow components to connect to each other, and their electrical capacitance, inductance, impedance and resistance all influence how well they communicate the musical signal.

A major concept to get to grips with in understanding cables is that they can be both transmitters and receivers of a signal (aerials). Generally we’ll want one or the other and not both at the same time. The construction materials – whether copper, silver or a mixture of both – can affect transmission speeds, electrical characteristics and price.

So, is that it?

You may think that is it as far as system set-up goes... well, not quite. There are a number of linked factors to consider, some hinted at in the sections on source, amplifier and speakers, so we’ll mention these in the following commentary.

Your listening room...

Considering your listening room as an influence on the sound should be more obvious than it appears at first.

Imagine for a minute you were to set up your stereo system in your local church and ask yourself how that would sound compared to your listening space at home? We have spoken to many customers who were very happy with the sound of their systems until they decided to move home, and are now finding that it doesn’t sound as good.

What’s changed? Only the construction, dimensions and sound properties of their room and the positioning of their system. No blame can be attached to the components that form the trio – source, amp and speakers – as they haven’t changed!

The science behind room acoustics and how it interacts with your system is too complex to discuss in detail here. However, there are things one can do to mitigate room problems: getting your system balance right, careful positioning and judicious use of sound absorption through carpets, sofas and curtains to avoid excess reflections.

Some companies, like Linn, have complex software sound management systems via DSP to counteract unwanted room nodes. Linn’s Space Optimisation software, incorporated in their Linn Majik DSM and Linn Selekt DSM systems, uses data about your listening space and room dimensions to adjust the sound output to give a more linear frequency response. Linn Space Optimisation is convenient and works well, but we’d always recommend trying to work au naturel if possible.

The original recording...

Arguably, the source of sources is the original recording, the quality of which varies hugely based on the recording format, equipment used to make the recording, the age of the recording and who the recording/mastering engineer was.

One of the major issues with streaming services is the inability to select which “vintage” of a recording to play. Apart from the latest music releases, we tend to be limited to the most recent remasters of older music and their associated hi-res files. This can give the illusion that you’re being delivered the “best version” of that album, and that is not always the case.

The problem is that without the choice of an alternative version to listen to, you have no reference point – unless you own a copy on CD or download.

Vinyl sources are different again, with mastering and pressing quality, the disc material and colour of vinyl having an influence on the sound. Disc cleanliness is also important to reduce surface/groove noise – the DeGritter Mk2 ultrasonic record cleaning machine is exceptional at improving the quality of your “source”.

System synergy...

Another factor contributing to the sound of your system doesn’t focus on any one particular area but looks at the idea of system synergy – the idea that any point in the chain affects what comes before or after it, what connects it and the overall balance.

It is this last factor where a dealer like Audio T can help you make better decisions on your road to Nirvana, because just selecting recommended products online and putting them together is no guarantee that they will work together. Unfortunately, we often come across customers who have gone down this path to save money and find their ideal sound system, only to achieve neither goal.

Perhaps being the “source” of good advice is the most important component in the chain after all.

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’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

Rega can be found at the following Audio T stores -

Naim can be found at the following Audio T stores…

Acoustic Energy loudspeakers are available from the following branches of Audio T:

DeGritter can be found at the following Audio T stores…

Dynaudio can be found at the following Audio T stores -

ProAc can be found at the following Audio-T stores

July 31, 2025

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

July 31, 2025/ Bristol

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

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

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

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

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

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

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

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

Introducing the Range

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

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

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

The Lyngdorf Experience

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

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

How does it sound?

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

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

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

In Summary

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

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

Thanks for reading!

Justin, Max & Barry - Audio T Bristol

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

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

Lyngdorf can be found at the following Audio T stores -

July 31, 2025

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

July 31, 2025/ Audio T Swansea/ Swansea

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

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

A Little Background…

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

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

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

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

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

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

Arrival and Installation

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

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

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

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

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

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

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

Finding the Sweet Spot

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

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

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

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

Big Sound, Beautifully Controlled

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

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

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

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

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

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

“I’ll Have a Pair in Walnut Please”

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

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

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

“Yes, they do come in Walnut.”

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

Visit Us for a Listen

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

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

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

Thanks for reading.

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

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

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

ATC Loudspeakers can be found at the following Audio T stores

July 31, 2025

Centre Stage: The Speaker That Holds It All Together

July 31, 2025/ Audio T Reading/ Reading

Optimising your centre speaker for clear dialogue, balanced sound, and seamless integration with your home theatre system.

July 29, 2025

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

July 29, 2025/ Audio T Manchester/ Manchester

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

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

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

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

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

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

Stylistics

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

Captain Chromey!! Engines on and ready for warp speed

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

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

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

Manna from Above

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

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

High-Falutin’? Not Really — Just Perfect

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

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

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

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

Try Them for Yourself

Check out some of the tracks we used below…

**Tom Misch & Yussef Dayes**

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

**Speedy J**

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

**Djrum**

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

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

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

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

Thanks for reading

Munir, James and Dave - Audio T Manchester

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

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

DALI can be found at the following Audio T stores

July 29, 2025

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

July 29, 2025/ Audio T Cardiff/ Cardiff

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

rega logo

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

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

Why the Upgrade Question Came Up

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

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

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

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

Rega Planar 6 Specifications

RB330 tonearm with stainless steel balance weight
Dual-layered float glass platter
Double brace technology
Tancast 8 foam-core plinth
Custom-matched Neo PSU
EBLT reference drive belt fitted as standard

Rega Planar 8 Specifications

RB880 precision tonearm
Super flywheel-effect triple-layer glass platter
Double brace technology
Tancast 8 foam-core plinth
Custom-matched Neo PSU
24-volt low-noise motor assembly
Two EBLT reference drive belts as standard

Looking Back – Why I Chose the Planar 6

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

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

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

So, Why Change?

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

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

Design Evolution – What Makes the Planar 8 Special?

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

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

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

The Listening Session Begins

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

big wreck lp displayed with matts very own strat

My Test Tracks

Ozzy Osbourne – Blizzard of Ozz (1980) – Mr Crowley
Iron Maiden – The Final Frontier (2015) – El Dorado
Big Wreck – Albatross (2025) – Albatross

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

Planar 6 Listening Impressions

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

Planar 8 Listening Impressions

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

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

the essential tools for swapping the cartrdige over

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

planar 8 fitted with dynavector 10×5 high output

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

Final Verdict

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

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

Try It Yourself

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

Thanks for Reading

Matt Aaron - Audio T Cardiff

Rega can be found at the following Audio T stores

Dynavector can be found at the following Audio T stores

July 29, 2025

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

July 29, 2025/ Audio T Cheltenham / Cheltenham

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

In My Blue World

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

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

Say Goodbye to All Your Friends

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

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

I’ve Been Thinkin’ It Over

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

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

Concerto For A Rainy Day

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

the most recent addition to the collection

It’s A Beautiful New Day

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

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

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

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

Calling All Collectors

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

I’ll Remember You This Way

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

Thanks for reading,

Andy, Jon and Farid - Audio T Cheltenham.

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

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

Acoustic Energy can be found at the following Audio T stores

Rega can be found at the following Audio T stores -

July 24, 2025

A REGA AND SONUS FABER VINYL BASED SYSTEM: SOULFUL SYMMETRY

July 24, 2025/ Audio T Swindon/ Swindon

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

Rega Planar 3

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

Sound

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

Rega Brio Mk7

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

Sound

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

Sonus Faber Lumina II

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

Sound

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

System synergy

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

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

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

Jon and Andy - Audio T Swindon

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

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…

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

July 24, 2025

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

July 24, 2025/ Audio T Portsmouth/ Portsmouth

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

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

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

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

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

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

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

Audio nirvana - minimising mechanical interference pays sonic dividends

Not so good vibrations

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

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

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

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

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

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

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

wall brackets can reduce vibrations affecting turntables

Here’s how mechanical noise can affect audio:

Microphonic Effects: Sensitive electronic components, such as capacitors and valves, can act like microphones - picking up physical vibrations and converting them into unwanted electrical noise.
Timing Smear: Vibrations can subtly alter the timing of digital circuits, potentially leading to jitter or loss of low-level detail.
Distortion in Analogue Playback: Turntables are especially vulnerable and any vibration that reaches the stylus can be interpreted as part of the signal.
Resonant Coupling: When components share vibrations through a shelf, stand or rack, they can resonate with each other, introducing tonal colouration or masking fine detail.

Putting a dampener on things

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

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

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

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

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

Damping - some materials convert vibrational energy into heat. Sorbothane, viscoelastic polymers, and certain foams are commonly used in feet and pads. These materials are tuned to absorb vibrations within specific frequency ranges, reducing resonance.
Decoupling - by creating a mechanical barrier between a component and its environment, you can decouple it from structural vibrations. This can be achieved through soft suspension (springs, air bladders) or opposing hard interfaces, for example ceramic balls on steel cups.
Mass loading - heavy platforms made of dense materials (like granite or constrained-layer composites) absorb energy and prevent components from “shaking themselves.” A good example is filling metal speaker stands with a dense filler to stop then ‘ringing’.
Mechanical grounding - some isolation systems aim to drain vibrations away from a component by providing a low-resistance mechanical path, often using rigid cones or spikes into heavy bases.

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

Isoacoustics gaia feet provide isolation for speakers and speaker stands

The sound of silence

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

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

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

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

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

Speakers: spikes are a minimum form of isolation, reducing the energy transferring from the speakers to the floor and vice versa. For stand mount speakers always try to use good pair of speaker stands and consider filling the uprights on suitable stands with some sort of deadening material, such as Custom Design inert Filler or Atacama Atabites. For floor standers consider IsoAcoustic Isolation Feet or the Chord Silent Mount SM7 Isolation Feet.

Amplifiers and CD players: Isolate using a good quality rack such as those from SolidSteel or Quadraspire or Blok or Naim.
Streamers & DACs: Isolate using a good quality rack. Even consider additional isolation feet such as Quadraspire Qplus Supports or the Bassocontinuo Ultra Feet Enhanced Isolation System
Speakers: spikes are a minimum form of isolation, reducing the energy transferring from the speakers to the floor and vice versa. For stand mount speakers always try to use good pair of speaker stands and consider filling the uprights on suitable stands with some sort of deadening material, such as Custom Design inert Filler or Atacama Atabites. For floor standers consider IsoAcoustic Isolation Feet or the Chord Silent Mount SM7 Isolation Feet.

Other things to consider

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

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

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

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

Reaping the rewards

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

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

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

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

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

Alan, Luke and Steve - Audio T Portsmouth

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

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July 22, 2025

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

July 22, 2025/ Brighton

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

Linn Majik DSM 5th generation...

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

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

All things to all men...

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

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

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

Not so tragik - plenty of majik!

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

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

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

Thanks for reading.

Ade, John and Paul - Audio T Brighton

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Linn can be found at the following Audio T stores

July 11, 2025

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

July 11, 2025/ Audio T Southampton/ Southampton

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

The System Used

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

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

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

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

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

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

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

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

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

#4: Wardruna – Birna (2025)

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

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

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

#3. Linkin Park – Hybrid Theory (2000)

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

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

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

#2. Disturbed – Immortalized (2015)

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

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

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

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

Honourable Mentions

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

#1. Shinedown – ATTENTION ATTENTION (2015)

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

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

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

Final thoughts…

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

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

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

Thanks for reading — see you next time!

Tiago - Audio T Southampton

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June 30, 2025

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

June 30, 2025/ Audio T Reading/ Reading

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

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

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

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

Start With What You Want the System to Do

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

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

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

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

Room Shape, Construction & Acoustic Gremlins

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

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

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

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

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

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

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

The Beauty in Dolby Atmos

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

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

5.1.4 - DOLBY ATMOS WITH OVERHEAD SPEAKERS

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

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

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

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

Dolby Atmos recommended Height Speaker positioning

AVR vs Processor + Power Amps?

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

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

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

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

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

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

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

The main advantages of going this route?

Cleaner signal paths (no shared power supply between processing and amplification)
More headroom and control over amplification
Better DACs and internal architecture, particularly in high-end models
Advanced room calibration systems (like Dirac Live or RoomPerfect)
Modular flexibility: you can upgrade amps or processors separately as the system evolves

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

Room correction

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

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

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

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

Current Brand Options and Their Qualities

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

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

Customer Install - Arcam AVR21 Driving B&W Speakers

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

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

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

The Power Options

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

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

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

Stereo Integration for Music Lovers

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

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

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

Speakers: Consistency Is Key

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

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

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

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

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

Current Brand Options and Their Qualities

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

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

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

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

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

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

Speaker Positioning

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

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

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

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

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

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

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

Subwoofers: It’s Not Just About the Boom

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

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

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

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

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

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

Wrapping It Up

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

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

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

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

Final Thoughts

We highly recommend trying streaming Dolby Atmos music through services such as TIDAL, Apple Music, or Amazon Music.
Film to check out: Sound of Freedom — an action film with a dark theme, based on a true story.

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

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

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*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

June 27, 2025

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

June 27, 2025/ Audio T Swansea/ Swansea

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

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

First Impressions in the Demo Room

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

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

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

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

So, What Is DC on the Mains?

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

“So-called ‘DC on the mains’ is an increasingly common issue affecting the quality of your home’s power supply. Caused by a variety of everyday electronic devices around your home that are connected to the power grid — things like dimmer switches, hair dryers, and coffee machines — these items generally run a diode electrically in series. But it doesn’t end there: solar panels on the roof, elevators, and fast-charging stations for electric cars cause even more DC issues.
These could be in your house, your neighbourhood, or even further down the road. Strictly speaking, the problem with ‘DC on the mains’, as it is referred to, is the imbalance of the mains sine wave on the zero volts line. Technically speaking, it is not really a mains noise, but nevertheless, it’s bad power. It can cause considerable mechanical vibration within products (not only in amplifiers but in all electronics), which will dramatically affect performance.”

The Practical Impact

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

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

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

Trying It at Home

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

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

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

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

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

Home Cinema: Another Level

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

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

Hoo-boy! I’m having one of these...

Thank you for reading.

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

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