The MM-520 was developed by Audeze in collaboration with Manny Marroquin, the mixing engineer with eighteen Grammys to his name, and is positioned as a professional headphone for use in recording studios for creators who need mixes that sound good outside the control room as well. By its own account, Audeze is not simply hunting for headphone collectors with yet another showpiece of a magnetostatic headphone.

The company is trying to position its studio models as full-fledged everyday tools for technicians, producers, and creators who have relied on German and Japanese studio headphones for decades. The MM-520 will have to earn that spot, but given the reputation of the MM series, Audeze is no longer just politely knocking on the door. The brand has a name, a reputation, and ultimately, a very pricey pair of earcups.

“The MM-520 represents the latest addition to our mission to provide creators and professionals with the ultimate monitoring tool,” says Sankar Thiagasamudram, CEO of Audeze. “By adding proprietary SLAM technology to Manny’s signature series, we have created a headphone that delivers even more truth in the low end, while retaining the characteristic clarity Audeze is known for,” says the CEO of Audeze.

90 mm planar drivers and a studio-oriented design

The Audeze MM-520 builds upon the MM-series platform with the addition of Symmetric Linear Acoustic Modulator, or SLAM technology. According to Audeze, SLAM is designed to improve bass response and spatial representation by regulating airflow and pressure within the ear cup. The goal is stronger low-frequency definition and better spatial clarity, without compromising the more neutral mid-frequency balance that characterized the MM-500.

The MM-520 utilizes 90mm planar magnetostatic drivers with ultra-thin Uniforce diaphragms and Fazor phase management, technologies that Audeze applies to all its planar magnetic headphones to reduce distortion and improve phase behavior. For studio users, the focus is on accuracy, low distortion, and consistency during mixing, mastering, and content creation. Audeze also claims that the headphones' high sensitivity and low impedance allow them to be driven by mixing consoles, audio interfaces, and laptops, making them more practical for both studio and mobile use.

Comfort has also been considered with improved memory foam ear cushions designed for longer sessions. The ear cushions are magnetically attached, making them easy to replace over time. This is important for studio headphones. Ear cushions wear out, sessions last a long time, and no one wants to deal with maintenance between takes.

The NX-70A is Yamaha's all-in-one solution for the modern enthusiast of both music and sound quality. The NX-70A system performs impressively in a traditional stereo setup, but also as speakers for use alongside the television. For the minimalists among us who also want to enjoy their vinyl, the combination of the NX-70A system with the MusicCast VINYL 500 is irresistibly attractive. For those who want more, the rest of the ecosystem of Yamaha's MusicCast components is available, making the network audio offering incredibly large and versatile.

The Yamaha NX-70A wireless hi-fi speaker system will be available from the end of July 2026 in black and white at a recommended retail price of just under 3,000 euros per set. The matching stands (SPS-70A) have a retail price of just under 600 euros per set.

Marten Dexter: Four new loudspeakers

The Dexter series, consisting of the Duo, Trio, Quartet, and Quintet members, is designed to bring Marten's most advanced ideas to a wider range of listening environments. The Dexter Quintet, Dexter Quartet, Dexter Trio, and Dexter Duo share a common architecture: a Marten pure diamond tweeter, developed based on work on the Coltrane Supreme Extreme project, a new three-layer M-Core cabinet construction, and a new bass reflex system developed specifically for this series.

The Dexter Quintet and Dexter Quartet are three-way systems, each featuring a ceramic Marten midrange driver and carbon fiber Marten bass drivers. The Dexter Trio and Dexter Duo are built around a ceramic Marten midrange/bass driver, with the same diamond tweeter found throughout the series. All four models are internally wired with Jorma Duality cable and designed and built at the Marten factory in Sweden.

Loaded Reflex Line, Marten's new bass loading system, combines the principles of bass reflex and transmission line through a shaped internal channel and a wide, downward-facing slot port. This reduces air velocity, increases bass depth, and offers significantly more flexibility in room placement than conventional bass ports.

The Dexters are available in four finishes: True Grain Oak, Piano Walnut, Matte Walnut, and Piano Black. True Grain Oak is new to Marten and exclusive to this series. The Statement Edition, a version with an improved crossover and better internal cabling, is available for all four models.

Marten at High End Vienna 2026

The Dexter series makes its public debut at High End Vienna 2026. Incidentally, the complete Marten range, including the Coltrane, Mingus, Parker, and Oscar series, is represented in the partner areas spread throughout the show.

Dexter is available in four finishes. True Grain Oak is exclusive to Dexter — an oak with an open grain and a natural, tactile surface. The walnut finishes were developed specifically for this series and selected for their deep grain and natural, understated tone. Piano Black completes the range.

High-level streaming

At the Arcotel Kaiserwasser in Vienna, Métronome Technologie presents the world premiere of two new devices from the Kalista (sub)brand at Hifideluxe 2026: the Kalista DreamPlay S and the Kalista DreamPlay SC. Both models are being shown to the public for the first time around High End Vienna 2026 and consistently expand the Kalista DreamPlay series into streaming at an absolute reference level.

The Kalista DreamPlay S is designed for users who already own a high-quality DA converter, while the Kalista DreamPlay SC features a reference-level streaming and DA converter on board. With this, Métronome Technologie views network audio not as an additional feature, but as an independent digital reference source, entirely in line with the style of the French luxury brand. Both models are handcrafted in France, featuring advanced power supplies, broad protocol support, and Kalista's signature choice of materials, and are intended to embody the brand's ambition for a new generation of streaming.

According to the manufacturer, the Kalista brand has long been synonymous with high-quality digital solutions where technology, materials, and design are inextricably linked. The brand, originating from Métronome Technologie, a French manufacturer with a history dating back to 1987, traditionally presents digital sources not as merely functional devices, but as consciously designed objects for uncompromising music reproduction. With the Kalista DreamPlay S and Kalista DreamPlay SC, this approach is now consistently applied to streaming. Yes, the devices have a distinctive and striking design.

Kalista DreamPlay S: Network player WITHOUT DAC

The Kalista DreamPlay S is a network player without a DA converter. The device natively processes linear PCM from 32-bit/44.1 to 384 kHz and DSD64 to DSD256. Linear PCM up to 32-bit/384 kHz and DSD64 to DSD128 are available via DoP (Digital Output) via S/PDIF and AES/EBU, while DSD to DSD256 is natively output via I2S.

Connection to a network can be established via Ethernet and Wi-Fi, and there is USB 2.0 for external storage devices, I2S, S/PDIF, and AES/EBU. A service port is also present, as well as a separate power supply via the Elektra module, which is listed as a standalone device in the technical specifications.

Kalista DreamPlay SC: Network player WITH DAC

The Kalista DreamPlay SC expands the concept with integrated DA conversion. This makes it the ideal solution for users who want to combine streaming and digital signal conversion in a single Kalista system, without needing a separate DA converter. Métronome Technologie has incorporated the ES9039MPRO DAC chip.

According to the technical specifications of the Kalista DreamPlay SC's DA converter, the THD+N has a value of less than -122 dB and a dynamic range of 137 dB. In addition to the digital outputs I2S, S/PDIF, and AES/EBU, the DreamPlay SC offers balanced and unbalanced analog outputs, i.e., both RCA and XLR.

Streaming services and protocols

Both devices support the common streaming services and protocols used daily in audiophile network systems. These include DLNA/UPnP, Audirvana, Spotify Connect, Roon Ready, Deezer, TIDAL Connect, Qobuz Connect, and vTuner.

Qobuz Connect enables the direct transfer of the stream from the Qobuz server to the device, without the smartphone itself acting as the audio source. TIDAL Connect and Spotify Connect perform a similar function for their respective platforms, while Roon Ready enables integration into Roon-based multiroom and music library environments. Audirvına, in turn, is attractive to users who want to combine their local music library, streaming services, and a consciously audiophile playback environment via specialized software.

The Métronome technology also offers support for MQA renderers up to 32-bit/384 kHz. Dual-band Wi-Fi (2.4 and 5 GHz) and Ethernet (10, 100, and 1000 Mbps) are available for networking. External storage devices can be connected via USB 2.0.

Distinctive appearance

With the DreamPlay S and DreamPlay SC, Kalista remains true to its distinctive house style. The flat, sculptural form, the visible use of materials, and the meticulous craftsmanship are clearly aimed at the premium segment. Both models are available in two finishes: Black Pearl and Diamond.

With this, Kalista remains true to its commitment to digital audio technology, not only as a functional device, but as a visible element of a high-quality system. Despite all design considerations, the technical aspects clearly take center stage: low interference, accurate signal transmission, high-quality digital interfaces, and an architecture that views streaming not as a secondary function, but as a central source.

Prices and delivery information

Métronome Technologie presents the new Kalista DreamPlay S and Kalista DreamPlay SC at hifideluxe 2026 in Vienna, which takes place simultaneously with High End Vienna 2026. Pricing and delivery information have not yet been announced.

While the Verto D3 focuses on extracting every last detail from digital music, the Asterion V3 is designed to get the best from both MM and MC cartridges. Both units blend Canor's expertise in tube circuitry with modern functionality, premium build quality, and the elegant styling the Slovak manufacturer has become known for.

Audiophiles won't have to wait too long to hear them. The Verto D3 and Asterion V3 are scheduled to arrive in September or October 2026, with their official public debut set for this year's High End Vienna exhibition.

Canor Verto D3: Tube DAC with dual-mono architecture

The Canor Verto D3 is a discretely constructed tube DA converter with a fully symmetrical dual-mono architecture. At its heart are two ESS Sabre ES9039Q2M DAC chips, one per channel. The analog output stage is built with four E88CC tubes in a pure Class A circuit and combines modern digital signal processing with the musical qualities of classic tube technology.

The Verto D3 supports PCM up to 24 bit / 768 kHz and Native DSD up to DSD512. Galvanically isolated digital inputs, including USB-B, AES/EBU, coaxial, and optical inputs, ensure flexible connectivity options in high-quality hi-fi systems. Thanks to fixed and variable analog outputs via RCA and XLR, the Verto D3 can be used both as a classic DA converter and directly for a power amplifier.

Canor Verto D3: Specifications

• Device type: Tube DA converter
• Product line: Performance Line
• DAC configuration: 2 x ESS Saber ES9039Q2M DAC chip, dual-mono
• Digital filters: 9 digital filters
• USB input: 1 x USB-B
• USB resolution: PCM up to 24 bit / 768 kHz, DoP DSD up to DSD256, Native DSD up to DSD512
• Other digital inputs: 1 x AES/EBU, 1 x coaxial, 2 x optical, 1 x TV input
• Resolution AES/EBU, coaxial, optical: PCM up to 24 bit / 192 kHz, DoP DSD64
• Analog outputs: 1 x RCA pair, 1 x XLR pair
• Output impedance: RCA: 100 Ohm, XLR: 200 Ohm
• Output voltage: RCA: 2 Volts RMS, XLR: 4 Volts RMS
• Frequency range: ±0.1 dB, 20 Hz – 20 kHz
• XLR distortion: less than 0.009%
• XLR signal-to-noise ratio (A-weighted): greater than 110 dB
• Tube configuration: 4 x E88CC
• Power supply: 230 Volts / 50–60 Hz / 40 VA
• Net weight: 12 kilograms
• Recommended retail price: $4,399

Canor Asterion V3: phono amplifier for MM and MC cartridges

The Canor Asterion V3 is a tube-circuit phono amplifier suitable for both MM and MC cartridges. It supports unbalanced MM and MC connections as well as balanced MC connections, thereby offering a high degree of flexibility for a wide range of cartridges and turntable configurations.

The amplifier circuit uses ECC83S and ECC81 tubes. A Lundahl step-up transformer is used for MC inputs. The analog stages are designed without global negative feedback. RIAA correction is performed passively using high-quality polystyrene and polypropylene capacitors. Important settings such as MM/MC selection, impedance, and capacitance can be conveniently adjusted via the remote control.

Canor Asterion V3: Specifications

• Device type: tube phono amplifier
• Product line: Performance Line
• Suitable for MM and MC cartridges
• Connections: asymmetrical MM, asymmetrical MC, symmetrical MC
• Gain factor MM: 46 dB
• Gain factor MC: 70 dB
• Input impedance MC: 10, 20, 40, 80, 150, 300, 600, 1,200 Ohm
• Input capacitance MM: 50, 150, 270, 370, 520, 620, 740, 840 pF
• Output impedance: less than 500 Ohms
• Inputs: 2 x stereo RCA, 1 x stereo XLR
• Output: 1 x RCA pair
• Distortion MM/MC (1 Volt RMS): less than 0.2%
• Subsonic filter: 18 dB / octave
• RIAA accuracy MM/MC: ±0.3 dB, 20 Hz – 20 kHz
• Tube configuration: 2 x ECC83S, 2 x ECC81
• Power supply: 230 Volts / 50–60 Hz / 40 VA
• Net weight: 12 kilograms
• Recommended retail price: $4,799

The Apollo PRO enters the market as Sendy Audio's latest premium headphone and is aimed at audiophiles seeking the speed, transparency, and spacious presentation traditionally associated with planar magnetic technology.

Advanced 78mm Planar Magnetic Driver

At the heart of the Apollo PRO is a custom-developed 78mm planar magnetic driver built around an ultra-thin nano-scale composite diaphragm. Measuring less than 800 nanometers in thickness, the diaphragm has been engineered to minimize moving mass, enabling faster transient response, improved detail retrieval, and enhanced microdynamic performance.

According to Sendy Audio, the large planar driver delivers an expansive soundstage with excellent instrument separation and precise imaging, characteristics that are particularly valued in high-end headphone listening. The design is intended to provide a natural and highly resolving presentation across a wide range of musical genres while also offering the spaciousness required for films and gaming.

A notable feature of the driver assembly is Sendy Audio's proprietary Electron Beam Evaporation Deposition technology. This manufacturing process applies an ultra-precise aluminum conductive layer directly onto the diaphragm surface, improving consistency and reducing unwanted resonance. The result is said to be greater linearity throughout the frequency range and improved control over driver movement, contributing to a cleaner and more refined sonic presentation.

Open-Back Design With Premium Materials

The Apollo PRO features an open-back acoustic architecture designed to reduce internal reflections and create a more natural sense of space. The headphone combines handcrafted zebrawood earcups with a distinctive sunburst-pattern metal grille, giving it a premium appearance while supporting acoustic transparency.

The use of natural wood remains a hallmark of Sendy Audio's design philosophy, offering both visual appeal and acoustic benefits. The open structure allows the planar driver to operate with minimal enclosure coloration, helping preserve detail and tonal accuracy.

Lightweight Construction For Extended Listening

While many planar magnetic headphones are known for their substantial weight, Sendy Audio has focused heavily on comfort with the Apollo PRO. Weighing just 354 grams, the headphone is significantly lighter than many competing planar designs.

The lightweight frame is complemented by CNC-machined aviation-grade aluminum components and an adjustable suspension system designed to distribute weight evenly across the head. Breathable velvet ear pads and a premium lambskin leather headband further enhance long-term comfort by reducing heat buildup and pressure during lengthy listening sessions.

The combination of low weight and ergonomic design makes the Apollo PRO particularly attractive for listeners who spend hours enjoying music, gaming, or movie soundtracks.

Balanced Connectivity Included

Sendy Audio supplies the Apollo PRO with a premium detachable cable constructed from Furukawa oxygen-free copper, silver-plated copper conductors, and enamel-coated gold-plated copper strands. The cable also incorporates graphene-enhanced shielding designed to minimize interference and preserve signal integrity.

A 4.4mm balanced termination is included as standard, alongside adapters for both 3.5mm and 6.35mm outputs, allowing the headphone to be used with a wide variety of portable players, headphone amplifiers, DACs, and desktop audio systems.

Frequency Response And Availability

The Apollo PRO offers a specified frequency response of 20 Hz to 40 kHz, covering the full audible spectrum while extending well beyond it. Combined with its large planar driver and lightweight construction, the headphone is positioned as a versatile solution for both dedicated audiophile listening and modern high-resolution audio systems.

The Sendy Audio Apollo PRO is available now with a recommended retail price of £449 / $449 / €499.

Specifications

• Driver Type: Planar Magnetic
• Driver Size: 78mm
• Diaphragm: Nano-scale composite diaphragm (<800nm)
• Design: Open-back
• Weight: 354g
• Frequency Response: 20Hz – 40kHz
• Earcups: Zebrawood
• Cable: Detachable balanced cable included
• Connections: 4.4mm balanced, 3.5mm adapter, 6.35mm adapter
• Headband: Premium lambskin leather
• Ear Pads: Breathable velvet

Titanium housing and beryllium driver

The FiiO Snowsky OAK Nano features earcups made of pure titanium, CNC-machined, mirror-smooth polished, and PVD-coated. FiiO emphasizes that the design is inspired by classic watchmaking, but that this approach is primarily reflected in the choice of materials, the surface quality, and the precise finish of the case.

Inside is a 13.8 mm dynamic driver with an external magnet system. The dome-shaped diaphragm is made of a beryllium alloy and, according to the manufacturer, is particularly light and rigid. Combined with a magnetic flux density of nearly 1.5 T, this should ensure a fast response, low distortion, and fine resolution in the high-frequency range.

Acoustic fine-tuning with Acoustic Prism

For the front chamber, FiiO uses an Acoustic Prism System designed to correct the phase of sound waves and reduce time differences and standing waves. The rear chamber, in turn, features controlled damping that regulates airflow, reduces resonances, and stabilizes bass and fundamental tones.

The FiiO Snowsky OAK Nano therefore does not use a complex concept with multiple drivers, but rather a carefully developed approach with a single dynamic driver. The diaphragm, the magnet structure, the volume of the housing, the front chamber, and the rear chamber are all specifically tuned to one another.

Two tuning mouthpieces and USB-C DSP

The package contains red and black tuning mouthpieces. The red version is designed for a more powerful, atmospheric bass response, while the black mouthpiece, according to the manufacturer, is focused more on transparency, detail, and better reproduction of the high frequencies. This allows for mechanical sound adjustment without the need for electronic correction.

FiiO also includes a modular cable with a 0.78 mm 2-pin connector and three interchangeable plugs. In addition to 3.5 mm and 4.4 mm Pentaconn plugs, a USB-C DSP plug is also included, which contains a BES3001-SP DSP audio decoding chip. This supports linear PCM up to 32-bit/384 kHz and an 8-band parametric equalizer (PEQ), which can be adjusted via the FiiO Control app or a web interface.

Extended scope of delivery

FiiO equips the OAK Nano with a silver-plated 6N OCC monocrystalline copper cable, which, according to the manufacturer, has undergone cryogenic treatment at -192°C for over 100 hours. The scope of delivery is exceptionally extensive: in addition to the cable, interchangeable plugs, tuning mouthpieces, and a carrying case, a total of 22 pairs of ear tips in various styles are included. This allows for precise adjustment of both the fit and the sound quality.

According to the designers, the TD Signature models are aimed at refining Raidho's platform, which they describe as already uncompromising. Raidho presents these models not as a change of course for the TD series, but as a series of improvements intended to ensure that existing designs fade even further into insignificance—that is, that the speakers disappear and only the reproduction of music remains.

The core of every TD model is Raidho's layered cone construction, which is a combination of aluminum, a ceramic coating, tantalum, and artificial diamond material. Each layer is said to have a different function: aluminum contributes to speed and shape stability, ceramic provides hardness and control, tantalum provides damping and balance, and the diamond layer increases stiffness and resonance control.

That diamond material is used in Denmark at the Danish Institute of Technology in Aarhus, underscoring Raidho's long-standing focus on highly specialized, locally controlled driver development. As always in this market segment, the technical aspects are as much about what the loudspeaker takes away as it is about what it adds: less stored energy, less coloration, and fewer obvious signs that the enclosure and driver system are getting in the way.

For the TD Signature upgrade, Raidho has added Furutech terminals, revised the crossover filter based on the experience gained during the TD3.10 project, and refined the woofers with a softer suspension. IsoAcoustics feet are now also part of the package, intended to improve mechanical isolation from the floor.

Morten Kim Nielsen, CEO of Raidho Acoustics, said that the goal was not to make the speakers sound different, but to make them “disappear even more”.

The TD Signature models are expected to be available from July 2026. Prices start at 24,000 euros for the Raidho TD1.2 Black Signature and rise to 26,500 euros for the versions in walnut burr wood or a personalized color. The TD2.2 Black Signature retails for 45,000 euros, or 49,000 euros in walnut burr wood or a personalized color. The flagship TD3.2 Black Signature changes hands for 69,000 euros, and this amount rises to 75,000 euros for the versions in walnut burr wood or a personalized color.

Astell & Kern A&ultima SP4000T Quad Valve Player

High End Vienna 2026 is the chosen location for the official launch of the Astell&Kern SP4000T digital audio player, the latest addition to the flagship A&ultima series, and the Clarus in-ear monitors.

The A&ultima SP4000T, which will be available in stainless steel and copper finishes, features a fully discrete circuit architecture that separates digital and analog signal processing, with two AK4499EX DACs and dedicated AK4191EQ processors per channel. According to the manufacturer, this reduces noise and improves clarity, depth, and purity across the entire signal path, while supporting native playback up to 32-bit/768kHz PCM and DSD512.

The new SP4000T DAP from A&K perhaps distinguishes itself most from its competitors by being the first digital music player to feature matching Raytheon JAN6418 MIL-Spec vintage vacuum tubes in a quad configuration, resulting in a dual tube structure for each channel. Furthermore, the SP4000T benefits from an improved second-generation five-stage antimicrophonic architecture that suppresses microphone noise. According to the designers, the Triple Tube Mode in the SP4000T is once again a first for portable audio players, and in combination with the T Series Signature Triple Amp Mode and tube current level adjustment, the company claims to offer up to 54 possible combinations, yielding a highly diverse “analog sound palette.”

There are also three tube sound modes available: the Triode mode is said to emphasize rich harmonics and, by their own account, a lush, sustained warmth, ideal for vocals and acoustic instruments. The Ultra Linear mode, on the other hand, combines the sonic richness of Triode with the power and control of Pentode, resulting in a so-called refined yet authoritative sound suitable for a wide range of music genres. Finally, there is the Pentode mode, which, according to A&K, focuses on maximum output and dynamic impact, preserving the warmth of the tubes while simultaneously delivering a cleaner, more direct, and more energetic reproduction.

The SP4000T features a High Driving Mode with a parallel op-amp configuration for a wider dynamic range, while ESA (Enhanced Signal Alignment) technology minimizes group delay and frequency distortion, and Advanced DAR technology recovers lost harmonics before upsampling for a more natural and lifelike sound.

Astell & Kern’s Teraton Alpha technology is on board for effective noise suppression of audio power sources, distortion-free amplification, and noise prevention of the audio interface. As a result, the four tubes in the configuration and the advanced op-amp design ensure both authentic analog warmth and ultra-high resolution clarity.

The user can choose between the special Op Amp mode for powerful dynamics, a wide range of detail, and low-noise precision, or the Tube Amp mode for the rich, emotional character and natural sound reproduction of tube amplifiers. Thanks to the five-stage Hybrid Amp mode, the listener can combine the strengths of both amplifiers and fine-tune the balance between them to their own taste.

Astell & Kern SP4000T: equipped with Android 15

The Astell&Kern SP4000T runs on Android 15 with full Google Play support, with the understanding that ADP technology (Astell&Kern Direct Path) bypasses standard Android limitations regarding sample rate conversion, enabling truly lossless, bit-perfect playback of streaming services. The new DAP also features Astell&Kern's first dual Wi-Fi antenna design, with internal tests according to the manufacturer showing that the download speed on 5 GHz is up to twice as high as with previous models.

The device also offers 256 GB of internal storage with the option of microSD expansion up to 1.5 TB, and features a 6-inch Full HD touchscreen, dual-band Wi-Fi, DLNA network functionality, USB audio output, and USB DAC functionality for Mac and Windows PCs.

There is also support for aptX Adaptive and LDAC codecs, while BT Sink mode enables the SP4000T to function as a high-quality Bluetooth DAC for external devices such as smartphones. Features such as ReplayGain, AK File Drop wireless transfer, USB PD 3.0 fast charging, and customizable battery protection further enhance ease of daily use.

Available cases

The SP4000T comes in a luxurious cognac brown leather case from Badalassi Carlo. Two additional luxury leather cases will also be available: a black cowhide case from Gruppo Mastrotto and an olive green vegetable-tanned leather case from Badalassi Carlo.

Astell&Kern Clarus: Nine drivers

Clarus is the fourth model in Astell&Kern's IEM series and is made of 6061-T6 aluminum. Most notably, however, Clarus is designed with a tribrid architecture featuring nine drivers. This design is intended to ensure that each driver performs optimally within its specific range.

The result is that a dynamic driver delivers the natural weight and depth of the low frequencies, a precisely tuned array of Balanced Armature (BA) drivers reproduces the details and resolution of the mid- and high frequencies, and the latest MEMS drivers render the higher frequencies with exceptional precision.

Prices and delivery information

The A&K Clarus and SP4000T can be found at the Astell&Kern stand at High End Vienna, which is just around the corner. Prices and delivery information will be announced later.

Gold Note presents the DS-5.2 as a more compact version of the DS-10 EVO, rather than a stripped-down variant. The DS-5.2 is a fully balanced digital source that is small enough to fit in an IKEA Kallax unit, on a TV stand, or in a traditional hi-fi cabinet. The black anodized aluminum housing has a width of 200 millimeters and weighs four kilograms. A three-inch color touchscreen is mounted on the front panel, displaying settings and album art.

The network functionality uses the same architecture as the DS-10 EVO. The DS-5.2 is therefore Roon Ready, TIDAL Connect, Qobuz Connect, Spotify Connect (including Lossless), and Apple AirPlay 2. Files up to 32-bit/384kHz PCM and DSD256 can be played via a wired or wireless LAN connection. A USB-A port reads the same resolutions from a FAT32 or NTFS drive. Music is selected and played using the Gold Note GN Control app. Bluetooth 5.2 with aptX HD offers a wireless connection with lossy audio quality.

The DS-5.2 is equipped with a digital RCA input and a TOSLINK input, both suitable for music signals with a maximum resolution of 24-bit/192kHz, plus an HDMI eARC connection for direct TV connection with the same maximum resolution. A single analog stereo RCA input completes the package. The DS-5.2 can therefore also be used as a preamplifier.

Outputs

The digital signal is output via a cinch output (24-bit/192kHz) and a Bluetooth 5.2 aptX HD transmitter, allowing the DS-5.2 to be used as a pure streamer to drive another DA converter.

Analog music signals are supplied via a fixed 2-volt RMS RCA and XLR output, while a separate preamplifier stage adds variable RCA and XLR outputs and a 6.35 mm headphone jack, which, according to the manufacturer, is backed by a two-watt headphone amplifier. Gold Note indicates that the volume control can be switched on or off, allowing the device to function as either a source with a fixed output or as a preamplifier.

DAC

Gold Note's designers have used a single AKM AK4493 DAC chip connected to what the company describes as a fully balanced circuit. Gold Note lists a total harmonic distortion of 0.001%, a signal-to-noise ratio of 125 dB, and a dynamic range of 120 dB. As is often the case, Gold Note talks less about (DAC) chips and figures than about a business philosophy based on a database of reference recordings, for which the company claims to know the studios, microphones, and technicians inside and out.

Finally: the DS-5.2 can be powered by the optional external power supply PSX-5.2.

Price and delivery information

Like all Gold Note products, the DS-5.2 is designed and manufactured in Italy. The Gold Note DS-5.2 has a recommended retail price of $1,290.

The Nous from Ideon Audio is certainly not the first preamplifier equipped with a DA converter and streaming functions. Ideon claims that the Nous is somewhat more ambitious than an all-in-one solution focused on ease of use. The company states that the platform was designed from the ground up, rather than being built around a generic computer platform to which audio stages were added later.

The core of the design is formed by a reference-class DA converter combined with a powerful network streaming engine. Supported playback options include Qobuz Connect, Spotify, AirPlay, UPnP streaming, Audirvana integration, playback from the local library, NAS rendering, and Roon Bridge functionality.

Ideon has also introduced its so-called Real-TimeCore streaming philosophy, which prioritizes audio playback tasks and aims to reduce computational interference, process instability, timing inconsistencies, and digital artifacts. As always with such claims, listening will be the best way to prove it, but the intention seems clear: the Nous is presented as a serious audiophile front-end rather than a lifestyle streamer with a luxury casing.

The analog side is also essential to the design. Nous utilizes a fully balanced signal path and a differential analog topology, featuring a precise digitally controlled analog potentiometer and a balanced, high-current output stage. The manufacturer Ideon states that the preamplifier section is designed to function at the heart of reference systems, rather than simply as a volume-controlled output stage.

Connectivity options include two fully balanced analog inputs, USB audio, an optical digital input, and a coaxial SPDIF input, allowing the Nous to process both digital and analog sources. Internally, separate control circuits regulate the analog and digital domains, while two oversized transformers power each section separately. According to Ideon, the result is a high-quality audio hub designed to reduce cabling complexity, grounding inconsistencies, and interface issues often found in multi-component digital systems.

While many modern IEMs rely on multiple drivers to achieve a spacious and detailed sound, EarAcoustic has taken a different approach. The OSHUN-LTD uses a single 8.3mm dynamic driver paired with a dual-chamber acoustic design that aims to deliver an immersive listening experience without the complexity of multi-driver configurations.

A Single Driver With Ambitious Goals

At the heart of the OSHUN-LTD is an 8.3mm dynamic driver featuring a titanium-gold composite dome and a carbon fiber surround. According to EarAcoustic, this combination is designed to balance rigidity and control, helping the driver reproduce fine details while maintaining smooth and controlled movement.

The dual-magnet Tesla motor system is another standout feature. Strong magnetic systems have become increasingly popular in high-performance headphones and earphones, as they can improve driver responsiveness and precision.

Designed to Mimic Natural Listening

One of the more interesting aspects of the OSHUN-LTD is its acoustic architecture. EarAcoustic says the internal chamber was developed using simulations based on the shape of the human outer ear. The goal is to manage internal reflections and create a more natural sense of space and depth without relying on additional drivers.

This approach could appeal to listeners who prefer the coherence and tonal consistency often associated with single-driver designs.

Premium Materials and Lightweight Construction

The earphone housings are machined from 6063 aluminum alloy and feature a distinctive textured finish inspired by meteorite surfaces. A layered coating process, including electroplated paint and a transparent protective layer, gives the OSHUN-LTD a premium appearance while helping to protect the finish over time.

Despite the metal construction, each earpiece weighs just 6.8 grams, making them light enough for extended listening sessions.

Detachable Cable and Balanced Connectivity

EarAcoustic includes a detachable hybrid Litz cable that combines monocrystalline copper and silver-plated copper conductors. The cable connects to the earphones via standard 0.78mm 2-pin connectors, making future cable upgrades easy.

Buyers can choose between a traditional 3.5mm single-ended plug or a 4.4mm balanced connection, giving the OSHUN-LTD compatibility with a wide range of portable audio players, DACs, and headphone amplifiers.

Why Audiophiles May Be Interested

The OSHUN-LTD arrives at a time when many enthusiasts are rediscovering the benefits of well-engineered single-driver earphones. With its Tesla magnetic system, lightweight aluminum housing, and unusual acoustic chamber design, EarAcoustic appears to be targeting listeners who value coherence and natural presentation over simply adding more drivers.

Whether the OSHUN-LTD can stand out in the increasingly crowded IEM market remains to be seen, but its combination of premium materials and ambitious engineering certainly makes it one of the more intriguing wired earphone launches we've seen recently.

EarAcoustic OSHUN-LTD Specifications

• Type: Wired in-ear headphones
• Driver: 8.3mm dynamic driver
• Magnetic system: Dual-magnet Tesla design
• Acoustic design: Dual-chamber
• Diaphragm: Titanium-gold dome with carbon fiber surround
• Impedance: 26 ohms ±15%
• Sensitivity: 110 dB/mW
• Frequency response: 20Hz–20kHz
• THD: Less than 0.5% at 1kHz
• Housing: 6063 aluminum alloy
• Weight: 6.8g per earpiece
• Connectors: 0.78mm 2-pin
• Cable: Monocrystalline copper and silver-plated copper Litz
• Cable length: 1.2m
• Plug options: 3.5mm or 4.4mm

Our Take

The most interesting feature of the EarAcoustic OSHUN-LTD isn't the titanium-gold diaphragm or even the Tesla magnetic system—it's the company's decision to pursue a spacious soundstage using a single dynamic driver. If EarAcoustic has managed to get the acoustic tuning right, the OSHUN-LTD could appeal to listeners looking for a more natural and cohesive listening experience than many multi-driver alternatives.

The Cantico J-DAC's body is crafted from a single piece of aluminum. The component weighs up to 13 kg, and the aluminum base plate is 5 mm thick. Cantico intends this design to increase the device's mechanical stability and reduce the impact of external vibrations on the electronics.

One of the Cantico J-DAC's key features is its transformer-based output stage. Each channel uses a single JFET transistor, located between the conversion resistors and custom-made output transformers. According to the company, this design ensures galvanic isolation and the same level of quality on both the balanced XLR and single-ended RCA outputs. However, only one type of analog output can be active at a time. A physical switch on the rear panel of the enclosure selects between XLR and RCA outputs. This approach underscores the manufacturer's commitment to avoiding unnecessary switching circuits and maintaining the shortest possible signal path.

The Cantico J-DAC power supply is built around three separate toroidal transformers. Each is responsible for a separate section of the circuit: digital processing, the DAC section, and the analog stages. Additionally, the device utilizes 3D-printed conductive carbon shielding with a proprietary geometry, designed to improve electromagnetic isolation.

Cantico designs and manufactures all analog boards in-house. Instead of the traditional photochemical method of PCB manufacturing, the company uses a proprietary high-precision copper milling process. According to the manufacturer, this allows for more precise quality control of the analog component.

The Cantico J-DAC's connectivity includes a USB port, a balanced AES/EBU digital input, coaxial S/PDIF, and optical Toslink. The USB port supports DSD 2X and PCM formats up to 24-bit/384 kHz, while the other digital inputs support PCM up to 24-bit/192 kHz. The Cantico J-DAC external DAC is now available with a suggested retail price of $12,000 .

At first glance, the 1000X THE COLLEXION makes a strong impression. The combination of polished metal surfaces, soft synthetic leather, and elegant detailing gives them a distinctly high-end feel. These are headphones designed to look every bit as luxurious as they sound.

A New Take on Sony's Signature Sound

At the heart of the 1000X THE COLLEXION is a newly developed 30mm driver that has been carefully tuned for balance, detail, and musicality. Sony says the goal was not simply to create powerful bass or sparkling treble, but to deliver a more natural and engaging listening experience across all genres.

The result is a presentation that feels spacious and refined. Vocals are placed clearly within the soundstage, instruments have room to breathe, and subtle details emerge from recordings with impressive clarity. Whether you're listening to acoustic jazz, electronic music, or large orchestral works, the headphones strive to reveal more of the recording's character.

Support for Hi-Res Audio, LDAC, and Sony's DSEE Ultimate processing ensures that both high-resolution files and compressed streaming content receive the best possible treatment.

Dedicated Listening Modes for Every Occasion

One of the more interesting additions is Sony's 360 Upmix technology. Instead of offering a one-size-fits-all approach, Sony provides three dedicated sound modes tailored specifically for music, movies, and gaming.

Music mode focuses on creating a wider and more immersive presentation for stereo recordings. Cinema mode adds greater depth and atmosphere for films and TV shows, while Game mode emphasizes positional cues and environmental effects, helping players feel more connected to the action.

Switching between modes is simple and can be done directly from the headphones without needing to open the companion app.

Noise Cancellation That Continues to Set the Standard

Sony's reputation in active noise cancellation is well established, and the 1000X THE COLLEXION builds upon that legacy with an impressive technical package.

The new HD Noise Cancelling Processor QN3 works alongside twelve microphones positioned throughout the headphones to constantly analyze your surroundings. Whether you're working in a busy office, commuting on public transport, or sitting on a long-haul flight, the system continuously adapts to reduce unwanted noise.

The Adaptive NC Optimizer automatically adjusts the level of cancellation based on your environment, while Auto Ambient Sound Mode intelligently allows important external sounds to pass through when necessary. A Quick Attention feature also lets you instantly hear conversations or announcements without removing the headphones.

Comfort Designed for Long Listening Sessions

Premium sound means little if the headphones become uncomfortable after an hour, and Sony appears to have paid close attention to ergonomics.

Large ear cups, generous padding, and a wide headband help distribute weight evenly, making the 1000X THE COLLEXION suitable for extended listening sessions. Whether you're working from home, travelling, gaming, or simply relaxing with your favorite album, comfort remains a key focus.

A compact carrying case with a magnetic closure is included, making it easy to transport the headphones safely between listening sessions.

Crystal-Clear Calls Thanks to AI Technology

Call quality has become increasingly important for modern wireless headphones, and Sony addresses this with six AI-enhanced beamforming microphones.

The system focuses on isolating your voice while reducing surrounding noise, helping conversations remain clear even in busy environments. Users can also quickly mute or activate the microphone directly from the headphones when needed.

Long Battery Life and Modern Connectivity

Battery performance remains impressive, offering up to 24 hours of playback with active noise cancellation enabled and as much as 32 hours without ANC.

For those moments when time is short, a quick five-minute charge can provide up to 90 minutes of listening time.

Connectivity is equally comprehensive, with Bluetooth 6.0, LE Audio, multipoint pairing, Google Fast Pair, and Microsoft Swift Pair all supported. Users can connect to multiple devices and switch seamlessly between smartphones, tablets, and computers.

A New Flagship for Wireless Listening?

The Sony 1000X THE COLLEXION is clearly aimed at listeners who want the best Sony has to offer in a wireless over-ear design. With luxurious materials, class-leading noise cancellation, sophisticated sound processing, and an emphasis on musical refinement, it positions itself as a serious contender in the premium headphone category.

For music lovers seeking a combination of comfort, technology, and audiophile-inspired performance, Sony's latest flagship could be one of the most compelling wireless headphone releases of the year.

The Vertere Acoustics Phono-1 phono preamplifier has been updated several times over the past nine years, and the new LX version is hailed by the manufacturer as the most significant evolution of the platform. Vertere notes that the original model received the MkII update in 2019, followed by the Phono-1 MkII L in 2022, and now the Phono-1 LX continues its development.

In creating this new product, the company leveraged the expertise of its flagship Calon phono preamplifier, a dual-mono design unveiled at the 2024 High End Munich exhibition. Thus, the Phono-1 LX is positioned not as a completely new product, but rather as a thoroughly redesigned version of an already proven design.

The previous version of the Phono-1 MkII L featured a gold-plated L-shaped printed circuit board, a redesigned internal layout, and easier access to the DIP switches. It also retained the extensive tuning options for both MM and MC cartridges: ten gain settings, fifteen input impedance settings, and nine capacitance settings.

The Vertere Acoustics Phono-1 LX phono preamplifier has further refined this foundation. The new product features an improved printed circuit board, a redesigned internal DC power supply, improved AC input filtering, a new two-position ground lift switch, a redesigned case and cover, and the signature blue-green power LED.

According to Vertere Acoustics, the new printed circuit board features a higher-quality gold plating, which should ensure more stable solder joints across the entire surface. The redesigned DC power supply, in turn, is designed to deliver cleaner and more stable power to the circuitry. This is especially important for the phono preamplifier, as the signal from the cartridge is extremely weak, meaning noise, grounding, and power supply stability directly impact the final sound.

Particular attention was paid to noise filtering. A dedicated choke is installed at the AC input to block high-frequency interference before the signal reaches the circuit. An additional choke is located after the transformer and provides another stage of filtering before power is supplied to the DC circuits. The grounding system has also been simplified: a new two-position switch allows you to choose between ground lift and ground connection, depending on the specific audio system.

The Vertere Acoustics Phono-1 LX phono preamplifier remains a recognizable member of the Phono-1 family, but features a more refined finish. The new cover features a subtle silver metallic texture, and the removal of the four top mounting screws creates a more refined appearance. The manufacturer claims a darker background, expanded dynamics, a more precise soundstage, and a more natural vocal reproduction.

Price:  $2,000

There are headphones that impress with measurements, and then there are headphones that make you forget about measurements altogether. The new Sendy Audio Egret belongs firmly in the second category.

As soon as I opened the box, it became clear that Sendy Audio had ambitious plans for this model. With handcrafted walnut ear cups, enormous planar magnetic drivers, a premium balanced cable, and a design inspired by the graceful wings of a heron, the Egret arrives looking and feeling far more expensive than its price suggests.

At around $800, the competition is fierce. Brands like FiiO, HiFiMAN, and Audeze dominate the conversation in this segment. Yet after spending considerable time with the Egret, I understand why these headphones have already developed a loyal following.

The Egret isn't trying to be the most analytical headphone on the market. Instead, it focuses on something many audiophiles eventually realize is far more important: musical enjoyment.

Premium Packaging Done Right

Sendy Audio clearly wanted the unboxing experience to feel special.

Inside the large presentation box you'll find a surprisingly generous accessory package. A sturdy carrying case, balanced 4.4mm cable, 4.4mm-to-3.5mm adapter, and a 6.3mm adapter are all included.

The cable deserves particular praise. Too often manufacturers include a balanced cable but forget that many listeners still use traditional outputs. Here, Sendy Audio provides everything needed from day one.

The stock cable itself is impressive. It feels luxurious, remains flexible during use, and avoids the stiffness often associated with premium aftermarket designs. While dedicated cable enthusiasts may eventually upgrade, most owners will likely be perfectly happy with what comes in the box.

A Design That Turns Heads

If there's one area where the Egret immediately stands out, it's the design.

These are simply gorgeous headphones.

The combination of Gunmetal-finished aluminum and handcrafted North American black walnut creates an elegant and timeless appearance. Every pair features unique wood grain patterns, giving the headphones an artisanal character that mass-produced competitors often lack.

The grille design is equally striking. Inspired by the shape of a heron's wings, it gives the Egret a distinctive identity without looking overly flashy.

Build quality is excellent throughout. Everything feels solid, precise, and carefully assembled.

Surprisingly Comfortable

At 443 grams, the Egret is certainly not lightweight. However, weight alone doesn't determine comfort.

The suspension-style headband distributes pressure exceptionally well, while the thick hybrid ear pads combine soft leather and velour materials to create a comfortable seal around the ears.

Long listening sessions never became tiring. In fact, the Egret feels noticeably lighter in use than its specifications would suggest.

For a large open-back planar headphone, comfort is one of its strongest qualities.

Technical Specifications

Under the hood, Sendy Audio has equipped the Egret with large 98 x 84 mm planar magnetic drivers featuring an ultra-thin diaphragm measuring less than 800 nanometers thick.

Sensitivity is rated at 95 dB with an impedance of 24 ohms.

In practice, the Egret is easier to drive than many planar competitors. Portable players can achieve satisfying results, especially from balanced outputs. That said, these headphones clearly benefit from additional power.

Connected to a capable desktop amplifier, the sound gains authority, dynamics, and improved control across the frequency range.

Sound Quality

The first thing that struck me about the Egret was how effortlessly musical it sounds.

Many modern planar headphones chase maximum detail retrieval, sometimes at the expense of emotional engagement. The Egret takes a different approach.

Its tuning leans toward naturalness and musicality rather than ruthless analysis.

The overall presentation is balanced and largely neutral, yet there is an unmistakable warmth and softness that gives music a wonderfully organic character. Notes flow naturally, instruments breathe, and vocals carry emotional weight without sounding artificially pushed forward.

Listening feels relaxed rather than demanding.

The soundstage is spacious and open, extending convincingly beyond the ear cups. Instrument placement is precise, while depth layering is particularly impressive at this price point.

Perhaps most importantly, the Egret remains enjoyable across virtually every genre. Whether playing acoustic jazz, vocal recordings, electronic music, or classic rock, it consistently prioritizes musical coherence over technical showmanship.

Bass Performance

The low frequencies strike an excellent balance between control and impact.

Bass notes are fast, articulate, and well defined, which is exactly what many enthusiasts expect from planar magnetic technology.

Sub-bass extension reaches deep enough to provide satisfying weight when required, but the tuning never becomes excessive or bloated.

Bass lovers seeking overwhelming quantity may want more, but listeners who value quality over quantity will likely be very pleased.

Midrange Performance

The midrange is where the Egret truly shines.

Instruments sound rich, realistic, and beautifully textured. Guitars possess convincing body, pianos feel naturally weighted, and vocals emerge with warmth and emotion.

The presentation is smooth rather than aggressively revealing. While some competitors extract slightly more micro-detail, the Egret compensates with a cohesive and immersive listening experience that remains engaging for hours.

This is a headphone designed to connect listeners with music, not just recordings.

Treble Performance

Treble tuning is mature and refined.

There's enough detail and sparkle to reveal subtle nuances, yet the upper frequencies never become fatiguing or harsh.

Cymbals shimmer naturally, ambient information remains easy to hear, and the overall presentation feels airy and spacious.

Those seeking razor-sharp analytical treble may find it slightly restrained, but for long-term listening comfort, Sendy Audio has struck an excellent balance.

Competition

The obvious internal comparison is the Sendy Audio Aiva 2.

While both headphones share the brand's characteristic spaciousness and musicality, the Egret feels more mature and refined. Bass is fuller, the midrange has greater substance, and the overall tonal balance is more cohesive.

Against the highly respected FiiO FT7, the differences become philosophical rather than technical.

The FT7 aims for studio-monitor precision with exceptional resolution and neutrality. The Egret instead embraces warmth, flow, and emotional engagement.

Neither approach is objectively better. The choice ultimately depends on whether you prioritize analysis or musical enjoyment.

Conclusion

The Sendy Audio Egret is one of the most enjoyable planar magnetic headphones I've heard in its price category.

Its stunning craftsmanship, luxurious comfort, generous accessory package, and beautifully musical tuning combine to create a genuinely compelling product.

It won't satisfy listeners seeking maximum analytical detail or ruthless studio-monitor precision. Instead, the Egret focuses on delivering music with warmth, elegance, and emotional connection.

For anyone looking for a stylish open-back planar headphone that prioritizes listening pleasure above all else, the Sendy Audio Egret deserves a place very high on your shortlist.

SV-Audio Astrid Arrives

For years, Astrid existed as little more than an idea within SV-Audio's development plans. The company envisioned a loudspeaker that would sit comfortably between its existing models while bringing its own unique character to the listening room. That vision has now become reality.

Named after the Old Norse “Ásfríðr,” meaning “beloved by the gods,” Astrid draws inspiration from Nordic traditions associated with strength, wisdom, and grace. Those qualities are reflected not only in its elegant appearance but also in the way the loudspeaker aims to balance openness, precision, and authority.

A True Line Source Design

At the heart of Astrid is a genuine two-way line source configuration. The loudspeaker combines a 1.5-inch silk dome ring radiator tweeter with four specially selected 5-inch woven polypropylene mid-woofer drivers operating together across the same frequency range. This approach allows the drivers to behave as a single coherent system, creating a larger and more effortless presentation than traditional designs.

The silk dome ring radiator tweeter employs a neodymium motor system and is designed to reproduce delicate overtones with clarity and control while avoiding harshness or listening fatigue. Meanwhile, the four polypropylene drivers deliver the physical foundation needed for convincing bass performance and realistic scale. According to SV-Audio, the goal was to create a loudspeaker capable of presenting voices with natural body and continuity while maintaining a bass response that feels controlled, powerful, and alive.

Built Around Musical Coherence

Rather than chasing specifications alone, SV-Audio says Astrid was developed around the idea that every driver should work together seamlessly. A relatively low crossover point helps preserve timing and integration throughout the critical vocal range, ensuring instruments and voices remain connected and believable.

The crossover network itself features carefully selected low-resistance components refined through extensive listening sessions and measurements. The objective is simple: deliver a balanced and natural presentation where nothing draws attention to itself and the music remains the focus.

Premium Construction Throughout

Astrid's substantial cabinet measures 106 centimeters tall and weighs 37 kilograms. A dual-chamber internal construction separates the drivers into individual bass chambers, reducing standing waves and unwanted interactions. Combined with carefully tuned porting and precise time alignment, the design aims to preserve both clarity and low-frequency authority.

One of the most distinctive visual features is the solid aluminum front baffle, complete with SV-Audio's machined logo and signature radiating pattern. While visually striking, the pattern also serves an acoustic purpose by helping reduce front-baffle reflections, contributing to improved focus and imaging.

Internally, pure copper wiring and SV-Audio-branded terminals ensure efficient signal transfer from amplifier to drivers, reinforcing the company's emphasis on preserving detail, timing, and tonal integrity.

Designed for Serious Listening Rooms

With a frequency response extending from 32 Hz to 20 kHz, 90 dB sensitivity, and a nominal 6-ohm impedance, Astrid appears capable of partnering with a wide variety of amplifiers ranging from 25 to 250 watts. SV-Audio recommends the loudspeaker for rooms up to 80 square meters, where its line source design can fully showcase its scale and effortless presentation.

Extensive Finish Options

Astrid will be available in a wide range of satin gloss and high-gloss finishes, including Pure Black, Black Pearl, Deep Pearl Blue, Crème White, and Reference Pearl Gray. For buyers seeking something truly unique, SV-Audio also offers custom automotive paint finishes, allowing virtually unlimited personalization.

First Impressions

On paper, the Astrid looks like one of the most ambitious loudspeakers SV-Audio has produced to date. The combination of a true line source architecture, premium materials, substantial cabinet construction, and a strong focus on natural vocal reproduction suggests a loudspeaker designed for long-term listening enjoyment rather than showroom fireworks. For enthusiasts seeking a speaker that combines Scandinavian elegance with serious acoustic engineering, Astrid may prove to be one of the most intriguing new launches of the year.

Visit SV-Audio for more information about the speaker.

Mark Levinson No 626: preamplifier

Mark Levinson is primarily associated with powerful power amplifiers, but Mark Levinson's first product was a preamplifier named the LNP-1. This prototype was followed by the LNP-2 production variant, aimed at the professional market. The first model developed for the high-end hi-fi market was the JC-2, named after then-chief designer John Curl. The JC-2 was followed by the ML-1, a full Class A, complementary push-pull configuration and the first to bear the Mark Levinson initials. Only then did the first power amplifier follow, and that was the ML-2.

Purity and simplicity, with maximum control over every facet of signal processing, have always formed the foundation of every Mark Levinson design. The Mark Levinson No 320 and No 32 are still regarded by many as the very best preamplifiers ever made. Mark Levinson's new No 626 preamplifier borrows many of these technologies but develops them further using contemporary components and dresses them in a beautiful tailored suit that radiates class.

With a total depth of nearly 49 centimeters, the Mark Levinson No 626 can hardly be called modest. Beneath the beautiful cover, featuring a unique cooling vent structure and integrated model designation illuminated by red LEDs, lies a completely balanced design in a dual-mono configuration. Starting from the power connector, the No 626 effectively splits into two entirely separate amplifier sections that are, moreover, symmetrically constructed. The same applies to the power supply: oversized, with separate construction for digital and analog sections, and isolated to prevent interference. These are characteristic Mark Levinson priorities in which the brand has specialized since its inception. It typifies the desire to preserve every musical detail and every nuance with maximum integrity. The No 626 thus offers a deep connection with the recording. An extremely transparent, finely tuned sound in which every facet is translated into music with utmost precision and feeling.

The No 626 is equipped with two pairs of balanced (XLR) and three pairs of single-ended (RCA) inputs, as well as a single-ended input with a dedicated Class A phono amplifier (MM-MC). In addition to the analog inputs, there is also a variety of digital inputs, including AES/EBU and asynchronous USB-C input. The newly developed Precision Link III DAC builds its circuitry around the ESS Sabre ES9039PRO 8-channel Hyperstream IV DAC in combination with discrete Mark Levinson signal processing and jitter elimination circuits. Besides the balanced and single-ended outputs for connection to the power amplifier, a Class A headphone output is present.

As befits Mark Levinson, these extensive connectivity options for turntables and digital sources are not only a functional addition but, above all, an extremely high-quality alternative to external components. Short, pure signal paths for maximum musical perfection. That is exactly what the beautiful No 626 stands for.

Mark Levinson No 632: Dual Mono Power Amp

The first Mark Levinson power amplifier was the ML-2. An absolute monster. Built as a single-channel mono-block, the ML-2 delivered no less than 25 watts in full Class A. Yet it was primarily its unprecedented load stability combined with fine control that elevated it to legendary status. That extreme current reserve made the ML-2 an ideal partner for the Apogee loudspeakers of the time, whose 0.3 ohm impedance turned many an amplifier into a smoke machine.

Just as the ML-2 was paired with the ML-1, the current No 632 forms a natural combination with the No 626. Conceptually, however, the No 632 is more reminiscent of the No 300 series power amplifiers. The visible heatsinks, which transition beautifully into the rounded curves on the front, are reminiscent of the No 336, while the stylish glass front plate is adopted from the No 53s. The top features the same circular inlay as the No 626, with red LED accents symbolizing the internal ‘motor' of the No 632.

Like the preamplifier, the No 632 is fully balanced and dual-mono in design. The 1,900 VA low-noise toroidal transformer, developed for Mark Levinson, is centrally located and both mechanically and electromagnetically isolated. This forms the basis for a superior supply voltage with enormous headroom, undoubtedly the most important component for musical control. The rectification and buffering are typically of a rare class as Mark Levinson and leave nothing to chance with 80,000 µF buffer capacity per channel. With the No 632, Mark Levinson opts for minimal internal feedback and a particularly high bias setting for its 12 high-bandwidth bipolar output transistors per channel. This makes the No 632 super linear and ultra stable with maximum grip on the loudspeaker, regardless of impedance. The specifications reflect Mark Levinson's uncompromising approach, namely 250 Watts per channel into eight Ohms at a bandwidth of 20 Hz to 20 kHz, measured with less than 0.3% THD, doubling to 500 Watts into four Ohms and full stability down to two Ohms.

Together with the No 626, the No 632 presents music with extreme refinement and control. The sound is truly unprecedentedly clean but not soulless. On the contrary, the 600 series possesses the control and effortlessness that characterized the 300 series of that era, but adds phenomenal transparency and energetic speed. The combination draws you deep into the recording, where every detail is presented clearly, lifelike, and with high contrast. Once broken in, this combination represents exactly what Mark Levinson is all about.

Mark Levinson No 631: Mono Power Amp

Later this year, importer Reference Sounds expects to expand the 600 series with the No 631 mono power amplifiers, inspired by the iconic No 33H. Indeed, a 60-kilo+, vertically built tank of a power amplifier, a more detailed description of which will follow in due course.

Recommended retail prices
Mark Levinson No 626: 24,990 euros
Mark Levinson No 632: 27,490 euros
Mark Levinson No 631: 69,980 euros (per pair)

The Vito Classic is touted as the newest and most advanced addition to Neat Acoustics ‘ Classic product line . Hand-built in Northern England, this loudspeaker promises a spacious, natural, and emotionally immersive reproduction from a slim, elegantly designed floor-standing enclosure. The loudspeaker was developed according to Neat's “listening comes first” philosophy, where every stage of the design is tuned by ear and acoustic measurements are used to refine the final result rather than dictate it.

The Vito Classic is a 2.5-way floorstanding loudspeaker featuring a planar magnetostatic tweeter in the form of an air motion transformer (AMT) and a bass reflex enclosure with two woofers. Neat claims a frequency range extending from 22 Hz to 22 kHz, a nominal impedance of six Ohms, and recommends amplifiers with a power output between 25 and 200 Watts. The dimensions of the Vito Classic are 90 x 19 x 30 centimeters.

As the top model in the Classic series, the Vito Classic combines deep, tightly controlled bass with an open and clear midrange, resulting in an effortless and immersive soundstage. Despite its compact size, the Vito Classic is designed by Neat to deliver a full-bodied soundstage in medium to large rooms. The model also references one of Neat's most admired classic designs. Just like the original Vito, this new version is designed to offer a sense of scale, cohesion, and musical flow that contradicts its physical dimensions.

Visitors to High End Vienna will be able to listen to reference copies from the pre-production phase. However, some minor cosmetic adjustments are still expected for the final release.

Sennheiser Momentum 5 Wireless

The new model follows the Momentum 4 Wireless, which is the more durable and balanced successor to the Momentum 3. A look at the specifications of the Momentum 5 Wireless points to a careful evolution rather than a drastic overhaul, and that is not necessarily a bad thing. Sennheiser has left the basic acoustic platform unchanged and subsequently focused on improvements such as stronger active noise cancellation (ANC), improved app control, support for spatial audio, and broader codec compatibility.

The Momentum 5 Wireless uses the same 42 mm transducer as its predecessor, which is produced at the Sennheiser factory in Tullamore, Ireland. Sennheiser says the driver is inspired by the HD 600 series headphones and is tuned for a full sound with dynamic bass.

The new model primarily offers advancements in wireless connectivity and processing, with Hi-Res Audio certification, Snapdragon Sound technology, and Bluetooth codec support up to aptX Lossless. It also works with Sennheiser's new Smart Control Plus app, which adds an 8-band equalizer, custom presets, and the company's Sound Personalisation engine.

Sreenath ‘Sri' Unnikrishnan, Product Manager at Sennheiser, said that the goal was to refine the user experience rather than deviate too much from the strengths of the previous model: “With the Momentum 5 Wireless, we focused on refining the overall experience, without deviating from the formula that made its predecessor so successful. These improvements enrich the functionality while simultaneously retaining that magic you feel every time you press play.”

Sennheiser Momentum 5 Wireless: improved ANC

The most notable improvement is the Active Noise Cancelling (ANC). Sennheiser claims that the Momentum 5 Wireless is up to three times more effective at reducing distracting ambient noise. The number of microphones specifically used for ANC and transparency has doubled: the headphones now use four microphones per side, compared to two in the previous model. According to Sennheiser, this results in better reduction of monotonous sound in the aircraft cabin and more natural speech during calls.

Spatial audio is also part of the new package, albeit with an important caveat. The Momentum 5 Wireless supports Dolby Atmos with head-tracking, but this requires a firmware update via the Smart Control Plus app. Furthermore, playback depends on an Atmos-compatible source device and supported spatial audio content, so this is not a universal upgrade that will be significant in every listening situation.

The wireless platform comes with Bluetooth 5.4, while Sennheiser indicates that the hardware is designed to support Bluetooth 6.0 via a future firmware update. That is a sensible step towards a longer lifespan, although, as always with promises regarding future firmware updates, their value depends on how quickly and completely those updates are released.

Battery life remains one of the strong points of the Momentum line, even though it is slightly lower than the 60 hours claimed by the Momentum 4. Sennheiser specifies a battery life of up to 57 hours for the Momentum 5 Wireless with ANC enabled, which is still a very good result for a premium wireless noise-cancelling headphone.

That slight reduction is likely due to Sennheiser utilizing part of the previous model's battery capacity elsewhere. The new model doubles the number of microphones dedicated to ANC and transparency, and adds a more powerful wireless and processing platform that supports Snapdragon Sound, aptX Lossless, future Dolby Atmos with head-tracking, and Bluetooth 6.0 support via firmware.

Sennheiser Momentum 5 Wireless: replaceable battery

Sennheiser has also introduced a user-replaceable 700mAh battery that can be swapped using a small Phillips screwdriver. In a category still dominated by sealed designs, this feels like a sensible long-term improvement, especially if it allows the battery to be replaced even after years.

Lilika Beck, President of Sennheiser Consumer Audio, said that the change reflects the company’s attempt to balance performance and responsibility: “With the Momentum 5 Wireless, we prove that high-quality sound and environmental friendliness can, and even must, go hand in hand. Thanks to our new user-replaceable battery, customizable hardware, and the switch to compact, plastic-free packaging, our customers will be proud of their choice of headphones that last.”

Sennheiser has also reduced the dimensions of the storage case by 20%, which should remedy one of the daily frustrations of many large ANC headphones: they sound great, but still take up too much space in a travel bag. The package also includes a USB-C charging cable and a 3.5 mm analog audio cable for use with in-flight entertainment systems, laptops, and other wired sources.

Price: $399

At first glance, the BTC-2 might look like just another compact Bluetooth receiver. But Cayin has packed a surprising amount of functionality into this tiny chassis. It works as a Bluetooth receiver, DAC, preamplifier, and headphone amplifier all at once, meaning it can sit right at the center of a desktop setup, headphone rig, or even a classic stereo system that desperately needs a wireless upgrade.

The idea is simple: stream music from your phone, tablet, or laptop straight into your hi-fi system without the usual compromises. But Cayin clearly wanted the BTC-2 to feel more serious than your average Bluetooth gadget.

A tiny box with big hi-fi ambitions

The BTC-2 supports Bluetooth 5.1 and handles high-resolution codecs including LDAC, AptX HD, and AAC, giving users access to better wireless sound quality than standard Bluetooth streaming. Inside, Cayin uses Qualcomm’s QCC5125 chipset for wireless duties, while digital conversion is handled by the respected ESS Sabre ES9018K2M DAC chip.

That DAC alone will probably catch the attention of plenty of headphone enthusiasts. It supports PCM playback up to 24-bit/192 kHz through the S/PDIF input, which means the BTC-2 is not limited to wireless streaming. You can also hook up traditional digital sources and use it as a compact desktop DAC.

And Cayin did not stop there.

The BTC-2 includes both analog RCA input and output connections, effectively turning the unit into a small preamp with three total inputs. There is even a digital S/PDIF output for users who want to pass signals onward or digitize analog sources for recording purposes.

That is a pretty wild feature list for something expected to land under the $200 mark.

Balanced headphone output at this price?

This is where things get especially interesting for headphone fans.

On the front panel, Cayin includes both a standard 6.35 mm headphone jack and a balanced 4.4 mm Pentaconn connection. The balanced output reportedly delivers up to 280 mW per channel, which should be enough for many low-impedance headphones and portable audiophile cans.

Balanced outputs are becoming increasingly common in portable audio gear, but seeing one in an affordable compact desktop unit like this still feels like a nice bonus.

Cayin also says the analog stage is fully balanced internally and uses an Alps potentiometer for volume control, a detail that old-school hi-fi enthusiasts will probably appreciate more than flashy marketing buzzwords.

A surprisingly tweakable sound

One fun detail is that the BTC-2 allows users to switch between different digital filter modes using the included remote control. You can choose between sound signatures like minimum phase and steep roll-off, which gives listeners a little room to tailor the presentation to their taste.

Will it completely transform the sound? Probably not. But for audiophiles who love tweaking every last detail, it is another reason why the BTC-2 feels more like “real hi-fi” and less like a generic Bluetooth accessory.

The OLED display also adds a premium touch by showing active source information and playback resolution, while the remote handles everything from source selection to Bluetooth playback controls.

Old-school hi-fi meets modern streaming

What makes the BTC-2 genuinely appealing is how it bridges two worlds. There are still countless fantastic amplifiers, integrated systems, and active speakers out there that sound wonderful but completely lack modern streaming features. Cayin seems to understand that not everybody wants to replace their entire setup just to add wireless playback.

Instead, the BTC-2 acts like a compact digital bridge between vintage hi-fi culture and today’s streaming habits.

And if Cayin manages to deliver solid sound quality at the expected price point of just under €200, this little device could become a very tempting upgrade for budget-conscious audiophiles, desktop listeners, and headphone users alike.

1. Borresen M1

Price: $129,000

The Borresen M1 is one of the most technologically advanced compact loudspeakers ever created. Every aspect of its construction feels obsessive in the best possible way, from the exotic zirconium driver basket to the ultra-rigid carbon-titanium sandwich cone. Borresen even claims that each driver costs roughly $13,000 to manufacture, a figure that alone says everything about the ambitions behind this speaker.

The result is a presentation that feels almost supernatural in its clarity. The soundstage expands effortlessly beyond the speaker boundaries, instruments appear with microscopic precision, and transient speed is astonishingly fast without sounding clinical. Despite its compact form factor, the M1 behaves like a reference-grade full-range system when paired with world-class electronics. These speakers are not merely about luxury, they represent an uncompromising pursuit of sonic perfection.

2. JBL Summit Ama

Price: $24,500

The JBL Summit Ama brings the scale and authority of massive floorstanding systems into a far more compact enclosure. Using JBL’s proprietary horn-loaded compression driver technology combined with an advanced carbon-fiber sandwich woofer, the Ama produces a huge, room-filling sound that feels effortlessly dynamic.

What makes these speakers special is their ability to sound alive at virtually any volume level. Vocals leap into the room with startling realism, drums hit with visceral impact, and orchestral recordings maintain enormous scale. The Summit Ama delivers the unmistakable energy and presence JBL is famous for, while adding a level of refinement and precision that places it firmly in ultra high-end territory.

3. Dali Epikore 3

Price: $19,500

The Dali Epikore 3 is effectively a compact reference monitor disguised as a bookshelf speaker. This true three-way design combines Dali’s EVO-K hybrid tweeter module with advanced wood-fiber drivers and an upgraded SMC Gen-2 magnet system to create a remarkably holographic presentation.

The level of resolution here is exceptional, but what truly stands out is the speaker’s sense of openness and ease. High frequencies extend effortlessly without harshness, while the midrange remains rich, natural, and deeply immersive. Pair the Epikore 3 with powerful amplification and it rewards you with a massive, layered soundstage that can rival speakers far larger in size.

4. Revel Performa4 M146

Price: $3,900

Revel’s newest Performa4 M146 showcases the company’s relentless focus on acoustic science and precision engineering. Proprietary ceramic-composite drivers, advanced waveguide technology, and heavily optimized cabinet construction combine to create a speaker that sounds extraordinarily controlled and accurate.

These speakers excel at disappearing into the room. Imaging is razor sharp, tonal balance is beautifully neutral, and bass performance feels impressively authoritative for the size. The M146 does demand high-quality amplification to truly shine, but when properly driven, it delivers an expansive and effortlessly refined listening experience.

5. Buchardt Audio S400 MK3

Price: $3,050

The Buchardt Audio S400 MK3 represents a dramatic evolution over the earlier S400 generations. Nearly every component has been redesigned, including a larger enclosure, upgraded crossover network, and an entirely new driver configuration built around SB Acoustics’ advanced PAPYRUS cone technology.

The payoff is immediately obvious when listening. The S400 MK3 sounds larger, fuller, and significantly more refined than previous versions. Vocals carry stunning realism, bass extension is shockingly deep for a bookshelf design, and the speaker maintains remarkable coherence across the entire frequency range. It is a compact speaker that punches far above its size class.

6. Davis Acoustics Krypton 3 V2

Price: $1,850

The Davis Acoustics Krypton 3 V2 blends musicality with impressive versatility. Thanks to its relatively high sensitivity and easy-to-drive impedance characteristics, it pairs beautifully with a wide range of amplifiers, making it one of the more flexible speakers in this ranking.

Its Kevlar midrange driver delivers excellent articulation and speed, while the soft-dome tweeter keeps the top end smooth and natural. The overall sound signature feels energetic and engaging without becoming fatiguing, making the Krypton 3 V2 an outstanding option for listeners who want refinement without sacrificing excitement.

7. SVS Ultra Evolution Nano

Price: $1,700

SVS has packed an enormous amount of engineering into the Ultra Evolution Nano. Despite its compact dimensions, this speaker borrows heavily from the company’s flagship development work, including a diamond-coated aluminum tweeter, advanced crossover components, and rigid composite drivers.

When paired with capable amplification, the Nano produces an impressively large and immersive soundstage. Imaging is precise, dynamics are lively, and the tonal balance leans toward a modern, highly detailed presentation. These speakers prove that SVS is serious about competing in the premium two-channel market.

8. Leak Sandwich 100

Price: $920

The Leak Sandwich 100 is easily one of the most charming and impressive affordable bookshelf speakers released in recent years. Inspired by the legendary Leak Sandwich models from the 1960s, the modern version revives the brand’s famous multi-layer driver cone technology using contemporary materials and manufacturing techniques.

Its oversized soft-dome tweeter gives the speaker an unusually open and effortless top end for this price category, while the sandwich-cone woofer delivers excellent rhythmic precision and control. Although careful amplifier matching is recommended, the reward is a lively, engaging sound that captures the spirit of classic British hi-fi while feeling thoroughly modern.

Closed-back headphones have always lived with a certain compromise. You either get strong isolation and heavy bass with a cramped presentation, or a spacious and detailed sound that sacrifices warmth and body. The new Final Audio DX4000CL tries to avoid that compromise entirely, and remarkably, it succeeds more often than not.

This is not a headphone built for casual listeners or trendy tuning. The DX4000CL is unapologetically audiophile in both its philosophy and presentation. It focuses on natural timbre, long-session comfort, rich analog warmth, and an expansive soundstage that feels genuinely unusual for a closed-back design.

At around $1000, expectations are obviously high. Thankfully, the DX4000CL feels like a meaningful step forward rather than just another incremental refresh.

Design and Build Quality

Final Audio has never been a company obsessed with flashy industrial design. The DX4000CL follows the same restrained and functional approach as earlier models in the series, but there is something quietly premium about the execution.

The large earcups are made from fiberglass-reinforced resin, while the supporting structure uses lightweight aluminum components that feel reassuringly solid in the hand. Everything about the construction feels precise and carefully engineered. There are no loose joints, no creaks, and no unnecessary decorative elements trying to distract from the product itself.

One of the most impressive aspects is comfort. The soft leatherette material used across the headband and ear pads feels genuinely luxurious, and the thick memory foam padding gives the headphones an almost pillow-like fit. Despite weighing around 375 grams, the DX4000CL distributes its weight extremely well and remains comfortable for hours at a time.

The clamp force is gentle rather than aggressive, which makes these ideal for relaxed listening sessions at home or at the office. People who wear glasses should also find them surprisingly accommodating thanks to the spacious earcup shape and soft padding.

The included cable is a serious piece of hardware as well. Final includes a silver-plated oxygen-free copper balanced cable terminated in 4.4 mm Pentaconn. Sound quality from the cable is excellent, though the two-meter length feels more suited for desktop use than portable listening. The lack of a carrying case or standard 3.5 mm adapter is slightly disappointing at this price point, especially considering these are technically marketed as portable closed-backs.

Driver Technology and Power

Inside the DX4000CL sits a newly developed 40 mm dynamic driver using a paper-carbon composite diaphragm. Final has always leaned heavily into natural-sounding driver materials, and that philosophy is immediately obvious here.

The company also uses a “free-edge” diaphragm structure and an internal rear diffuser system designed to reduce resonance and improve overall control. Whether you care about the technical explanations or not, the result is a headphone that sounds smooth, coherent, and unusually organic.

With a 37-ohm impedance and 96 dB sensitivity, the DX4000CL is not particularly difficult to drive, but it absolutely benefits from quality amplification. Portable Hi-Res players can power them without issue, but pairing them with a strong desktop amplifier unlocks noticeably better dynamics, bass control, and layering.

During testing, the headphones paired beautifully with high-end digital audio players and desktop DAC/amp setups alike.

Sound Quality

The first thing that immediately grabs your attention is the scale of the soundstage. Closed-back headphones are rarely associated with openness or holographic imaging, but the DX4000CL creates a presentation that feels remarkably spacious.

Width is impressive, but more importantly, the sound has depth and verticality. Instruments are allowed room to breathe naturally rather than being packed tightly together. Nothing feels artificially stretched or exaggerated either. The presentation simply feels open, relaxed, and immersive in a way that is genuinely difficult to achieve with a sealed design.

Tonally, the DX4000CL leans warm, smooth, and full-bodied. This is not a sharp or analytical headphone chasing extreme treble detail. Instead, Final focuses on realism, texture, and musical flow.

The bass is large, dense, and authoritative. It has a deep sub-bass foundation with a slightly soft and velvety character rather than hyper-aggressive slam. Bass lovers will absolutely appreciate the weight and physicality here. Importantly, the low end remains controlled and avoids bleeding into the midrange.

The midrange is where the DX4000CL makes its biggest improvements over earlier models. Vocals sound clearer, more expressive, and more naturally separated within the mix. Instruments have excellent body and dimensionality without sounding clinical or sterile. Acoustic recordings especially benefit from the headphone’s natural timbre and smooth tonal balance.

Treble performance is refined and intentionally relaxed. There is enough detail and extension to keep things engaging, but Final clearly avoided aggressive brightness or artificial sparkle. Some listeners may wish for a little more bite and air, but the upside is an incredibly fatigue-free listening experience.

This is the type of headphone you can wear for hours without ever feeling overwhelmed or exhausted.

Performance and Character

What makes the DX4000CL interesting is how it balances technical performance with emotional presentation.

Many headphones in this price range focus heavily on speed, hyper-detail, or aggressive transient attack. Final instead prioritizes atmosphere, texture, and musical coherence. The DX4000CL does not dissect recordings with surgical precision. It presents music as a complete performance rather than a collection of isolated details.

That approach gives the headphones an almost tube-like personality. Notes sound rich and textured, dynamics feel smooth rather than explosive, and the overall presentation encourages long listening sessions rather than short analytical comparisons.

Listeners who prioritize ultimate speed or razor-sharp precision may find the DX4000CL slightly too relaxed at times. But for listeners who value immersion, realism, and emotional connection, the tuning feels incredibly satisfying.

DX4000CL vs DX3000CL

Compared to the earlier DX3000CL, the new model sounds noticeably more refined and balanced.

The DX3000CL leaned harder into warmth and bass-heavy coloration, creating an extremely atmospheric and almost romantic presentation. The DX4000CL keeps much of that musicality while improving clarity, vocal articulation, and overall control.

Bass remains powerful, but it is more disciplined. Midrange transparency is better, and treble sounds cleaner and more defined without becoming harsh. The newer model simply feels more mature and technically capable while still preserving the relaxed character that made the original so enjoyable.

Conclusion

The Final Audio DX4000CL is one of the most interesting closed-back headphones currently available in its price range.

It combines exceptional comfort, premium build quality, and a beautifully natural sound signature with an unusually spacious presentation that challenges many open-back competitors. Rather than chasing exaggerated detail or analytical sharpness, Final focused on musicality, realism, and long-term listening pleasure.

These headphones will not appeal to listeners looking for ultra-fast studio monitor precision or aggressive treble energy. But for audiophiles who want rich timbre, powerful bass, expansive staging, and an immersive analog-style presentation, the DX4000CL delivers something genuinely special.

It feels less like a technical showcase and more like a headphone designed by people who simply love listening to music.

The Revox Studiomaster CD100 is connected to the M500 or M300 via a coaxial digital connection and a dedicated data cable for the control functions. Revox includes the Control Port CD Player Connection Cable, which enables plug-and-play installation via the USB port of the M500 or M300 and the RS232 input of the player.

Configuration is automatic, during which the connected source is renamed to ‘CD player' in the system interface. Playback information and the CD status can be displayed in both the Revox Multiuser app and on the front panel displays of compatible components. Status messages include ‘Playing', ‘Pause', ‘Stop', ‘No CD', and ‘Read error'.

The company states that the CD100 automatically switches on when selected as a source and switches off when users switch to another source on the M500 or M300. If the coaxial input is already in use, optical or analog inputs can also be configured manually.

Control options include buttons on the player's front panel, the Revox Multiuser app, and Revox control systems in combination with the M500 or M300. Revox also confirms backward compatibility with the Joy S119 and S120 MKII network receivers via the CD-Link interface.

DA conversion and other technical details

The CD100 uses a Burr-Brown PCM1796 DAC and features coaxial and optical digital outputs. Revox specifies a frequency range of 5 Hz to 20 kHz, THD + noise values ​​lower than 0.0018% on the digital output and lower than 0.0019% on the analog output, with an S/N ratio of more than 110 dB at 1 kHz.

The player measures 88 x 200 x 342 millimeters and weighs 3 kilograms. It is available in black, white, and silver. Included accessories are a power cord, a control cable, and a coaxial cable.

Revox has also announced the separately available Control Port CD player connection cable. With this cable, existing Revox Joy S22 CD players can be connected to the Studiomaster M500 and M300 systems for use within a Multiuser 3.0 network.

The Revox Studiomaster CD100 CD player is available in black, white, and silver and costs just under $1,900. The Revox Control Port CD player connection cable costs just under $500.

The new model follows the Skyanalog P-1G MC element (MC = Moving Coil), which is praised for delivering serious analog performance at a relatively affordable price. The P-1GC appears to build upon that foundation rather than completely replacing it, refining the mechanical package around the company's Yan Suspension system.

The most notable technical change is the switch to a zirconia-ceramic cantilever. Skyanalog states that this material was chosen due to the combination of stiffness and internal damping, with the aim of suppressing unwanted mechanical resonance while simultaneously preserving detail and tonal coherence. The cantilever material, the stylus profile, and the behavior of the suspension all play a direct role in how a cartridge tracks the groove and manages energy before that movement reaches the coil system.

Central to the P-1GC is Skyanalog's new Skyliptical stylus, a patented solid diamond design integrated into the cartridge rather than being offered as a separate upgrade product, at least for the time being. Skyanalog describes it as their first design with a solid diamond stylus. The stylus utilizes what they call AI-optimized geometry, intended to evolve the traditional elliptical profile with a larger contact area in the groove and more efficient mechanical transcription.

According to Skyanalog, the one-piece diamond structure is designed to maximize stiffness, improve signal integrity, and support better detail reproduction, wider spatial definition, and stronger clarity in the high-frequency range. The company also claims improved tracking under demanding conditions in the grooves, along with a sharper image and better channel separation.

Skyanalog presents the P-1GC in terms of sound quality as a more refined and open-sounding evolution of the P-1G, with an emphasis on natural transparency, controlled energy transfer, tonal density, and long-term listening comfort.

The P-1GC will soon be available for just under $600.

The Yamaha YHT-4970U system includes a Yamaha RX300A AV receiver, five compact satellite speakers, an active subwoofer with an 8-inch driver, speaker cable, and setup accessories. The company markets the system as a simple entry point into a home theater system using individual components, but in reality, the system also competes with premium soundbars and wireless TV audio systems.

Judging by the published specifications, the Yamaha YHT-4970U's acoustics haven't been significantly redesigned. The speaker system is likely largely inherited from the earlier Yamaha YHT-4950U: compact satellites with full-range drivers, a matching center channel, and an active subwoofer with an 8-inch driver.

The major update concerns the RX300A receiver, which Yamaha positions as a modern replacement for the long-standing entry-level RX-V385 receiver. This model features a 5.2-channel configuration, a rated power of 70 watts per channel at 8 ohms, an operating range of 20 Hz – 20 kHz, a distortion factor of 0.09%, and dual-channel operation. The new model features HDMI 2.1 ports, support for 8K/60 Hz and 4K/120 Hz video, HDR10+, Dolby Vision, VRR, ALLM, Bluetooth 5.3 Multipoint, and Dolby Atmos decoding. Thus, the device supports virtually all modern audio and video standards used in home theater systems.

Although the Yamaha YHT-4970U home theater system uses a traditional 5.1-channel setup without separate height speakers, the receiver supports Dolby Atmos playback via virtual surround processing. Furthermore, the Yamaha RX300A leaves room for further system expansion, including connecting a second subwoofer thanks to its two subwoofer outputs.

Compared to a soundbar, this system can provide a more realistic rear channel effect thanks to the physically separated surround speakers, as well as greater flexibility in placement and future upgrades. Yamaha clearly prioritizes simplicity and affordability over expert-level performance: the compact speakers are equipped with 2.75-inch full-range drivers with a sensitivity of approximately 83–84 dB, and the subwoofer utilizes Yamaha's Advanced YST II technology.

Price:  $699

The amplifier’s role in a hi-fi system

An amplifier is the electrical and musical core of a hi-fi setup. While your source components provide the signal and your speakers reproduce the sound, the amplifier determines how that signal is handled and delivered. This goes well beyond raw power output.

Factors such as current delivery, damping factor, stability under load, and power supply design all contribute to how confidently an amplifier controls a pair of speakers. A system with the right amplifier will sound composed, dynamic, and engaging, while a poor match can result in strained highs, weak bass, or listening fatigue.

Why power ratings don’t tell the whole story

One of the most common mistakes when buying an amplifier is focusing too heavily on wattage figures. While power output matters, numbers alone rarely tell the full story.

A modestly rated amplifier with a strong power supply and excellent current delivery can often outperform a more powerful model in real-world listening. This becomes especially important with demanding speakers that feature complex impedance curves or low sensitivity.

Specifications such as THD, signal-to-noise ratio, and amplifier class (Class A, AB, D, or G) are certainly useful, but they should be viewed as part of a bigger picture rather than the final answer.

Matching the amplifier with your speakers

The relationship between amplifier and loudspeaker is one of the most important aspects of building a balanced hi-fi system. Not every amplifier works equally well with every speaker, even when the specifications suggest compatibility.

Speakers with low sensitivity or difficult impedance behavior require an amplifier capable of delivering stable current under demanding conditions. When properly matched, bass becomes tighter, vocals sound more natural, and the stereo image gains precision and depth.

On the other hand, highly efficient speakers may benefit more from refinement and tonal finesse than from sheer power. In those systems, a more delicate and nuanced amplifier design can produce a more musical and enjoyable result.

This is why amplifier selection should always be considered as part of the complete system, not as an isolated component purchase.

Understanding amplifier types

Modern hi-fi amplifiers generally fall into a few main categories:

Integrated amplifiers

Integrated amplifiers combine a preamplifier and power amplifier in a single chassis. They remain the most popular option because they offer simplicity, performance, and value in one package.

Separate pre- and power amplifiers

Using separate components provides greater flexibility and upgrade potential. These systems often deliver improved channel separation and power supply performance, but they also require more careful matching and system planning.

Streaming amplifiers and all-in-one systems

Compact streaming amplifiers continue to grow in popularity thanks to their convenience and modern functionality. Many combine streaming, DACs, amplification, and wireless connectivity into a single solution, making them ideal for minimalist setups.

The best choice depends on how you plan to use your system and what level of flexibility or future upgrade potential you want.

Technical details that truly matter

Beyond the headline specifications, several technical factors can significantly influence performance:

• Power supply quality
• Current delivery capability
• Circuit design
• Thermal stability
• Component quality
• Input and output connectivity

Modern amplifiers may also include built-in DACs, streaming platforms, Bluetooth, HDMI ARC, or room correction systems. While these features can improve usability, it is still important to ensure the amplifier’s core sound quality remains the priority.

The best products strike a careful balance between functionality, reliability, and musical performance.

Listening is still the most important step

No specification sheet can fully describe how an amplifier will sound in your room, with your speakers, and with your music.

Timing, dynamics, tonal balance, and emotional engagement are qualities best judged through listening. An amplifier that measures beautifully may still fail to create the musical connection you are looking for, while another may immediately bring your system to life.

Whenever possible, listening to amplifier and speaker combinations before making a decision remains the most reliable way to find the right match.

Conclusion

Buying an amplifier is not simply about choosing the most powerful model or the one with the longest feature list. The best amplifier is the one that works harmoniously within your system and helps your speakers perform at their full potential.

When amplifier, speakers, and source components are properly matched, the result is a system that feels balanced, controlled, and musically convincing. Taking the time to understand these relationships will ultimately lead to a far more rewarding listening experience.

At the heart of the Pre900 is a fully balanced four-channel differential architecture that treats the left and right audio channels as completely independent signal paths. This approach is far more sophisticated than the simplified “balanced” implementations often seen in more affordable hi-fi gear. By maintaining separate processing for each channel throughout the entire audio path, TOPPING aims to minimize crosstalk, suppress unwanted noise, and preserve stereo imaging with exceptional accuracy.

The company has also paid close attention to internal power management. The digital and analog sections each operate on dedicated power circuits, reducing interference between sensitive audio stages and the control electronics. In practice, this contributes to a cleaner background, improved channel separation, and greater overall transparency, particularly when paired with revealing power amplifiers or high-resolution source components.

One of the most technically impressive elements of the Pre900 is its relay-controlled volume system. Instead of relying on conventional potentiometers, which can introduce imbalance and degradation over time, TOPPING has implemented a precision relay ladder network capable of adjusting volume in ultra-fine 0.1 dB increments. With a total of 1000 discrete volume levels available, users gain an unusually precise degree of control over listening levels. This level of granularity is especially valuable in nearfield desktop setups and high-resolution headphone systems where even minor volume adjustments can noticeably affect the listening experience.

Connectivity is equally serious. The Pre900 is equipped with three balanced XLR/TRS combination inputs using premium Neutrik connectors, ensuring compatibility with both professional studio equipment and modern high-end home audio components. A balanced XLR output handles signal delivery to external power amplifiers or active loudspeakers, while three selectable gain levels allow the preamplifier to adapt to a wide variety of system configurations.

TOPPING also claims an impressive maximum output voltage of 69 Vpp, giving the Pre900 enough headroom to comfortably drive demanding amplifier stages without strain. For users operating powerful balanced systems, this translates into effortless dynamics and improved control during complex musical passages.

Beyond the technical specifications, the Pre900 incorporates several thoughtful usability features that make daily operation feel refined rather than clinical. A built-in volume safety system automatically lowers the signal level when switching inputs or powering on the unit, helping protect loudspeakers and headphones from accidental spikes or unexpectedly high playback levels.

The front panel combines a minimalist industrial aesthetic with surprisingly versatile functionality. Dominating the center is a 2-inch color display capable of operating in several visual modes. Users can choose between standard playback information, animated VU meters, or a real-time FFT spectrum analyzer that gives the device a more professional studio-inspired personality. The interface itself is controlled through a combination of touch-sensitive buttons, a precision rotary encoder, and an included infrared remote control.

Physically, the Pre900 continues TOPPING’s familiar approach to construction quality. The chassis is machined from aluminum using CNC manufacturing techniques, resulting in a rigid enclosure designed to reduce vibration and electromagnetic interference while maintaining a clean, understated appearance suitable for both desktop and full-size hi-fi systems.

For users integrating the Pre900 into larger systems, TOPPING has included 12V trigger input and output connections. This allows connected components such as power amplifiers or active loudspeakers to power on and off automatically alongside the preamplifier, streamlining operation and creating a more seamless user experience.

What makes the Pre900 particularly interesting is how it bridges the gap between professional audio engineering and enthusiast hi-fi design. It clearly prioritizes measurable performance, low distortion, and signal purity, yet it also offers the kind of flexibility and visual sophistication that modern audiophiles increasingly expect from premium desktop and living-room systems alike.

Rather than chasing coloration or a heavily “voiced” sonic character, the TOPPING Pre900 appears designed to disappear from the signal chain entirely. For listeners seeking neutrality, precision, and uncompromising balanced operation, it represents another strong example of how modern audio manufacturers are pushing high-end engineering into increasingly accessible territory.

TOPPING Pre900 specifications :

• Device type: fully balanced preamplifier
• Architecture: Quad-channel differential
• Volume control: relay / 1000 steps / 0.1 dB
• Inputs: 3 x XLR/TRS Combo
• Outputs: XLR
• THD+N: 0.00005% @1kHz
• SNR: 151 dB
• Dynamic range: 151 dB
• Frequency response: 20 Hz – 40 kHz (±0.05 dB) / 20 Hz – 100 kHz (±0.1 dB)
• Output level: 69Vpp @G=L / 65Vpp @G=M / 65Vpp @G=H
• Gain: 0 dB / +10.4 dB / +19.9 dB
• Crosstalk: 150 dB
• Input impedance: 20 kOhm
• Output impedance: 100 Ohm
• Display: 2.0″ color
• Functions: FFT / VU Meter / Safe Volume / 12V Trigger
• Remote control: CNC aluminum housing
• Power supply: separate for digital and analog parts

YBA Design One

With Design One, YBA enters a niche that few high-end brands have explored. This compact (SA)CD player is also a desktop DA converter, a headphone amplifier, and a home CD transport, with the option to operate on batteries or an external power supply.

The YBA Design One is YBA's first step into the world of portable and desktop hi-fi. The company describes it as a way to bring the distinctive French sound to listeners, wherever they are. Despite its compact size of 188 x 166 x 40 millimeters and weight of 1.34 kilograms, the Design One promises the same sound character that distinguishes the brand's larger components.

Under the hood of the Design One, you will find an SACD mechanism built around the proven HD850 laser and the MT1389EE system, guaranteeing accurate playback of CDs and both single- and multilayer SACDs. The top-loading design utilizes a magnetic disc clamp developed specifically for this model.

DA conversion is handled by the AKM AK4497S, chosen to complement YBA's tuning philosophy. For headphone users—YBA's self-proclaimed target audience—a balanced discrete amplifier delivers up to 1.65 Watts at an impedance of 32 Ohms when powered by an external DC power supply, while maintaining a low output impedance for sensitive in-ear monitors (IEMs).

With the precise volume control in 100 steps, the user can fine-tune the volume for a wide range of headphones via the 3.5 mm unbalanced and 4.4 mm balanced outputs.

The Design One supports playback of CDs, CD-R/RWs, and SACDs. The specified signal-to-noise ratio is greater than 125 dB and maintains a THD+N of 0.0004% with a frequency range of 20 Hz to 40 kHz (-0.5 dB). The housing features a 2.79-inch screen (428 x 142) and is operated via physical buttons and adjustable mechanical switches.

The Design One is specifically designed for headphone use but can be easily integrated into larger systems. Featuring a balanced 4.4 mm output (5.2 Volts) and a stereo RCA output (2.6 Volts), it can be used as a line-out or pre-out DAC for active speakers or power amplifiers. Alternatively, the coaxial SPDIF output and the digital USB-C output can be used to connect an external DA converter when the Design One functions as a transport.

When the Design One is connected to a computer, it transforms into a high-resolution USB DAC that supports PCM up to 32-bit/768 kHz and DSD512. A magnetic rear panel protects the connectors for portable use.

Two internal 21700 batteries provide up to 5.5 hours of playback time and ensure a stable power supply, even when off the mains. Charging is done via USB-C with PD3.0 support. For more demanding headphones, connecting a 9V/3A PD3.0 PPS charger activates an external DC power supply, which would significantly increase the amplifier's output power.

Price: $1,900