The Australian Hi-Fi Show Sydney 2024, or the “Sydney” show, as local audio enthusiasts like to call it, was again held at the Sydney Central Hotel, Haymarket (previously the Novotel), a convenient location just a breezy five-minute walk from Central Station. Off the cuff, as a short preamble, I found it gratifying to see a cornucopia of homegrown produce from brands who over the years have garnered international prestige, right across to emerging, smaller concerns. Overseas readers will, no doubt, marvel at the ingenuity and individuality of the many Aussie brands mentioned below. Well, as is my usual modus operandi, the coverage will follow my semi-random meanderings through the venue across the three days I attended. So, let’s hit the mosh pit, shall we?
Central Fun Park
My first port of call was a large exhibit in the Port Jackson room belonging to Maxmedia (shared with Leica Australia). There, the company placed, in pride of place as you enter, the Avant Garde Duo horn speakers in bright, and rather gorgeous orange (I believe Avant Garde calls it ‘Shiny Citrine Orange’, try saying that five times real fast). Electronics were a mix of Fezz Audio, C.O.S. Engineering, Innuos and others (Piega speakers were also in place as a further auditioning option). Kudos to Maxmedia’s proprietor Cameron Keating for spinning Sisters of Mercy’s awesome track “More” while I was there on one of my several visits to this room. As you’d expect from horns, the sound was dynamic, spatially upfront, and so fun.
A short shuffle down the corridor saw me arriving at one of the show’s most upmarket and most visually arresting rooms. Here, the components were mostly made up of Australian companies with a big global reputation. Those aside, other components are part of Nirvana Sound’s product stable who shared the room with Döhmann Audio, Duntech Audio and Halcro (yeah, those are the Aussies). Starting at the source, there was the highly acclaimed Döhmann Audio Helix One Titanium turntable, the legendary amplification from Halcro with its Eclipse stereo power amplifier, and the impressive Duntech Audio Princess loudspeakers. The three Amigos (or mates). Non-Australian items of note were the SupaTrac Farpoint Blackbird 10.5 Uni-pivot tonearm mated to an Airtight Opus MC cartridge, a mix of Ypsilon, Cessaro, Canor and PS Audio electronics, and Stage III cabling. Mark Döhmann himself presented the music (Döhmann is the consummate DJ, not just blindingly spinning, but introing each piece with short background ditties). As a reflection of the components’ pedigree, the sound was big, dynamic and refined with great tonal precision. Did I mention that the sound was BIG?
Wondering down towards the ground floor (you’d think I would have started there in the first place, right) I landed at Synergy Audio’s room of wonders and curiosities. Like a smack on the face, I was taken aback by the system in front of me as I entered. A bank of McIntosh Laboratories electronics, all aglow in blue and green, was driving Sonus faber Stradivari G2 speakers in immaculate Red Wood finish which, in turn, received low-end support via two REL Acoustics No.32 monster subwoofers (Aurender digital source). To the right and left, alternative systems showcased products from Advance Paris, Chord Company, MoFi Electronics, Quadraspire, Rega and others. After show hours, I visited once again with SoundStage! Australia reviewer Barry Johnston. With a bit of time up our sleeves we were kindly offered the main attraction (yeah, that would be Mac and Sf) to play a stack of non-show-type music we love. We blasted all sorts of stuff, from heavy metal through to alternative and electronica and more. You know, the type that your average audio enthusiast snorts at in semi-disgust. What loss. It was among the most fun sessions I’ve ever had at a show. Needless to say, some of the more… shall we say… enthusiastic tracks slammed like a runaway locomotive. Truly awesome and thanks kindly Phil Sawyer and crew.
Among many other brands, Avation distributes Vivid Audio. The company showed a stupendous pair of Giya G2 speakers in a stunning mat blue finish. Alongside, a gloss green pair of highly regarded Kaya S12 standmounts were offered as an alternative, and rather different listening experience. Source signal was via Lumin streamer/server, while the Capri S2 preamplifier was from Jeff Rowland serving PS Audio BHK Signature 600 Mono amplifiers (a Devialet amp was also available). A further selection of Kaya and Oval series speakers were shown on static display alongside. Avation made efforts to add some form of treatment to the large, sparsely furnished space, but I would say much more was needed in order to tame the difficult room acoustics. Nevertheless, the potential of Vivid Audio’s undeniable, and well documented, sonic prowess was evidenced here.
March Audio’s Alan March presents a ‘tech-talk’ for the Sydney Audio Club and guests
The last room on this level was by Australia’s March Audio. The company showed its new Pre1 fully-balanced preamplifier and new top-tier P801 Class-D power amplifier monoblocks. Also shown was a new DAC while the speakers were the well-received Sointuve standmounts in Tasmanian oak veneer and the floorstanding Ukkonen in a smart Candy Apple Red gloss paint finish. In an afterhours event, Head designer and founder Alan March (assisted by wife Ruth) presented a ‘Tech Talk’ detailing aspects of amplifier and loudspeaker design to members of the Sydney Audio Club and select guests. Music was then played and the system sounded powerful, spatially generous and well-detailed.
Adam Prangell espousing the merits of Denon and Polk Audio
The lower-ground floor was mostly taken by Masimo Consumer where the company showed, in its near-entirety, the range of Polk Audio and Bowers & Wilkins 600 series loudspeakers. Electronics from Denon and Marantz were also on show while a large section of a side wall displayed the diversity of AudioQuest cabling.
The main attraction, however, was in a large room across the hallway where a high-end system was wowing punters. This was a really busy room and I had to visit a couple of times in order to wrangle a decent enough listening position. On display was the new Denon DP-300NE, an exceptionally quiet and mind-bendingly high value turntable I first saw at the Tokyo International Audio Show 2023 (read report here). This AU$4500 turntable (including arm) sounded phenomenal as the source (a Marantz streamer did digital) for the new Classé Delta PRE Mk II (with HEOS built-in) and Delta MONO amplifiers driving the stunning California Burl Gloss-finished Bowers & Wilkins 801 D4 Signature. Cabling by AudioQuest, of course. The elegant rack was the Belgravia model from Aspire Audio. And the reason the room was always full? Well, the sound, especially through that confoundingly affordable turntable was refined, detailed, resolute, and dynamic with excellent low-end. Signature sound indeed.
Once again, this year, Indie Hi-Fi had a dedicated area for sampling a selection of high-end headphones and headphone amplifiers. The self-contained area was conducive to peaceful and mindful auditioning. In another space, Indie Hi-Fi showed a system comprising Grimm Audio MU1 streamer, AGD Adante Preamplifier/DAC, AGD Audio Mk III monoblocks (on a Codia platform) and Wilson Audio Sabrina X. The Sabrina Xs were setup up super-nearfield and, in a certain position, imaged sharply and gelled reasonably well. As expected in an extreme nearfield configuration, big back and forth head movements collapsed the illusion.
SoundStage! Australia reviewer and turntable/cartridge setup specialist Mark Busby checks stylus minutiae
Into the lift lobby and on to Level 9 where the typically-sized hotel rooms housed the majority of exhibitors. First on the right is Secret Chord Analogue (Stephen Price) showcasing the new Confluence Décor Series designed in Sydney’s Blue Mountains district. The speakers are formed by unique natural wood panels, in a dipole configuration, and sporting large full-range drivers. The Confluence speakers are packaged with one or more ‘Seamless’ subwoofers. Driving the speakers were a mix of Red Roo valve amplifiers by designer Phil Wait, with further amplification support by Elekit amps. Source was the overachieving Kuzma Stabi turntable with 4 Point 11 inch arm and Soundsmith Power Mk II hooked to Red Roo PR5 phono stage. Secret Chord Analogue also showed its undoubtedly effective Record Restore cleaning system (trust me, this works, and my mouldy black vinyl thanks SCA, as do I) while, via SCA sub-brand ‘Turntable Whisperer’, setup specialist and SoundStage! Australia reviewer Mark Busby conducted training and informational sessions on cartridge alignment and stylus care. Yeah, this was a busy room.
Audio Marketing had the arresting Musical Fidelity M8xTT turntable (AU$18,000) on display centre stage in its full acrylic and polished metal glory. Also making a debut at an Australian event were the new Revival Audio Atalante 4 (AU$7700), a svelte tower with elegant outriggers and other minor evolutionary design refinements over its Atalante 5 retro-like big brother. The amplification was by Musical Fidelity and its M8xi 550 watts/channel integrated (AU$13,800) and the phono stage was Musical Fidelity’s M6x ViNYL (AU$3675), while cabling was from inakustik, including the LS-2405 AIR Reference speaker cables which will be reviewed on SoundStage! Australia soon. Also from inakustik was the vinyl music, from the company’s Reference Sound record selection. As I’ve found at several auditions of the Revival loudspeakers in the past, the sound was fluid, with a full-bodied midrange, delicate highs, and all grounded by a solid, yet balanced, low-frequency underpinning.
Microphase Audio Design’s stable of unique Australian speaker designs has been in constant expansion by prolific designer and company founder Jean-Marie Lière. Lière has recently added three slimline floorstanders to the company’s portfolio, which maintain their svelte fascia by having their woofers mounted on the side panels. The new Tower 1, Tower 3 and Tower 4 speakers feature Lière’s beloved Audax drivers which are made to specification. The woofers come from SB Acoustics. A team of CD player, streamer and a gorgeous vintage Stellavox reel-to-reel player provided the tunes. Lière is a master at wringing dynamic expression and detail from his designs and, despite the limitations of the room acoustics, the sound reaffirmed those qualities. Look out for the upcoming review of the SAT Mk III standmounts in the very near future.
Yamaha Australia showed in two adjacent rooms where the company’s strong product depth formed fully-kitted upmarket systems. At the time of my visit to the first room, I was impressed by the bass power, depth, and the overall resolution of the NS-3000 standmount speakers. They were competently driven by an A-S3200 amplifier and, at other times, the relatively new R-N2000A, while music was provided by CD-S2100, a unit I’m very familiar with, having owned it as a personal CD player/transport for several years now. The entire system was tweaked using the new Les Davis Audio multi-layer ‘Entropic Isolators’ and other vibration control accessories, including under the audio rack’s spikes. The sheer number of isolators in use did not allow A/B-ing in order to ascertain the products’ efficacy, however, I look forward to discovering the powers of Les Davis Audio’s products at some stage. Davis himself was on DJ duties and a fine job he did too. By the way, the NS-3000s did bass to “where’s the subwoofer” level.
Yamaha Australia’s second room was the showcase for the company’s 5000 flagship products. The retro-chic C-5000 preamplifier was mated to the M-5000 power amplifier which in turn drove the NS-5000 loudspeakers, with a full metal jacket of Zylon-constructed drivers (all reviewed here – use our search feature at the top of the page to find the reviews). Source was the CD-S3000 purposed as both a 32-bit CD and DAC, the latter via its in-built Steinberg USB architecture. SoundStage! Australia reviewer Barry Johnston and I once again commandeered the room and spun a few hard-rockin’ tracks and the system punched and wailed with appropriate power, bass solidity and ample dynamic contrast.
In yet another room from Masimo Consumer, the company showed the brand new Bowers & Wilkins 702 S3 Signature Series in the arrestingly beautiful Datuk gloss finish (on static display were the 705 S3 Signature in the alternative Midnight Blue Metallic). All was tied with AudioQuest Rocket 88 cables. Marantz provided the digital streaming by way of CD 50n and the Model 50 amplifier. Having reviewed the previous-gen S2 Signature floorstander (read review here), I know what the revisions and refinements can do to noticeably up the performance from these beautiful speakers. Stay tune for the likelihood of a 702 S3 Signature review in the not too distant future.
Hi End Audio showed a simple but quite eclectic system comprising Silent Angel server/streamer and network switches feeding, alternatively, Soulnote A-3 and Vitus RI-101 Mk II integrated amplifiers which drove Audio Solutions Figaro M2 floorstanders in a gorgeous mat blue finish. The blue wrap’s quality was of such a high standard that the speakers looked as if they were an aluminium construction. The rack was from TAOC while all cabling came from VYDA Labs top-end Orion range. I came back a couple of times here, where once the piano sound was quite beguiling and a jazz track’s highs sounded sweet, yet detailed. Vocals were also natural and life-like. A track by bass maestro Nenad Vasilić sounded very realistic, if a tad overpowering in the small hotel room, but still with control and nuance, showing that given the appropriate room size, these would present superb low-end.
Audio Magic distributes a whole heap of very classy products and, this time, the company took two rooms with NSW partner Krispy Audio, showing a good sampling of the portfolio. One room sported the valve-based Copland CTA407 integrated which shared amplification duties with Lumin’s AMP power amplifier. Lumin also provided the digital music by way of P1 Streamer/DAC via Lumin’s Music Library and Network Switch. Cabling by Tellurium Q Ultra Black II and racking by Bauer Audio. The interestingly designed Kudos Titan 808, with its highly-rated K3 tweeter and two-box per channel cabinetry sounded warm and inviting with a solid low-frequency range from the dual 220 mm bass drivers. We’ll get our hands on these soon.
Next door, Audio Magic and Space Hi-Fi showed the beautifully-veneered (I’m guessing Walnut finish) Harbeth SHL5plus XD on dedicated stands were being driven by Enleum AMP-54R, an outstanding industrial design which made its Australian debut at the show. Alternative amplification came courtesy of Ayre Acoustic’s KX-5 Twenty preamplifier and VX-5 Twenty power amplifier while a substitute speaker system was from Harbeth’s P3ESR XD mated to the Nelson woofer system. Sources were switched between aqua’s LinQ Network Interface and Formula xHD DAC and a Bergmann Audio Magne turntable, while all sat on Finite Elemente audio equipment racks. Here, there was that unmistakable Harbeth-induced musicality and midrange sweetness which was augmented by the excellent components in the signal path.
Richter is one of Australia’s longest-running manufacturers of affordable loudspeakers. Proprietor Brian Rodgers showed its recently launched Series 6plus high value speaker range, with the standmount Merlin S6plus standmount (AU$1299), the mid-sized Wizard S6plus 3-way floorstander (AU$2899), and the Unicorn S6plus LCR 3-way (AU$1299). The Unicorn LCR features a dispersion adjustment switch which allows, and compensates, for vertical or horizontal configurations. The use of the same drivers across the entire range will assure excellent tonal cohesion. The speakers shared a refinement and musicality rarely heard at this price point. Very promising. Source were NAD Bluesound Node N130/Power Node N330, amplification from Musical Fidelity’s M6si integrated and cabling was all Kimber.
Stereotech/Dellichord and Audiofix Distribution/The HiFi Shop, which are run from Brisbane by proprietors Andrew Hutchison and Alex Stuart respectively, exhibited a comprehensive sampling of each company’s products. The system was made up of Stereotech’s high value audio racks and Australian made loudspeakers. In fact, just before the show, I published on SoundStage! Australia the review of Dellichord’s excellent FR2035 active speaker system. It features the FR35 satellite 2-way speaker, inspired by BBC’s classic LS3/5a, supported by the FR20 IsoActive Bass Module isobaric woofer system (review here). Also on show were the FR6 isobaric speakers (review here) and a range of acoustic treatment products. Audiofix Distribution provided the gorgeous EAR 912 preamplifier and a host of Exposure electronics in support. Source was an Aurender streamer and cables were by Straightwire. The sound here was not to the standard which I experienced in my room – trust me, these are very good speakers – across the upper mids and lower highs, but the low-end played with great power and depth, I would say even control, given the difficult room circumstances. These can do much, much more.
Yes, those two ginormous chassis make one helluva DAC!
Purasound showed a striking system made up of niche brands and über componentry. I’ll start with one of the biggest surprises at any show. As I approached the system, I saw two massive Aries Cerat chassis sitting on floor platforms. The components were almost D’Agostino Master Systems Relentless-sized and had their top panels removed. There, exposed to the world, the electronic parts featured enormous multiple EI transformers and massive capacitor banks. All of first-class quality. I thought to myself, “Wow! These are serious amplifiers”. Then, I was told that these super-over-engineered components combined to make the Aries Cerat Ithaka TriodeFET R2R two-box DAC system (AU$135,000, no less). WTF! I can’t think of any, and I mean any, DAC built to this degree. Next to these massive chassis sat the large, but almost diminutive in comparison, Pink Faun 2.16 Ultra Streamer/Server (AU$37,000). Amplification provided by Aries Cerat Aperio Class-A TriodeFET 35 watts integrated amplifier (AU$75,000). Loudspeakers were Alsyvox Audio Design Tintoretto ribbon planars (AU$135,000). Cables from Skögrand and Luna Cables and isolation from Stacore. Much like at High End Munich this year, where I was smitten by the sound of Alsyvox’s Raffaello speakers, I was seduced by the sound of Tintoretto. There was a balanced tonality and natural timbre to instruments, while voices were rendered with extraordinary presence and lifelike authenticity.
Amber Technology’s demonstration of the new PSB Imagine loudspeaker line was quite the revelation. In the literal sense. Here is a new range of very affordable speakers, designed and engineered by Paul Barton, a genuine industry figurehead, and which were sounding extremely refined. Never mind that they were also looking schmick, with well-built and finished cabinets filled with generous driver counts. The irrepressible Martin Ireland conducted the presentation and, via some familiar (and immortal) audiophile music selections, proceeded to demonstrate PSB power. Driven by modest NAD electronics, I was stunned to find a super-refined, solidly dynamic and sweet large floorstander, the Imagine T65 tower, with four custom woven carbon fibre drivers per cabinet is retailing for a mere AU$3699 where, in my guesstimate, they could fit into the AU$6K to AU$7K price point. These were value kings. Ditto for the smaller floorstanders beside the T65, the T54, with a huge chunk of its larger sibling’s performance at a super-affordable AU$2699. These PSBs were one of the two biggest bargains at the show.
Audio Active lined-up a healthy dose of MartinLogan goodness by way of the large XT F200, the mid-sized XT F100 floorstanders and the XT B100 standmount, all sharing the company’s Gen2 Folded Motion XT waveguide-augmented tweeter, Nomex-reinforced Kevlar midrange drivers, and aluminium woofers (floorstanders). Audio Active also handles the distribution of cousin brand Paradigm and Anthem. Indeed, Anthem electronics were driving the non-electrostatic XT speakers described above, while a Bluesound source provided the tunes. SoundStage! Canada/USA has had extensive experience with the three brands and visited their facilities numerous times. I, at SoundStage! Australia, look forward to experiencing more intimately these excellent products.
Serhan Swift’s room has been a cavern of earthly delights at past shows where the Australian company’s Brad Serhan/Morris Swift-designed mμ2 standmounts have always impressed with size-defying sonic pyrotechnics. And even more so with the mμ2 SE variant. This year, the mμ3F performed similar acrobatics with a sound that was big and bold. I entered the room when J.S. Bach’s Toccata and Fugue was emanating from the woofers in a way that, once again, almost violated the laws of physics given mμ3F’s stature. While it’s remarkably capable on its own, the mμ3F’s superbly controlled performance was assisted by the debuting DEQX LS200 Integrated Preamp Processor with its powerful DSP engine, high quality DAC and in-built Hypex Ncore 500 watts amplification. The LS200 also provided music streaming while a Leema Acoustics Antila CD player was also on heavy rotation. The analogue playback option came via The Wand turntable and tonearm combo hooked to The Wand’s Phono EQ phono stage and battery power supply.
Mclean’s Smarter Home Entertainment’s founder Bill McLean has the show setup and demonstration caper down pat – he always draws good sound given the unfavourable hotel room-based show conditions. Mostly showing Magnepan speakers at past shows, this year McLean brought in the DeVore Fidelity Orangutan O/96 speakers (AU$24,990) tightly driven by Rogue Audio Stereo 100 power amplifier (AU$7995) teamed to the company’s RP-7 Preamplifier (AU$8990). Music was handled via AURALiC’s G2.1 Digital Audio Streamer (AU$9495) and cables were from Lenehan Audio FoilFlex. Well, McLean, you’ve done it again. I sampled several tracks from the sweet spot (of note, AC/DC’s excellent “She’s Got The Jack”) and the system played with delicacy and warmth when called for, and satisfying power and dynamics when needed (ergo the AC/DC track). To the chagrin of many audio pedants who dislike the term, I’d call the sound here musical, in a way that could have had me staying there a whole lot longer.
In addition to the dedicated headphone listening room in the Indie Hi-Fi exhibit I mentioned above, Sennheiser Australia provided a comprehensive listening station in its exhibit room where attendees could audition a variety of the company’s products, including a healthy sampling of its high-end models.
The same applied to beyerdynamic Australia, where a long display showed a large range of headphones and personal audio products from the company’s extensive portfolio. This exhibit was adjacent to a small vinyl market where punters could casually leaf through buckets of records available for purchase.
Conclusion
It was a challenging scenario for this year’s Australian Hi-Fi Show Sydney. On Friday, day one of the show, rainfall across the city reached almost record April levels, resulting in track damage and Sydney Trains delays. No doubt, attendance suffered as a result.
As a coda to this report, I was super-amped by the strong representation of local manufacturers whose inventions are unified, like a chorus, confidently demonstrating their passion and the relentless Australian spirit of creativity.
… Edgar Kramer
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Australian Hi-Fi Show Sydney 2024
Friday April 5 to Sunday April 7, 2024
Sydney Central Hotel
Haymarket, Sydney 2000
