It’s now become a tradition. That breezy 90 minute flight from Sydney to Melbourne in October. Mind you, after driving nearly two hours to the airport from the Blue Mountains. Then, a soft-landing at Tullamarine Airport. Soon, I’ll be taxiing the runways of Australia’s largest audio show. That’s the StereoNET Hi-Fi & AV Show at its traditional home at the Pullman Melbourne Albert Park. I arrived mid-afternoon on kick-off Friday. Checked-in. Then, by the show’s entrance, a bombardment of low frequency shell-shock pulses. Audio PTSD. But hey, with a full-metal-jacket SD card magazine locked and loaded, itchy shutter trigger-finger, scrawly notepad and battle-scarred backpack at the shoulder, the campaign to move forward through the show began. Onwards and upwards.
Battle Plan
To be expected at the show, I was looking forward to training my sights on a wide spectrum of products from global and local brands exhibited by distributors, retailers and manufacturers across multiple floors. There’s a mix of exhibit options, ranging from large conference rooms to meeting spaces and hotel accommodation rooms. Open areas were utilised for the Headzones headphone and personal audio electronics auditioning, the growing Record Fair marketplace, and a small gaming area where driving skills could be put to the test on the ‘Track Racer’ driving simulator.
Of course, the event also provides excellent networking and catch-up opportunities with colleagues, both local and international. Ergo the super-busy after hours bar area and lobby lounges, buzzing with the networking machine at full bore.
As far as exhibitors, the numbers seemed roughly on par with those for last year. That meant punters had a selection of around 50 demonstration rooms to sample. Brand count was into the hundreds. That, of course, is a strong demonstration of the rich product selection in this country, which offers a wide palette of audio provisions for attendees to sample and enjoy. It’s also evidence of the show organisers’ ability to market and promote the event in an effective manner, resulting in strong local industry support.
Being a mid-sized event, the show is nevertheless a gargantuan task to cover for this lone reporter. For that reason, this year I’m once again presenting a selection of my favourite rooms. These are not in order of preference but reflect my encounters as I made my way around. In other words, the first entrant is not necessarily superior to the last one, it’s just the way I chanced upon them. Rounding out the coverage is a pictorial gallery, with each image featuring a short descriptive caption.
Once again, kudos to Marc and Ness Rushton, plus the StereoNET support staff, for putting together an outstanding, efficient and all-round well-catered for event. Bravo, and here’s to the encore in 2025…
… Edgar Kramer
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The first room I encountered with a deserved standout status was Audio Magic’s exhibit. There I entered a room filled with sound provided by Lumin’s T3 Network Player and L2 Music Library providing the music to an Aqua Acoustic Quality Formula xHD 2.0 digital-to-analogue converter. Amplification was via a Copland CTA-407 integrated amplifier handling the superb Kudos Audio Titan 505 (the Titan 808 flagship I reviewed here was on standby), all hooked up with Tellurium Q Ultra Black II cables. On standby at the time of my visit was a Bergmann Audio Magne Anniversary turntable fitted with HANA ML cartridge, with the phono stage by Ayre Acoustics P5xe. I enjoyed the natural presentation which exhibited oodles of detail and a very refined way. The low-frequencies were ample and, on the tracks played while I was there, seemed to couple with the relatively small room very well indeed. Vocals were very present and realistic. A great start.
The HiFi Collective double room split things between a static display area and a listening space. There, a system comprising a mix of electronics from AURALiC (including the recently released ARIES S1 and VEGA S1) as sources, AVM Audio SA 6.3 integrated amplifier, and Plixir/AURALiC S1 power supplies, was complimented by the debuting super-high-end S-1 ‘Audiophile Network Switch’ from Japan’s Melco (support via N100-H20 Music Library). The S-1 had been launched to the world the day before the show. Loudspeakers were Fyne Audio’s Vintage Ten coupled to the Fyne Audio SuperTrax super-tweeter with cabling by Vertere. I’ve been impressed at every Fyne Audio demonstration and the Vintage Ten/SuperTrax combo was a great conduit of the electronics quality upstream. Here was a dynamic, detailed, full-bodied sound which also rendered a large soundstage with excellent depth.
Melbourne’s Sound Gallery store in Carnegie had an eclectic room which, as I entered, blew me away with the system’s realism, its low frequency depth, and its excellent dynamic expression. Alternately, Ideon Audio’s uber high-end Absolute DAC and Absolute Stream (Silent Angel switch and Clock also in-situ) and dCS’s Lina Network DAC and Master Clock provided the music. Ideon was mated to CH Precision’s I1 integrated amplifier which connected to Marten Septet speakers, with all the cabling being ZenSati #1. In the alternate configuration, dCS Lina mated to Gryphon Audio’s Diablo 333 integrated amplifier driving Estelon XB speakers through Gryphon Audio cables. That track I heard, the one that floored me as I entered the room, was “The Sound of Silence” by Chris Castellucci (bound to be a high rotation track at shows until it becomes unlistenable, sigh…). It played through the dCS/Gryphon Audio/Estelon system and the verisimilitude of Castellucci’s voice was almost scary. Returning later to hear the same track through Ideon/CH Precision/Marten provided equally erect goosebumps. A variety of other tracks showed the outstanding spatial qualities and dynamic power of both those systems. Impressive.
Coincidentally, another standout room was right next door, in an equally spacious room, where Sound Gallery hosted Linn’s Michael O’Rourke (pictured above) and Nordost’s Bjorn Bengtsson, who alternately presented their wares. The system featured Linn Klimax DSM and Waversa digital sources teamed with Linn’s stunning new Klimax Solo 800 monoblock power amplifiers driving Wilson Audio The WATT/Puppy speakers (recently reviewed here). Nordost AC products and cabling tied it all together. The Klimax Solo 800 amps controlled the WATT/Puppy with tremendous tenacity while providing astounding dynamics. There was a fine balance between oodles of detail and delicate tonal purity here. Spatial qualities in all dimensions were first class – the large room provided ample space for that. Ambience and bass depth were also superb.
Synergy Audio showed in two rooms (one debuted the Audio Research Reference 330M Mono amplifiers) but for this writer, the exhibit showcasing Aurender digital with an all-McIntosh Laboratory electronics suite including MT5 turntable, MCT500 CD Transport, and MA8950 integrated amplifier driving the new Sonus faber Sonetto VIII speakers was the standout. Here, there was a superb synergy between the electronics and the speakers which provided a room-suitable balance of tight and deep low frequencies and surprising dynamics. Instrument and vocal timbre was spot-on and, through one track in particular, the speakers seemed to totally disappear, providing generous spatial reproduction and tightly focused image rendering. The Sonetto line promises great things.
OK, this one never gets old. Bill McLean (McLeans Smarter Home Entertainment) is an expert hand at system setup. So, it’s no surprise then that his room once again makes the standout list. The system consisted of an Innuos Pulse network music player, Fezz Audio Equinox DAC, Rogue Audio RP-9 preamplifier and First Watt SIT4 single-ended amplifier. Loudspeakers were DeVore Fidelity O/96 Orangutan. Every time I hear a system with Orangutan speakers, I appreciate the superb tonal fidelity and sheer musicality which invariably leads to engagement with the music. No exceptions here. Those qualities were also combined with excellent soundstaging despite the room’s limitations. There’s lots of over-etched hi-fi at these shows, but music which approaches the ‘live’ experience is rare. This one makes the standout list without a shadow of a doubt.
Another brand which invariably succeeds at presenting a close simile to real music is Brodmann Acoustics which is imported into Australia by BMC Audio Visual. At the show, it was with the Vienna Classic Series VC-7. You’d expect that, being a Vienna-based company led by Bernd Gruhn (pictured above), who travelled from Austria to attend the show. The electronics were based around Melco and its N1ZH/2 Music Library/Server digital source, Storm Audio ISP Elite MK3 preamplifier, Elektra Audio Reference HD power amplifier, and Ricable cabling. BMC AV wisely brought along bespoke acoustic treatments including bass traps and absorbers, which evidently allowed a superb coupling between speakers and room. The result? Superbly balanced music which preserved the timbre of instruments, and which loaded the room with tight, well-controlled bass notes, while expressing the nuance and decay of instruments and vocals. Considering the room was tightly packed with a full Dolby Atmos system in play alternately, the calibre of reproduction in this exhibit was quite remarkable.
Australian manufacturer VAF showed its tall and beautifully presented Signature i93 MKV speakers powered by McIntosh Laboratory MA12000 integrated amplifier and Cyrus Phono Signature Premium Preamp with source signal from McIntosh MCT500 digital and Acoustic Signature Typhoon NEO analogue sources. IsoTek’s EVO3 Mosaic Genesis provided the AC filtering while DEQX handled the DSP. Despite the tall array of drivers and the proximity of the first row of seats, the system’s ability to throw a deep image beyond the wall behind them was surprising. Also unexpected given my listening position, was the inter-driver coherence and balanced presentation which showed excellent detail, great tonal accuracy, and zero congestion. Given an appropriate acoustic space, the VAF speakers could really be even more eye and ear openers.
Audio Dynamics is the importer of Electrocompaniet and Chario Loudspeakers so, of course, there was a comprehensive representation of the brands. EMC 1 MKV CD player, ECM 1 Mk II streamer, EC 4.8 Mk II preamplifier and the acclaimed AW 800 M monoblock amplifiers (reviewed here) driving, alternately, the gorgeous Chario Aviator Cielo and Academy Sovran loudspeakers. All hook-up by Transparent Cable. With the Aviator Cielo playing as I entered, the sound presentation was refined, balancing excellent detail with an inherent sweetness and truth in timbre. The diagonal configuration provided a deep and wide soundstage while minimising room interactions which provided deep and controlled low frequency bandwidth. The sound was not in your face, as they say, but it had subtlety and polish, both signs of expert acoustic design and engineering.
Dacman Audio showed its wares in conjunction with Hulgich Audio and OAD Ultrafidelity. Dacman Audio imports Denafrips, among many other brands, and was showing with that company’s renowned Terminator DAC in combination with Jay’s Audio CD Transport and OAD Ultrafidelity’s superbly built Padma preamplifier and Vajra power amplifier driving Hulgich Audio’s Duke Mk II. This was one of the rooms which had a constant stream of attendees filling it to just about capacity. I was fortunate to grab the centre spot in the musical chairs shenanigans for a couple of tracks. I was impressed with the musical flow and balance the system delivered. Notably, the Duke Mk II has just been enhanced with a new bass driver and crossover enhancement which offered a more nuanced and better controlled low frequency range, while the mids and highs exhibited the company’s renowned mix of accuracy and refinement.
One of the surprises of the show was the revelation that one of the brands I’ve long admired was making an Aussie comeback. Radiance AV showed a trinity of ProAc speakers driven by a Chord Electronics Ultima integrated amplifier and the company’s Qutest DAC tied to a Hugo M Scaler upscaler in conjunction with a Michell Gyro SE turntable and a Chord Huei phono stage (Soundsmith Zephyr MIMC cartridge). My memories of the excellence of the ProAc speakers (as driven by the accompanying electronics) was not blurred in any way – these are truly musical speakers that strongly engaged me. The ribbon tweeter sounded sweet, detailed and airy, while an electronic track I selected was beautifully resolved while punching way deeper and more powerfully than the size of the small D20R floorstander would have implied. No bollocks here.
Special Mentions
Masimo/Sound United showed for the first time in Australia the new Marantz SACD 10 SACD/CD player and Model 10 high-end integrated amplifier driving the stunning Bowers & Wilkins 805 D4 Signature Series loudspeakers. Extremely promising new upmarket products from Marantz. Stay tuned…
A rapidly expanding range of ‘live’ sounding loudspeakers from Microphase Audio Design were dynamically impressive while providing exceptional levels of detail. Company head and designer Jean-Marie Lière pictured.
HeyNow Hi-Fi showed tantalising electronics from Döhmann Audio, Sutherland, Meitner and Air Tight with speakers from Fischer & Fischer. Good all-round sound albeit with a light overloading of the low frequencies in the small-room acoustic environment. Turntable design maestro Mark Döhmann was at hand to spin always-wisely-selected music.
Yamaha Australia had its fair share of competing SPLs from the room next door. Here, Dale Moore presents the expanded line of loudspeakers from the audio giant, with the newish NS-2000A floorstanding speakers providing a competing sound against the neighbouring acoustic onslaught.
Avation imports Vivid Audio speakers into Australia. Here, the Kaya K90 speakers played well with Devialet electronics (Devialet’s Phantom on Tree stands and Vivid Kaya K25 on standby). Constricted somewhat by the room size, the speakers nevertheless sounded open and very detailed.
Audiofix/Stereotech showed a number of Dellichord loudspeakers including the FR2035 loudspeakers (review here) and a new ridiculously high value design, called the 70S, which starts at AU$1699 in a flat pack for consumer assembly. Audiofix showed its range of EAR Yoshino and Exposure electronics in the same room.
Pitt & Giblin always presents a room which is inviting and vibes like a cool cocktail bar. The new Flare loudspeaker sports the signature bronze horn waveguide and a bespoke 200 mm mid-bass driver. Of course, befitting company philosophy, the Flare is an active loudspeaker which offers ease of use and a clear, refined sound.
DEQX demonstrated both the processing and loudspeaker driving power of the flagship Pre-8 driving two new AMPY3, 3-way Purify amplifiers. REL subwoofers provided low-end support. A DIY-style loudspeaker system, with me sitting literally 1.5m away, produced a massive soundstage with terrific depth. Of course, bass control and dynamic expression were extra.
Amber Technology showed a promising new speaker from JBL. The Stage 2 speakers are synergistically designed to work in unison with the new MA Series Receivers. In the less than ideal room environment, there were some elements of sonic performance which appealed. Very much so.
As far as home cinema is concerned, Indi Imports M&K Sound system offered incredible value and a sonic performance which, while having all the bells and whistles, explosions, gunshots, etc, it also offered a level of refinement rarely experienced in multi-channel demonstrations. Company head Paul Riachi presented the outstanding M&K Sound cinema experience (pictured above). Next door two systems showed Spendor speakers with Krell, Cyrus and Cary Audio electronics. In the Loewe Lounge, Indi Imports showed the German company’s full range of TVs. Indi Imports also managed to coerce Batman and The Joker into mixing it with attendees without once trying to kill each other. Oh, and a big plus for worn-out journos – staff were at the espresso machine handing out delicious ristretto caffe. Love it.
Gallery
Relatively new Australian horn-loaded, solid timber Celata 88 loudspeaker system from SpectraFlora.
In a bespoke cinema room, Krix Loudspeakers’ Don MacKenzie introduces a host of new cinema designs. Krix celebrates 50 years of loudspeaker design excellence.
Synergy Audio showed the gorgeous Sonus faber Amati G5 driven by the brand new Audio Research Reference 330M monoblocks making their Australian debut.
Jay Vee Technologies showed a sampling of the Revival Audio, (read our review of Atalante 5 here), Amphion, and SPL Audio products.
Audacity distribution showed the impressive retro-style Taga Harmony speakers with a host of WiiM and Silcron electronics.
Audio Active Australia’s Bruce Thierbach pitches the qualities of Storm Audio’s and Theory Audio Design’s high quality multi-channel products.
Johan Coorg spruiking the virtues of Hegel and KEF (and the wonders of app control) as a guest of Advance Audio.
Tim Wallis from Audio Marketing in full demo mode of the highly acclaimed Stax headphone products.
The beautiful Abyss headphones from New York make a visual statement in a robot-head way. Brought into Australia by Radiance AV.
