It’s that time again. As I make my way down ‘The Hill’ to Sydney Domestic, bound for all-seasons-in-one-day Melbourne, I’m warned of an unusually cold spell. Wait, what? Yeah, cold even for a Mountains Man like moi. Hey, but I’m anticipating warm cozy vibes at the Pullman Melbourne Albert Park Hotel, the traditional homebase of the StereoNET Hi-Fi & AV Show. There, I’ll be struttin’ and scattin’ through exhibits bathed in the warm red, blue, and green glow of valves and LEDs, in sync with paper, ceramic, and metal cones and domes producing good, good, good, good vibrations. And this is the spot where you’ll read about this writer’s handpicked selection of the sonic comforts at the event’s standout rooms. Let’s do this…
Points of Reference
Consistency is the sister of harmony, or in this context, harmonies. Here, at the show’s regular location in the Pullman Melbourne Albert Park Hotel, experience has yielded a positive side effect. As confirmed by many attendees I spoke with, the stable exhibitor layout offers returning visitors a known navigation path throughout the venue.
For returning exhibitors, there’s a reference point based on past years which, again, presents an opportunity to fine-tune room acoustics while honing-in on appropriate equipment selection. There are familiar walls, known dimensions, and repeat experience, all helping to further dial-in the presentations. Beyond my own observations, many punters I spoke with echoed my sentiment that, in general terms, the sonic performance has stepped up a notch or two. This is a welcome development which, naturally, enhances the overall experience.
Exhibits were made up of around 60 demonstration rooms and over 50 discrete exhibitors. Brands, of course, were into the hundreds. These are my own hand-count statistics. Both the sampling of exhibitors and brands are evidence of a strong, yet competitive Australian market.
The two Headzones areas were once again buzzing with activity, representing a terrific gateway into high-end audio for younger audiences. A few steps up into the next level, a dedicated section of the hotel’s conference space hosted the always popular ‘Record Fair’ vinyl marketplace and also the return of the gaming zone.
As I said in last year’s report, “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.”
Once again, I’m presenting a selection of standout rooms with a supporting gallery. No order of preference, just a reflection of my note-taking of standouts as I encountered them through my complete, and quite random due to various reasons, boots-on-the-ground coverage. Rounding out the coverage is a pictorial gallery, with each image featuring a short descriptive caption.
Pre-Report Conclusion
The StereoNET Hi-Fi & AV Show 2025 has grown to be, by quite a margin, the largest audio show in Australia. While the cliché says quality surpasses quantity, in this case, both metrics were well taken care of. The success of the show is not only evidenced by the loyal return of past exhibitors, but also by its expansion to an additional floor in order to cater to new participants. Excellent organisation, thorough promotion, and wide marketing, made this year’s event the biggest and most successful yet. Notably, it’s all marked by a friendly, welcoming ethos. Bravo to organiser Marc and Ness Rushton and his support team.
… Edgar Kramer
This email address is being protected from spambots. You need JavaScript enabled to view it.
StereoNET Hi-Fi & AV Show 2025
Pullman Mercure Hotel & Events Centre
65 Queens Road
Albert Park, VIC 3004
https://stereonet.com/show/au/
PART 2 of the StereoNET Hi-Fi & AV Show 2025 with Gallery & People Images Coming Soon!
Standout Exhibits
As you enter the hotel’s conference area, one of the first exhibits you hit is the large space dedicated to select products from Sound Gallery and Advance Audio Australia. Plus, I needed to check-in at this room to make sure all was AOK for my ‘Roundtable’ video interview with representatives from AudioQuest, dCS, Devialet, Estelon, Hegel, and Linn (to appear on the //www.youtube.com/@soundstagenetwork">SoundStage! Network’s YouTube channel in the next few weeks). The room was segmented into independent displays, with lateral demos showcasing a quad of varied systems. The main attraction, commanding attention as you enter, was a system comprising Lina DAC X source, Gryphon Audio Diablo 333 integrated amplifier, all wired with Nordost cabling and accessories throughout. Making its Australian debut was the new Wilson Audio Sabrina V, which was launched in Munich. A HRS rack provided support while Waversa WCORE 3.0 and WRouter products handled the network communications. Admittedly, I was struck by the relatively small speakers’ wide dynamics and extraordinary bass power. The Diablo 333’s stunning control (aided by the supporting electronics and cabling) made for a remarkable display of what an intelligently curated system can do to almost defy the laws of physics.
Moving along the way I entered the large Fundamental Audio exhibit. There, I heard a good sonic presentation. Wanting to smash-out as many exhibit photos as I could early on, I planned to come back for a second listen to this promising system. On my second visit, I heard a big sound with a gigantic soundstage and well-focused central image, despite the huge spread between speakers. There were also very deep and powerful low frequencies, big dynamics, and superb clarity through the midrange and highs. I automatically assumed I was listening to the Raidho Acoustics’ X2.6 multi-driver floorstander but… uhm, no, as Fundamental Audio’s Steve Burton wittily pointed out, it was the little X1.6 2-way standmount (not shown in this image which was taken early through the show). No standmount has any right to sound so, so big. “Where’s the subwoofer?” cliché, anyone? Electronics via two newly arrived Matrix Audio MA-1 stereo power amplifiers (bridged for mono operation), the matching MS-1 Music Streamer and the new MP-1 Preamplifier. Ancillaries were Matrix Audio’s SC-1 Clock Source and SS-1 Pro Switch. Staggeringly BIG.
Coming back late on Saturday afternoon, the Absolute Hi End and Class A Audio room was captivating (and far better than on Friday). This was a smartly curated team of components. On show were all-Vitus Audio electronics, comprising the SD-025 Mk.II DAC/Streamer, SL-103 Line Stage Preamplifier, SM-103 Mk.II Monaural Power Amplifiers driving the imposing YG Acoustics Sonja 3.2 loudspeakers. Cables were from Tara Labs (Zero Evolution ICs and Omega Evolution speaker cables), while AC power conditioning was provided by GigaWatt’s PC-3 SE EVO+. In my opinion, the mix of Danish Class-A amplification and the American speakers was one of the show’s highlights. The sound was superbly controlled, whether across the refined highs, the naturally realistic midrange, or in the deep and nuanced low frequencies. There was a wide soundstage with excellent image localisation and focus. What a difference a day makes…
Continuing on from the theme of tonal beauty, musical engagement, and open welcoming sound, the Audio Magic exhibit featured the Harbeth Compact 7ES-3 XD loudspeakers (on TonTräger stands). This was sounding surprisingly tight and punchy, considering the size of the box and driver combination, while also presenting beautifully realistic vocals and a smooth electric guitar (from Ana Popovic’s “Slow Dance”). This was among the best sound I’ve heard from Harbeth speakers anywhere. Electronics were a mix of Lumin U2X Network Transport, L2 Music Library and Network Switch (optical cable connection to U2X), Lumin AMP Power Amp, and Aqua Acoustic Quality Formula xHD DAC. Tellurium Q Ultra Black II cables tied it all up.
Often an oasis of great tone and good tunes, the Hi-Fi Collective room delivered a system marked with excellent musicality, engagement and overall listenability. It was a well-balanced sound, with no particular frequency range out of step with the music, a somewhat rare achievement, especially in the unpredictable acoustic environments typical of audio shows worldwide. For this writer, that translates to musical ease and engagement. The system was made up AURALiC ARIES G2.2 streamer supported via the ADOT MC01 Media Converter, a Dela (ex-Melco) S5 Network Switch, and a Melco N100 Digital Music Library. An AVM A 8.3 integrated amplifier drove the Fyne Audio Vintage 10 floorstanders. Sitting atop each Vintage 10 was the company’s SuperTrax Super Tweeter. On the analogue front, the Vertere Audio DGX turntable featured the company’s Groove Runner X Unipivot tonearm and new Mystic II Moving Coil cartridge. All cabling was Vertere Audio.
Australian distributor Pure Music Group offers a superbly refined selection of exotic brands from around the world. On show, the company had Thales Reference turntable and MAGNIFIER phono stage (connected with Lyra Phono Pipe, our review here) accompanied by digital from Mola Mola’s Tambaqui DAC. Amplification via Germany’s Audionet electronics in the MACH preamplifier and Schrödinger monoblock amplifiers. Loudspeakers were the imposing, and rather impressive, France’s Apertura flagship Enigma Mk.II in stunning gloss white. Cabling by Argento Flow. “Baltimore”, a reggae-ish track by Nina Simone, had terrific, tight, nuanced and deep bass (a rarity at hotel room-based audio shows) while the midrange and highs were smooth and separated the musical strands superbly. Simone sounded like… well, uniquely Simone, you know what I mean, a one of a kind. The new aluminium/polymer sandwich ribbon tweeter in these speakers – with the aid of the superb electronics – is rather special. Oh, mention must go to what was the show’s most elegantly presented room. Pure Music Group went to great lengths to make the exhibit a warm and welcoming space you’d want to spend time in.
Impressive across the world’s audio shows, and again at this event in the Purasound room, were the Alsyvox Audio Design speakers, here combined with Aries Cerat electronics. The source was the highly regarded Pink Faun 2.16 ultra Reference Music Streamer in tandem with Aries Cerat Ithaka resistor ladder-based DAC. Preamplification came by way of Aries Cerat’s new Aether preamplifier (launched at High End Munich 2025), while amplification was Ianus Aperio driving the Alsyvox Tintoretto planar ribbon speakers (in an alternate setup and a brief listen, I was also impressed by the Sigma Acoustics M15 speakers). Cabling was through a mix of Luna, Skogrand, and White Gold cables. As I’ve heard many times, this was superbly open, musical, refined, engaging and a tonally precise presentation. Music just… flowed. Best of show? Mm… quite possibly.
It may not be a given, but it’s almost de rigueur that Bill McLean (from McLeans) will produce excellent sound. This year he was joined by John DeVore, visiting Melbourne from Brooklyn, New York. Devore was a fitting guest, given Bill’s ongoing showcase of DeVORE Fidelity loudspeakers, most notably the outstanding Orangutan O/96. Bill McLean consistently defies what I call LASS (Laws of Audio Show Syndrome) by drawing great sound in challenging hotel spaces. This year’s system featured supporting electronics from Innuos’ Pulsar Network Music Streamer, Fezz Audio’s Equinox DAC, Rogue Audio’s RP-9 Preamplifier, and First Watt’s SIT 4 power amplifier. Once again, the outcome was beautifully complex and textured tonal qualities which encapsulate the true sound of instruments. It was an organic, flowing presentation which provided both subtlety and drama when needed. Bill – and John – you’ve done it again…
Finn Bespoke Technology’s selection of the Audio Note (UK) AN-E Sogon Limited Signature Field Coil speakers with external crossovers (here, in gorgeous high gloss Palisander), on the surface, share obvious aesthetic similarities with DeVORE Fidelity’s Orangutan O/96 speakers and. The other tie-in is that Bryan Fletcher is yet another one of those LASS defiers, evidenced by dependably excellent sound. The system featured Audio Note (UK) TT3 turntable with PSU-4 power supply, CD4.1x CD player, and Tonmeister Phono Silver integrated amplifier with Takatsuki 300B valves, all tied with Audio Note cabling. The sound delivered densely textured and true tonality while being in service of the music with an open and full-bodied presentation. This is one of those rooms where you can relax, lose track of time and just enjoy.
Australia’s Halcro is steadily expanding its product portfolio. As it did in Munich for the last couple of years, the company continues to strengthen its presence on the show circuit around the world. Here, the brand showed its new Equinox preamplifier and Eclipse monoblock amplifiers driving Wilson Benesch Discovery 3Zero speakers. Source was by Bricasti with its M211 DAC/Streamer and AC regeneration supplied by PS Audio’s PowerPlant 15. All sat on AG Lifter racking and platforms. I walked into the room to a jazz track which sounded smooth yet superbly detailed, exposing the music’s every nuance. True to both the electronics and the loudspeakers’ reputation, it was also a tight, transient-fast sound with excellent PRaT. Halcro has certainly evolved from products renowned for their uncompromisingly critical sonic signature to an intelligent fine-tuning, which brilliantly balances analysis with pure musicality. That’s no mean feat.
Audio Dynamics showed a selection of its high-class audio fare via Electrocompaniet and Chario. The source was Electrocompaniet ECM 1 Mk.II Streamer/DAC while amplification came by way of EC 4.8 Mk.II Reference Preamplifier and AW250 R power amplifier. Loudspeakers were, in turn, the Chario Aviator Aria and Aviator Amelia floorstanders. Cabling by Transparent Audio. As usual, the mix of Electrocompaniet and Chario produced excellent detail retrieval, superb dynamic contrast, and outright musicality. There’s always something about the sound of this combination of components that encourages prolonged listening. Alas, the pressure of covering what has become the largest audio show in the country, forced me to move on. However, I did manage to pop-in to this room on two occasions and, on both occasions, I had rather pleasurable experiences.
Another Italian speaker brand, and a legendary one at that, is Sonus faber. In this room, distributor Synergy Audio showed Guarneri G5 standmounts with support from a duo of REL Acoustics’ S/510 subwoofers which seamlessly cohered with the mains. Amplification came from the newly released Audio Research LS3 preamplifier and S100 solid-state power amplifier. Tunes were played on the Rega Research Planar 10 turntable fitted with Rega’s Apheta 3 Moving Coil cartridge and hooked up to a Rega Aura MC phono stage. Digital music provided by Aurender’s ACS10 streamer. Cabling by Chord. All equipment sat on a Quadraspire SVT audio racking. In fact, it was the sonic unity of the REL subwoofers and Sonus faber speakers which impressed me the most. The lows were not obviously in your face, like a dinosaur’s giant teeth, but were there in ample reserve when needed, like the gentle flow of water. The Audio Research pairing controlled things well and are a promising addition to the great company’s portfolio. Detail and dynamic expression were outstanding while transient attack across the bandwidth was sharply reproduced, as it should be. Naturally, the low frequencies were chasm deep and superbly concussive.
Special Mentions
I kick-off the ‘Special Mentions’ section with Serhan Swift’s exhibit featuring the company’s mμ3F speaker. Home-grown here in Australia, this small floorstander has impressed me, to varying degrees, on several occasions. At this outing, the mμ3F delivered a sound that was detailed, thoroughly resolving, and impressively solid through the low frequencies. Across the vocal range, I found the system particularly beguiling… even intimate. Highs were refined, detailed and smooth. Amplification duties were provided by the highly regarded Boulder Amplifiers 866 integrated amp, with cabling courtesy of Tara Labs. Spinning digital only, there was an inherent musicality and sense of rhythmic pace, or should I say velocity, which made toe-tapping a natural reaction. The word ‘musicality’ rears its head here, a term that raises some audiophiles’ blood pressure, but which in my opinion summarise an engaging, natural presentation. The mμ3F is a big sounding speaker in a compact, attractive, and room friendly form.
Also from Australia is loudspeaker specialist Microphase Audio Design and electronics specialist Holton Precision Audio. Company founders Jean-Marie Lière and Anthony Holton introduced new products, expanding theor line-ups with upmarket models. In the case of MAD (for short) the new Tower 3 Signature, now with a high quality AMT high frequency driver, while HPA showed the new “load-invariant” Gambit monoblock amplifiers, an interesting design with 16 lateral MOSFETS per channel in a vertical format chassis. Tunes were streamed via laptop onto a Denafrips ARES II DAC directly feeding the monos and with Lière’s own gorgeous modified Stellavox tape machine. As is the house sound for the MAD speakers (I’m not so familiar with HPA amplification’s sonic signature), the overall sound was once again extremely ‘live’, with stunning dynamics and profound detail retrieval. Despite the less than ideal relationship between the speakers and the very nearfield listening position, I heard good image placement and a wide soundstage.
One of HeyNow Hi-Fi’s rooms hosted the return of the revered electrostatic panel specialist Sound Lab Speakers. The brand has been absent from this market for some time, so it’s a welcome return. Sound Lab representative Christopher St. G. Stubbs was at hand playing DJ and to provide insights into the company’s G7-3C (3 Panel Cells) full-range loudspeakers on show. Electronics were the new PS Audio PMG Signature SACD Transport and PMG Signature 512 DAC, while the PMG Signature Preamplifier was mated to a Bricasti Design M25 power amplifier. The much-loved qualities of this legendary panel loudspeaker brand were evident in this room. There was an openness, a musical flow and a tonal naturalness that was quite beguiling, despite the limitations of the small demonstration room. Bass felt a little overpowering on some recordings, but the positives were so captivating that they negated the one limitation in the low frequencies. I’d love to hear these, or a larger model for that matter, in a more appropriately sized room. I reckon they’d be rather spesh…
Although I only heard this system briefly, the components alone signalled a solid potential for excellent sound. Heading the signal chain was the superb Oladra Music Server/Streamer from New Zealand’s Antipodes Audio (review here). With the company’s Kala 50 standing by in support. An Accustic Arts Power III integrated amplifier provided the juice to a pair of Gershman Acoustics Grande Avant Garde 30th Anniversary speakers. A solid, natural and spacious sound was the outcome here, and the inviting presentation had me wishing I’d stay longer at that first session. I popped in a few times throughout the show for further listening but, alas, my listening experience would have been obstructed by the sheer number of attendees which were obviously drawn to the room.
One of the highest ratios of sound-per-pound was in the Masimo Consumer/Sound United exhibit of Denon and Polk. From Denon DCD-1700NE CD Player, DNP-200HNE Network Streamer, PMA-3000NE integrated amplifier, and Polk R200 speakers. This system clearly demonstrated how far a relatively modest investment can go in delivering superb sound quality. Not a lot of dosh, really, in the scheme of things. For around AU$10K it’s a compelling solution presenting a system that is simple, attractively styled, smartly engineered, well-featured, and sonically competitive even in the realms of more expensive gear.
In the Dacman Audio/Hulgich Audio exhibit, the company showed a battalion of Denafrips digital componentry handling the ones and zeros. Vinyl was courtesy of a Commonwealth 12D ‘The Broadcast Table’ idler drive turntable substantially upgraded and modified by Marcus Dean from New Zealand. The turntable sat on a temporary, non-production plinth. A Technics EPA-100 tonearm housed Allclear Audio’s ‘Jarrah’ Grado-based Low-Output Moving Iron cartridge. Preamplification by Australian Allclear Audio’s Symphony One transformer passive while power amplification came from SPL’s S1200. Les Davies Audio vibration control products were used throughout. Speakers were the superb Hulgich Audio Duke Mk.II which, as always, sounded full-bodied, utterly expressive in terms of dynamics and detail, and tonally rich. Spatially, this was a huge presentation, especially in terms of soundstage width and height.
One of the biggest surprises of the show were the Italian Fonica International isodynamic speakers presented by Radiance AV. On show were active versions of the company’s Flag L and M speakers (passive versions are also available). A Dr. Feickert turntable played through a Michell Audio Apollo phono stage. These isodynamic speakers played with a musicality which was quite engaging. As you’d expect from this type of design, there was smoothness, a pleasing naturalness, and precise tonality on offer. Yet, what I found totally surprising was the amount of bass punch and depth offered by the panels (as demonstrated on a couple of bass-rich tracks, including an electronica sample). Quite effortless. This relatively new-to-the-scene speaker brand is onto something.
Simplicity in fulfillment of performance… that was exhibited in spades in the Cogworks room where the company showed the Meridian Reference Series DSP9 active speakers. Aside from the beautifully designed DSP9s, the rest of the exhibit featured… nothing. Why? Because that’s all that’s needed when the DSP9s, a product of Meridian’s ‘Extreme Engineering Programme’, feature proprietary onboard digital-to-analogue conversion plus DSP providing bespoke crossover filters, Digital Room Correction (AKA ‘Meridian Resonance Control’), Perfect Balance, and Meridian’s ‘Re-Q/Free-Q/E3 Bass’ digital equalisation technologies and more. Also in-built is the appropriate amplification to drive the tweeter, midrange and four 200 mm woofers per channel. Based on past experiences with other all-digital solutions, I was surprised at how smooth, fluid and organic this system sounded. Very promising.
Yet another Aussie battler. March Audio showed its new Kuoro floorstanding speakers, in gorgeous red gloss, featuring Purifi’s new PTT1.3 tweeter and two Purifi PTT6.5 aluminium cone woofers. March Audio’s Purifi-based P801 monoblock amplifiers drove the Kuoro speakers while tunes were streamed. This system delivered an immediate sound, with strong dynamic contrasts and excellent instrumental/vocal separation. The overall scale was massive, making the new Kuoro loudspeakers a very promising design.
The final ‘Special Mention’ goes to Yamaha. The company spreads its considerable engineering might across the entire signal chain, from instruments the artists create with to large scale studio and intimate room recording equipment, to live event sound reinforcement, to quality playback in the home. Yamaha showed a full suite of flagship 5000 series products including the delightful GT-5000 turntable, C-5000 preamplifier, M-5000 power amplifier, and NS-5000 loudspeakers. On standby duty were the R-N2000A Network Receiver, CD-S3000 CD Player, and NS-2000A floorstanding speakers. Living up to its studio heritage and simultaneously aligning to the ‘Natural Sound’ ethos, the system’s presentation was a faithful portrayal of the material being played. Which meant that, mostly, recording permitting, the system’s performance was highlighted by superb dynamism, true detail, and precise resolution. I know this component grouping well (search the SoundStage! Australia Archives for the entire 5000 series review listing here) and let me tell you that, as good as this system sounded by Sunday morning, it was a small portion of its true, and quite exceptional potential.
PART 2 of the StereoNET Hi-Fi & AV Show 2025 with Gallery & People Images Coming Soon!
