Ahhh, Japan… I’d drop just about everything to visit the land of the Rising Sun. The culture of respect, mindfulness, and the deep appreciation for beauty and meaning, even in imperfect things… kintsugi, it feeds my heart and soul. There’s a stillness of mind and presence woven through age-old rituals and the quiet, artful ceremonies. Grace and tradition that stir in me a sense of… gentle and beautiful melancholy. So, Tokyo show time bundled with a couple of factory tours? I’m there, man. And with all its quirks and unique charm, the Tokyo International Audio Show (TIAS) somehow reflects many of the sentiments I’ve described. Care to join me for a tour?
Sāikō
TIAS’s venue never fails to impress. It’s a vast, multi-level steel-and-glass structure spanning an entire city block (annexe buildings extend the footprint even further). The show is spread across three full floors (L4, L5, and L6) while this year, the top level (L7) hosted a single Sound United exhibition room.
This year’s show seemed to me to feature approximately the same number of exhibitors and attendees as in past years. Yeah, in Japan, tradition runs deep and the TIAS formula has been consistent and finely tuned. It’s a well-oiled machine… precise and orderly in typical Japanese style.
However, after speaking to numerous locals, it seems 2025 saw a notable increase in representation from global manufacturers. Agreed, as I caught up with several friends and industry folk as well. Sonus faber’s Livio Cucuzza, Gabi Rijnveld from GR Audio Art, Laurence Dickie from Vivid Audio, Marten’s Leif and Jörgen Olofsson and Martin Dunhoff, Boulder Amplifiers’ Jeff Nelson, Rumen Artarski from Thrax Audio, Jonathan Gullman from MSB Technology, MA Recordings’ Todd Garfinkle, Touraj Moghaddam from Vertere Acoustics, and many others whom I passed from afar in elliptically divergent orbit paths.
Some rooms are almost impossible to enter unless you’re ready very early. Soulnote’s exhibit being the archetype and reminiscent of a Tokyo peak hour body-to-body pressure-stuffing train ride. Other exhibits warrant a second visit because, as is common at TIAS, speakers and electronics are swapped out, rooms reconfigured, and presenters rotated, providing new experiences across the weekend. Another twist of the show are the prolonged introductions, explanations, and lengthy discussions – nearly all in Japanese, naturally – that take place.
It’s worth noting that the exhibit spaces are the best in the industry. Spacious and well-lit rooms (unless deliberately not) with seemingly zero bleed-through from neighbouring exhibits or the outside corridors (the massive room doors weigh a freaking tonne). Needless to say, all the exhibit rooms are acoustically sound (pun intended).
Pre-Report Conclusion
As I always do, I present my findings and impressions on a ‘as-I-hit-them’ basis, in other words, in no particular order. Also, as I’ve been doing for some time now, the next section’s header will point to my favourite rooms (chosen for a variety of reasons) and that will be followed by a gallery section where each image is accompanied by a brief caption.
So, here we go with the Tokyo International Audio Show 2025 coverage. Tanoshinde kudasai.
… Edgar Kramer
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Tokyo International Audio Show 2025
Tokyo International Forum
3 Chome-5-1 Marunouchi
Chiyoda City, Tokyo 100-0005
Japan
http://iasj.info/tokyo-international-audio-show/2025/
Standout Exhibits
Triode Audio showed a bank of its valve-based electronics that always sound sweet and texturally complex. Here, teamed up with Spendor’s flagship Classic 200 speakers. Sources, both analogue and digital, by Gold Note with support by Esoteric. No exception this time, with the performance of the system showing excellent tonal precision, a wide, tall and reasonably deep soundstage and, overall, a very pleasing presentation.
In Sound United Japan’s large room, and without the support of any subwoofer, the Bowers & Wilkins new, and rather small, APAC-specific 707 Prestige Edition sounded enormous. This was probably the surprise of the show for me. Supported by alternate Marantz and Denon full electronics, these small speakers filled the room with dynamics, decent bass beyond what’s normally associated with a 5 inch mid-bass driver, excellent vocal presence and a spacious soundstage. A BIG surprise here.
TAKTSTOK’s room sounded tonally correct, with a wide spatial presentation and excellent bass control. That was provided by the very promising XACT S1 EVO Music Server (Vertere Acoustics’ Touraj Moghaddam on standby with RG-1 analogue package), Canor Virtus electronics, and the new Epos ES-28N floorstanders.
One of the iconic Japanese brands is Air Tight. Yutaka ‘Jack’ Miura-san once again played MC and DJ, spinning a wide variety of music genres. At the time of my visit, the 300B-based ATM-300R amplifier driving Fyne Audio Vintage Twelve speakers with matching Vintage SuperTrax super tweeters. The sound was superbly precise in terms of tonal qualities while also being spatially layered and detailed. Bass control could have been tighter and more nuanced (the alternate YG Acoustics speakers were to make an appearance at some stage later and would have surely provided that extra control), but what it did it did so well that it made the cut.
The most dynamically and large-scale presentation at the show was provided by the awesome – in the true meaning of the word – Marten Coltrane Supreme Extreme for-enclosure super speaker. In support was a full battalion od CH Precision electronics and the first outing of Crystal Cable’s new Infinite Dream cables. On my visit, I heard Riviera amplification driving the speakers. As was the case in the Air Tight room, there was much to love about the presentation across the mids and high, but in my opinion, the speakers demand amplifiers with both more power, current, and overall control. Nevertheless, all else was excellent, including the decay and presence on a piano piece I heard. Room by Japanese importer Zephryn Inc.
Importer Noah Corporation showed a full Burmester electronics rig powering the new Sonus faber Amati Supreme speakers with a full loom of Siltech cables. On Saturday of the show, designer Livio Cucuzza was charged with introducing the new speakers and presenting a curated selection of tunes. After greeting me warmly, Cucuzza invited me to take the sweet spot for a special track he wanted my thoughts on. What began with delicate wind and treble-based textures gave way to a massive surge of dynamics and brutal power. These speakers, with the bespoke pro-inspired drivers, are something to behold.
Distributor Timelord managed a terrific sound with a full suite of Chord electronics, from source to amplification, and Kudos Audio Titan 505 loudspeakers. No doubt helped by the funky-looking Architectura acoustic panels, the sound here was lively in terms of dynamic expression, superbly detailed, yet engaging and without a trace of brightness.
I was lucky to get into the Soulnote room on a rare semi-quiet time on Sunday morning. It was good to briefly catch up with the showman that is Hideki Kato, the company’s Chief Designer. For the first time, that I’ve seen, at least, Kato-san showed his excellent electronics with Albedo Audio speakers. Here, the Albedo Audio Agadia speakers, in gorgeous candy apple-like red, looked and sounded stunning. My notes read “detailed, dynamic, forward, and fast” while playing Isao Suzuki Quartet’s iconic version of “Aqua Marine”.
My standout top 10 finishes with the evident great potential of the YG Acoustics Titan loudspeakers presented by importer Acca Inc. Driven by Krell monoblocks (I wonder what’s to happen to the great company since Rondi D’Agostino’s passing), Dela (ex-Melco) and Sforzato SFZ music player/streamer electronics. As you’d expect, the sound here was big, bold, and neutral. The more I hear YG Acoustics’ new Titan speakers the better they are beginning to sound.
Yamaha had its NS-2000A speakers supported by a suite of 5000 series electronics. I recognise the lady presenter, who I assume not only introduces the system components, but is also on DJ duty. In my opinion, both the NS-2000A and the 5000 series components are somewhat underestimated in Western audio enthusiast circles. Not so in Japan. The room was just about full-house throughout the show. Deservedly so too, as the sound there was neutral, detailed, nicely dynamic and present throughout vocal tracks.
There’s always been some kind of… ‘je ne sais quoi’ about Accuphase electronics. Here, a full brigade of the company’s source (DP-1000, DC-1000), preamplification (C-3900S) and power amplification (A-300 Class-A monoblocks) were drove Bowers & Wilkins 801 D4 Signature loudspeakers (Fyne Audio F1-12S speakers on standby). Yamaha’s GT-5000 provided analogue tunes. The sound here was a superb blend of Accuphase’s clean highs and fulsome mids complementing the all-round capabilities – especially in the lows – of the B&W speakers. Excellent sound for what is a somewhat unusual matching.
Noteworthy Exhibits
AXISS Corporation with FM Acoustics, Boulder Amplifiers, D’Agostino Master Systems, Transparent cables with Fyne Audio and Zellaton speakers.
Ark Gioia Inc. showed Soulution electronics with Estelon X Diamond speakers and Siltech cables.
Ortofon Japan presenting Acoustic Solid turntables, Ortofon cartridges, Accuphase electronics and TAD speakers.
Electori Co. showed Magico’s new S2, mated to with Pass Labs, Hegel, McIntosh Laboratory, Metronome electronics with cabling by Nordost.
TAD Japan exhibited a full system of electronics and standmount speakers.
The über high-end dCS Varese with Avalon speakers presented by Taiyo International.
Monitor Audio’s flagship Hyphn speakers, FLOW by Allegro amplification, and Playback Designs source by distributor Naspec.
Linn system featuring new Klimax Solo 500 monoblock amplifiers shown by Linn Japan.
A battery of Sforzato music sources, CH Precision amplification, and Wilson Audio Sasha V loudspeakers.
Esoteric Japan showed a full suite of Grandioso electronics from source to amplification driving Avant Garde horn speakers.
Irex Corporation showed Audia Flight amplification, Reed’s new optical cartridge and matching equaliser, Fono Acoustica cables, and Albedo speakers.
People at TIAS
Sonus faber’s Livio Cucuzza shows Amati Supreme’s super-tweeter/tweeter/Camelia midrange driver module with cork acoustic backing.
Touraj Moghaddam from Vertere Acoustics alongside the company’s ‘Reference Groove’ RG-1 turntable package.
Air Tight’s Yutaka ‘Jack’ Miura directs activities at the company’s exhibit.
Jonathan Gullman from MSB Technology shows one item from the company’s flagship spare-no-expense Sentinel digital conversion system.
Soulnote’s Hideki Kato enthusiastically about to spin vinyl while presenting the latest products.
Founder Luca Chiomenti presents Riviera Labs electronics (designer Silvio Delfino stands behind and just out of shot).
