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Phonostage MM/MC


Manufacturer: AURORA SOUND Co., Ltd.
Price (in Poland): 18 490 PLN

Contact: Aurora Sound Co., Ltd.
Rojuman III 102, Rojuman III 102
76-4 Tsukaoka-cho, Asahi-ku, Yokohama
241-0805 JAPAN


Provided for test by: AUDIO ATELIER

AURORASOUND is a Japanese company founded in 2010 by Mr. SHINOBU KARAKI. The current lineup includes preamplifier, power amplifiers, as well as headphone amplifier, but above all phonostages. One can choose between three models, and for the first test we received the first one ever made, currently the middle one called VIDA.

ver the past several years, the world has shrunk considerably. Today, the term "global village" is rarely used, but probably only because we all got used to the fact that information about virtually every product from every corner of the world and the products themselves are easily available. It its advantages - for example, we are not limited to a certain group of products available on the local market. The downside, at least for me, is that less and less often I get to be surprised or excited about discovering something new.

Younger readers probably wonder what the heck is he even talking about, because it has always been so for them. The older ones remember how much effort it sometimes took to get a chance to listen toan interesting amplifier, loudspeakers or phonostage, one you’d read about in German, British or American audio magazines. And how satisfying it was if you managed somehow to arrange such a listening session. I miss those times a bit, even though I appreciate the much wider and easier availability of almost anything I become interested in.

Japan, the land of audio wonders | Fortunately, there are still cases like this one. The company whose product I have a pleasure of testing for you comes from Japan. Like Wojtek, I also have a soft spot for audio products from the Land of Cherry Blossoms (I am talking in particular about those coming from small manufacturers run by true enthusiasts, not about the mass products made by large concerns). You can see the makers passion in them, feel that their whole heart, knowledge, but also true love for music have been put into their creation. And that’s what makes them so special.

Apart from the top quality workmanship and finish, attention put even to the smallest details, even these wonderful traditional Japanese packaging that are sometimes small pieces of art themselves, in each of these cases you can be absolutely sure that listening to the music with one of these components will be a unique experience. The point is not that each of these products is the best in the world in its category, but it’s about an approach to music presentation that makes it irrelevant whether a given device is actually the best we've ever listened to, because when we press press or lower stylus to a groove, only the music and the emotions associated with it matter. This is, at least for me, the top specialty of most audio components made in Japan.


So when, a bit last minute, I got to the Aurorasound phono preamplifier, the ViDA model, I was truly excited because I was pretty sure that it would offer me yet another one of the kind musical experience. Probably not all of you have heard about the brand. If you haven’t, don’t worry about it. First of all, it is a relatively young company because it celebrates its tenth anniversary this year. Secondly, for the first few years it operated only on the local market, and started to build an international distribution network a few years later by participating in the most important audio shows around the world (including the Munich High End). And thirdly - this review is the brand's debut in Poland. In short, it is one of those rare opportunities for me to reach for a product of a brand that I have heard and read a lot of praises about and my first opportunity for a hands-on experience with Aurorasound product.

The company's history is interesting, although not that uncommon when it comes to Japanese audio companies. Its founder, Mr. Shinobu Karaki, for 29 years worked for the Japanese branch of Texas Instruments, dealing, of course, primarily with digital audio. After early retirement he returned to his youthful passions - building audio devices and teaching how to play a guitar. The DIY activity first evolved into collaboration with several audio companies, and finally, in 2010, into his own company called AURORASOUND.

The brand’s first commercial product was CADA, a tube preamplifier with a built-in D/A converter. The latter was produced under the license of the well-known in Poland M2Tech brand. A year later, the BUS-Pro Power, a power supply for USB interface hit the market, and in 2012 the first phono preamplifier - ViDA (Vinyl Disc Amplifier). Since then, the HEADA headphone amplifier, PREDA line preamplifier, hybrid PADA-EL34 amplifier and two further phono preamplifiers - the top ViDA-Supreme and the cheapest ViDA-Prima have been added to the lineup. The latest addition are hybrid PADA-300B monoblocks featuring, as the name suggest, the legendary 300B triodes.

Despite the relatively short history of the company, its products have already won a lot of awards, both on the extremely demanding Japanese market, as well as in Europe and Hong Kong. And all this at (relatively and for most, not all of the products) reasonable, for Japanese high-end components, prices. So I hope you can understand my excitement and high expectations. Although the time was pressing, after reading all the materials I could find, I sent Mr. Kiraki a few questions and he was kind enough to send me elaborate answers.

Owner, designer

MAREK DYBA: Most high end Japanese manufacturers offer tube-based phonostages - I loved ones from Kondo, Audio Tekne, but also less crazy expensive ones from Leben or Phasemation (no tubes there). You on the other hand had decided otherwise and have been making only solid-state ones. Could you explain why did you choose this technology? What are advantages over tube designs? Are there still, in your opinion, any advantages of tubes compared to your LCR design?

SHINOBU KARAKI: The advantage of transistor is its physical characteristics. Frequency response, Total harmonic distortion, Signal-to-Noise ratio etc.… all of them are around x10 or more superior than tube devices. Phono stage amplifier needs o lot of amplification, for example in case of MC cartridge it needs x1,800  (=65dB) gain at 1kHz.

RIAA compensation needs more than 20dB at low frequency, as you know. So tube base circuit cannot make it due to its noise and THD issue. Tube phono stage always needs Step-up transformer’s help for MC cartridge. Transistor can offer 65dB and even gain with low noise and low THD. So I think, it allows you to listen to beautiful pianissimo phrase and diminishing of string vibration into darkness.

Tube’s advantage is its high voltage operation, it can create a big headroom of signal input. Cartridge signal level is just 0.2mV but scratch noise is very high. Tube headroom can handle both, music signal and noise within its head room, which in turn offers a better listening experience. We make VIDA so to have large signal head room, likes tube have, and realize less stress at scratch noise.

LCR circuit’s type advantage is musicality. Especially due to a very good resolution and THD in low frequency. If you listen to some live recording, you can hear passion of artist and groove of audience. Those information are hidden in low frequency range. The LCR sound is very stable and steady in all frequency range, not hysteric in high, not weak in mids.

Some DIY freaks build LCR type circuits using tubes not transistors, this is a common conception in the very high end audio. But, tube based LCR phono needs many transformers because LCR inductor device has 600 ohm impedance. Step up transformer, 600ohm transformer, LCR transformer, power transformer, choke transformers, …total 10 transformers per device. Those „freaks” enjoy this kind of big projects. Using transistors instead of tubes can make LCR in small factor and small size with reasonable cost. So, I believe transistor is the best choice for LCR phono.

MD: The standard version of VIDA allows user to choose only two impedance settings for MC cartridges - low (10 ohm) and high (100 ohm). Could you explain why did you choose only these two values as standard? There are many cartridges that require a higher impedance settings.

SK: I tested many kinds of cartridges from vintage to modern ones. The results of these test told me that just two settings are OK for normal listening. Transistor head-amp have a wider range of input impedance than step-up transformer, so just two settings can cover all cartridges with good frequency response.

If VIDA had many setting options, like 36…54 ohm selectable using tiny DIP switches, user could feel confused. Each time he changes a cartridge, he must check recommended impedance and re-set DIP switches again, then after few days he wants to return to the previous pickup and... he must re-set switches again…after that he is confused and probably not comfortable to touch DIP switches ever again… I know there are some nervous people who believe impedance should be matched precisely, so I prepared a 6position option. No one really needs 12, 24,…54 settings.

MD: I understand that there are several options available for VIDA for additional fee - could you please explain what they are?
SK: Yes, we prepared some options. Customers can make their own VIDA. Please contact your local distributor about prices. This is a good solution for distributors so that they can order customized ViDA for their clients. (available options are listed at the very end of this text, ed.)

MD: I just wanted to make sure that the outer "shell" of the VIDA chassis is made of wood - is that correct? Is it a particular type of wood? Does it play some specific function (apart from looking visually pleasing)?
SK: Yes, it is real wood. This is plywood with wood sheet. This is a design feature to make VIDA looks more retro style and a good fit in listening rooms. Wood doesn’t play any other specific role. In PADA-300B we used solid rosewood that does influence its sound character.

MD: You have selected rhodium plated RCA sockets for VIDA - why? For sonic qualities, if so which ones, or because this is the most durable finish?
SK: Rhodium plating is very robustness, no oxidation and good conductivity. All of Aurorasound products feature these connectors.

MD: Would you mind sharing what setup do you use?
SK: My system:

  • Speakers: B&W 802D,  ALTEC 604-8G, SPENDOR SP3/1R2   They are representative of modern, vintage and small size for amplifier evaluation.
  • Turntable: GARAD 401, MICRO, Technics; Tonearms: ViV Laboratory, SME 3010R
  • Cartridges: DENNON, Audio Technica, Ortofon, Shelter, Grado, Mysonic, Varirela, Fairchild, etc.   
  • Amplifiers: Aurorasound, Accuphase, Macintosh,….they are reference of sound for comparison.

MD: Your amplifiers are of a quite specific design - solid state input and tube output - would you mind telling me why did you choose this particular solution?
SK: Yes, I believe transistor front end makes good performance and tube power stage makes good sound. I combine old good solutions and new technology to create unique and competitive products. From cartridge to Speaker system, there are many amplifiers in signal’s path. I think just one tube can be enough for total good sound, there is no need to use all-tubes system.

| ViDA

For the first test in "High Fidelity" we received the first ever and currently the middle model of the Aurorasound phono preamplifier, which was personally (with all appropriate safety measures) brought to me by equally very excited Krzysztof Owczarek. He came to my (almost) straight from the customs office after goods clearance, bringing along not only ViDA but also the entry level, circa 3-times cheaper model called ViDA Prima. Since I had to focus on ViDA I only had a short listening session with Prima, but it was enough to make me believe that it could be a real "killer" in the price range up to, say, 10.000 PLN.

So we had the opportunity to unpack together this beautifully, Japanese-style packed device. Obviously the outer layer is a simple but solid cardboard box, filled inside with proper foam cutouts. But the phonostage itself, apart from the plastic bag, is wrapped in high-quality paper so typical for Japanese products, which makes you feel like unwrapping some very special, precious gift. The preamplifier itself looks like a combination of two concepts - on the one hand there is a front panel, which reminded me a bit some devices I saw in laboratories in 1980s, on the other there is a wooden outer shell - top, bottom and sides combined into one unit - i.e. a solution often used by Japanese companies.

Of course, the level of workmanship and finish, attention to even the smallest details - all this is simply put - delightful. Elements that stand out visually are the badge with the brand logo and a large, yellow, rectangular button, which looks a bit out of place. The external power supply on the other hand, whose metal housing is admittedly equally well made, looks more like a typical modern product with a red LED indicating that the device is turned on.

The device is relatively small - it measures 260 x 250 x 100 mm, weighs 3 kg, plus a separate power supply - respectively 114 x 200 x 70 mm and 1.4 kg. As we learned while quickly setting up the device to see if it works after a good few thousand kilometers it travelled between Japan and Poland, and so that Krzysztof could listen to it at least shortly during his visit, it is worth checking out the manual beforehand.

Or read this review, whichever you prefer :) Basically, everything except one, maybe two elements, is pretty straight forward - there are RCA inputs (separate, well marked for MM and MC cartridges) plus ground connector, RCA outputs and power inlet on the rear panel. On the front, however, one finds switches that select the type of cartridge: MM/MC, high or low impedance (for MC), stereo or mono playback, direct or with subsonic filter. Nothing out of ordinary so far.

There two more control elements though, that may possibly raise some doubts. The last toggle switch described as Cart Degauss can be used to demagnetize the cartridge (which is recommended once every few months). And last but not least, there is this already mentioned, largest, colorful, illuminated button located in the upper front corner, i.e. - as most users will probably automatically assume - the on/off switch. But that’s not its function. There is a power switch in power supply housing, and the yellow button turns on/off the "mute" function, which mutes the device's output.

Lowering the stylus into the groove of a record can make quite a loud noise when the volume in preamplifier or integrated is set quite high. You can lower the volume each time you change the record or record side or... use a large, easy to use MUTE button. It will probably take you a while, at least it took me several hours, to get use to using this option, but at some point you will do it without thinking about it and your ears (and speakers) will thank you. Just push the mute button, lower the needle, press the mute again after stylus touches the groove and there will be no unpleasant sound effects. To make the process even more automatic get used to turning MUTE on even before raising the needle from the groove. Learn it and it will make the whole listening to vinyl experience even better. Unless, of course, you skip reading the manual (or this review) and decide to use the button as on/off switch (the backlight turns on when MUTE is active, so it looks like the device is ON) and ... you may spend some time, like me and Krzysztof did, wondering why there is no music flowing from the speakers :).

Two more things I should mention. The first is that the device played for only a few hours before it was delivered to me, and I did not have (suggested) few weeks to fully break it in. In a word, although as you can read below, I liked the device very much and it delivered an outstanding performance as it was, you can expect even higher quality playback after a full break-in period (100 or even 200 hours, as Mr. Karaki suggested).

And secondly - Mr. Karaki sent Krzysztof, as an additional element, a higher-class power umbilical connecting the power supply with the device. It is an upgrade that will cost you additional PLN 2,000. The differences between the standard cable and the optional one I discovered during this test (more about it later) were significant. Part of it (I mean of the difference) could be blamed on an incomplete process of breaking-in of the standard cable (the optional umbilical was privately used by Mr. Karaki for a year), but even considering this fact I believe that this upgrade is definitely worth considering for any future buyer of this preamplifier. You don’t have to necessarily buy it together with the device, but some time later it will possibly be one of the best in terms of price/performance ratio upgrades for your system that you definitely won’t regret.

The VIDA preamplifier was assessed in my system, where it competed with ESE Lab Nibiru V5 and GrandiNote Celio mk IV phonostages. The setup included my J. Sikora Standard MAX turntable with the J. Sikora KV12 tonearm and Air Tight PC-3 cartridge. GrandiNote Shinai Class A integrated amplifier drove speakers of the same brand, the MACH4.

Although, as I mentioned, the test partly coincided with the break-in process of a brand new device, it was clear from the start that I am dealing with a high-class device. The test and gradual break-in were only to allow me to determine how high Mr Karaki had set the bar for competition from a similar price level. This is one of the few cases when I do not intend to build a suspense, because everyone who will have an opportunity to listen to ViDA will quickly realize the same thing - the bar is set VERY HIGH.

You’ve already learned about the advantages of the LCR circuit from the interview with Mr. Karaki. In practice, first thing you will probably notice is how quite ViDA is. I am a big fan of tubes and I don't really pay attention to the side effects of their usage, i.e. noise that is always there (obviously, I don’t mind as long as it is kept at a reasonable level). However, devices such as the Japanese preamplifier immediately demonstrate the advantages of transistor-based topology as they are dead quite, there is no noise coming from speakers which translates into a pitch-black background for music. And the latter in turn offers listeners a better insight into the low level details, a better differentiation in terms of timbre and dynamics, and even spatiality intensified by proper long and slowly fading decay.

I could hear it clearly on the Audio Cave’s release of the Oleś Brothers Spirit of Nadir (then freshly purchased). With ViDA, this studio album, sounded like it was recorded under the starry sky of the Sahara. The decay, especially of the double bass, seemed to roam the surrounding dunes spreading in many directions, creating an impression of a really large, open space surrounding the musicians. I have no idea whether the sound engineers really wanted to create such an effect, but it’s exactly how it did sound with the Aurorasound phonostage.

The tested device also showed me clearly (but to be certain this album was followed with Isao Suzuki’s Aquamarine and Ray Brown’s Soular energy) that this double bass was not so powerful, it didn’t quite dig as deep as it did in the hands of Ray Brown, but I guess it just wasn’t supposed to sound like that on the Spirit of Nadir. Here the differentiation of individual sounds was beautifully presented, the transients did not show even a hint of hardness, and the phases of sustain and decay seemed more important, although achieved without excessive participation of the wooden soundbox.

In this large (at least in my ears) space, the sounds of various percussion instruments were beautifully suspended in the air and, interestingly, with this phonostage placement of sounds was equally precisely pinpointed in all three dimensions including the height, which is rarely the case. All these cymbals and other percussion instruments, although their general character was a touch dull (that’s how they were recorded and ViDA only conveyed that faithfully), sounded crisp and vivid with reverb travelling long distances in the open, airy space. All these elements combined together created an incredibly atmospheric, immersive spectacle created with just bass and drums, and yet extremely rich, so much so that with each listening (and I did listen to this album several times over the course of this review) I was able to discover something new. Obviously, the whole setup, not just ViDA, did the job, but the Japanese phonostage did play an important role in creating such an exciting, enjoyable and highly satisfying listening experience.

Isao Suzuki and Ray Brown's albums have shown that it is up to the artist, recording and production quality dependent how the double bass sounds like with ViDA. Each of them was different, even the same Ray Brown (whether it was also the same double bass - I don't know) sounds different depending on the album. This is a good enough device to reach each time deep into the mix (assuming that the stylus can read all the information available in the groove), extract every last bit of information, even the tiniest ones, from it and finally combine them all together into a seamless, beautifully coherent, rich whole. A whole, in which these small pieces of information are shown in a more legible way than by many competitors from a similar price shelf, and yet ViDA doesn’t force them on listener but rather uses them to present music in as realistic way as possible.

This is absolutely not about drowning a listener with a tones of carved details, which may seem impressive at first, but in the long run it is unacceptable, it wears listener down. Here, every detail, every subtlety is to serve the fullest possible presentation of a coherent whole, although at the same time you can reach for them without much effort if you want to focus on the selected musician/instrument.

Before moving to some vocal recordings, I reached for three records with electronic music. Three completely different albums in almost every respect. From Marek Biliński and the new edition of Dziecko słońca (delivered to me during the pandemic by the brave guys from Nautilus Warsaw - thanks guys again!), Rudź and Pauszek from Panta Rhei (the first part, but soon we should expect another one, or even two!), and last but not least one of the two Dead Can Dance albums, released by MoFi, Spiritchaser.

They all confirmed my previous observations regarding the exceptional spaciousness of sound reproduced by ViDA and the ease of building, or rather recreating, an individual atmosphere or ambiance of each of these musical stories. On the DCD record, on the other hand, ViDA delivered effortlessly deep, powerful sounds, reminding me in this regard (to a point) of the „bass emperor”, the Tenor Audio Phono 1, a huge and heavy beast that could easily fit several ViDAs inside.

OK, Tenor, at least that’s how I remember it, is unmatched in terms of overall power, bass slam and control, as well as in terms of differentiation of low tones - so I'm not saying that the tested Japanese device can quite match it. Which does not change the fact that it would be really hard to point out any weakness of ViDA in the lower part of the band, which in turn allows one to completely focus on music while totally forgetting about the sound.

As Miles's Tutu album with Marcus Miller proved later, the low frequencies are not as tight and as dynamic as with the aforementioned my private "number one" among the phono preamplifiers, but you can only hear it when comparing to the best of the best that cost several times more. Because listening to Tutu, Chad Wackerman's drums on Dreams Nightmares and Improvisations, or finally my favorite guitar duo Rodrigo y Gabriela from 11:11 proved beyond any doubt that timing, pace and rhythm and delivering performances in a highly energetic way are the strengths of the Japanese phonostage.

As well as a convincing presentation of recordings with midrange in a leading role, be it acoustic, vocal or with electric guitars. That’s why listening to e.g. Patricia Barber’s Verve Patricia Barber, but also to Dire Straits Love over gold (by Mobile Fidelity releases), or Al di Meola from Elegant gipsy was a somewhat similar experience to one with some excellent tube based phonostages.

The thing is that ViDA, not being a hybrid design, combines the many qualities of solid-states and tube designs. The presentation may not be as three-dimensional, present and tangible like with the Kondo or Audio Tekne preamplifiers, but proper saturation, richness and great differentiation of the midrange contribute to the final effect equally expressive, natural and captivating. And all this at a much lower price!.

The Japanese phonostage is able to extract deep layers of textures, subtleties in terms of both, tone and dynamics from records, especially at the micro level, which is what we usually expect from devices two, three times as expensive. With their help, it creates a beautiful, vivid, extremely smooth musical image. To put it another way - this is not a device pushed to the limits to get every last drop of information from the record to wow listener with them, but rather a device whose sole purpose is to create the most engaging listener’s experience, a true musical spectacle that is able to igniting unique sensations and emotions in sensitive music lovers. And it simply excels in it.


Aurorasound ViDA is one of those phono preamplifiers that do everything right, and most things even exceptionally well. And it does it at a price that does not impress anyone in today's audiophile reality, where prices went nuts. It offers a fantastic sound that can easily be classified as high-end plus an original and, in my opinion obviously, attractive looks. It offers a beautifully natural, spacious and resolving performance known mainly from tube designs, but at the same time also timing, hence pace&rhythm, associated rather with transistors. There is an openness and vividness of the treble, full, colorful, lively, engaging midrange and strong, deep, tight, energetic bass and all of that is served in a very coherent, engaging way.

But most importantly... it doesn't really matter! Because what really counts with ViDA is MUSIC. It is always in the center, in focus, all these elements are only there to serve it. The music is hence served with taste, in a very elegant, orderly, refined, easy to enjoy way, but above all engaging and inspiring emotions, which are the ultimate goal when it comes to listening to the music, aren’t they? And all that is achieved without a single tube in the circuit. Mr. Karaki deserves great respect for this achievement, and I can’t recommend you enough checking out this device in your own systems as soon as possible.

ViDA is one of those (a bit) hidden treasures of the audio industry, i.e. components that for (let me emphasize it once again - relatively, considering it belong to high-end class) reasonable price offer excellent sound. One you can’t spend your whole life with never even considering replacing it with another one.

Since most of the information regarding the design has already appeared in the text let me in this section only add short information about the solution that distinguishes ViDA from the majority of phonostages currently produced around the world. In an interview with Mr. Karaki, information appeared that his preamplifiers (ViDA and VIDA Supreme) are based on the LCR circuit i.e. one featuring coils, capacitors and resistors.

In contrast to the external design, the interior of ViDA is a very modern one based on transistors and discrete components. Coils are manufactured to order for Aurorasound by the famous manufacturer - Lundhal. Capacitors and resistors have been selected among the best available on the market. It is the LCR circuit that performs RIAA correction in the ViDA. It is located between the first and second gain stage. One of its huge advantages is actually constant impedance "seen" by the first amplification stage.

Technical specifications (according to the manufacturer):

Type: solid-state MM/MC phonostage
Inputs: 2 pairs RCA
Output: 1 pair RCA
Input impedance: 10 Ω, 100 Ω, 47 kΩ
RIAA deviation: +/– 0.25 dB, 10 Hz–20 kHz
THD: 0.025% dla MC (A-weighted)
Dimensions (H x D x W): device: 100 × 260 × 250 mm; external power supply: 70 × 114 × 200 mm
Total weight: 4.4 kg


Reference system 2018

1) Loudspeakers: HARBETH M40.1 |REVIEW|
2) Line preamplifier: AYON AUDIO Spheris III Linestage |REVIEW|
3) Super Audio CD Player: AYON AUDIO CD-35 HF Edition No. 01/50 |REVIEW|
4) Stands (loudspeakers): ACOUSTIC REVIVE (custom) |ABOUT|
5) Power amplifier: SOULUTION 710
6) Loudspeaker filter: SPEC REAL-SOUND PROCESSOR RSP-AZ9EX (prototype) |REVIEW|
7) Hi-Fi rack: FINITE ELEMENTE Pagode Edition |ABOUT|


Analog interconnect SACD Player - Line preamplifier: SILTECH Triple Crown (1 m) |ABOUT|
Analog interconnect Line preamplifier - Power amplifier: ACOUSTIC REVIVE RCA-1.0 Absolute-FM (1 m) |REVIEW|
Speaker cable: SILTECH Triple Crown (2.5 m) |ABOUT|

AC Power

Power cable | Mains Power Distribution Block - SACD Player: SILTECH Triple Crown
Power (2 m) |ARTICLE|
Power cable | Mains Power Distribution Block - Line preamplifier - ACOUSTIC REVIVE
Power Reference Triple-C (2 m) |REVIEW|
Power cable | Mains Power Distribution Block - Power amplifier - ACROLINK Mexcel 7N-PC9500 |ARTICLE|
Power cable | Power Receptacle - Mains Power Distribution Block: ACROLINK Mexcel 7N-PC9500 (2 m) |ARTICLE|
Power Receptacle: Acoustic Revive RTP-4eu ULTIMATE |REVIEW|
Anti-vibration platform under Acoustic Revive RTP-4eu ULTIMATE: Asura QUALITY RECOVERY SYSTEM Level 1 |REVIEW|
Power Supply Conditioner: Acoustic Revive RPC-1 |REVIEW|
Power Supply Conditioner: Acoustic Revive RAS-14 Triple-C |REVIEW|
Passive filter EMI/RFI: VERICTUM Block |REVIEW|


Speaker stands: ACOUSTIC REVIVE (custom)
Hi-Fi rack: FINITE ELEMENTE Pagode Edition |ABOUT|
Anti-vibration platforms: ACOUSTIC REVIVE RAF-48H |ARTICLE|

  • HARMONIX TU-666M "BeauTone" MILLION MAESTRO 20th Anniversary Edition |REVIEW|


Phono preamplifier: Phono cartridges: Tonearm (12"): Reed 3P |REVIEW|

Clamp: PATHE WINGS Titanium PW-Ti 770 | Limited Edition

Record mats:


Headphone amplifier: AYON AUDIO HA-3 |REVIEW|

Headphones: Headphone Cables: Forza AudioWorks NOIR HYBRID HPC