Located at the sprawling former country house Cranage Hall in Cheshire, the North West Audio Show (NWAS) has always been a popular event for both exhibitors and visitors alike. Organiser Kris Sawicki certainly knows how to put on a good show and goes the extra mile to make this event a weekend to remember. Alongside the plethora of audio delights on display across the hotel were alfresco live music, exotic cars featuring equally exotic audio systems, and none other than Pink Floyd’s PA rig, as used in their classic Live at Pompeii movie from 1972.
The show was busier than ever on the Saturday, and several more rooms have been added since my last visit. Therefore, due to time constraints and the overwhelming popularity of certain rooms, there will unfortunately be some omissions, however, I have highlighted some of my favourites below.
Chord Electronics
Chord’s was one of the several rooms playing tunes through Kerr Speakers, the stand-mount K300 in this case. These speakers are extremely musical, with dynamics and weight that are unusual in a small speaker. They are also quite revealing, so I was surprised to hear them sounding so lively and engaging when driven by such a small amplifier as Chord’s newly launched 30Wpc Suzi, a modular platform with numerous configurations. I particularly enjoyed listening to Nick Cave’s Wild God on vinyl with the help of a Rega P8. I had written this album off as poorly produced, due to the harsh and compressed balance I experienced at home from the 24/96 digital version. Upon hearing the vinyl version, I can now lay the blame at the door of the digital master, as it sounded far warmer, more dynamic, and approachable.
Melco/ADOT
Melco had a static display where audio legend Alan Ainslie was on hand to explain the merits of the latest range of products from Melco, ADOT and Nuprime, this time assisted by his son, Andrew. Along with the existing range of ADOT SFP converters, three new prototype products were due for launch later this year. The first being a sub-net router, called the ASR-100. The idea of this project is to eliminate conflicts that can occur when setting up a server on a busy network. The ONI-100 is a simplified SFP converter, replacing the need for two ADOT units in systems which do not include a switch or server with an SFP input. The third, and potentially most exciting of the three new components is the LJC-100 10MHz digital clock. Owners of the Melco N1 server and S1 switch, both of which have external clock inputs, will likely benefit from this new clock if our experiments with a another clock on these compoents is any indication.
The N1 server and S1 switch could be seen in action in the Brian and Trevor’s/House of Linn room, doing a sterling job in a system which included Linn amplification and Audiovector speakers.
Moor Amps
Despite being what may be described as a cottage brand, Moor Amps commands tremendous respect within the industry, not least from The Ear’s esteemed editor Jason Kennedy, who, regular readers may know, uses their Angel 6 amplifier as his reference against which other amps are judged. This weekend was about the launch of the brand’s first integrated amplifier, the Angel 4i. Based on the Angel 4 power amp and Angel 3 preamp, but with an improved power supply, this amplifier delivers 75Wpc of Class AB power into 8 Ohms or 150Wpc into 4 Ohms. Look out for our upcoming review of this exciting new amplifier, which looks to be priced at around £ 8,000.
Also on display was a prototype of a new DAC, which is expected to be launched in the near future. The DAC is based on a Texas Instruments chip, but with a clever output stage and power supply, which designer Tim Narramore is confident endows this converter with a performance that elevates it high above other DACs based on this chipset.
The London Grammar and Natalie Merchant tracks i heard certainly sounded approachable and unfatiguing, whilst retaining high amounts of detail and refinement, with the vocals coming across full of emotional expression through Moor’s Ascalon 8 speakers.
Audioquest
It’s always a pleasure to catch up with Toby Allen, who handles distribution for Heed Audio, and frequently to be found in Audioquest rooms. Here, I listened to a system consisting of the Innous Zen server, Heed Lagrange S streaming amplifier, with mains cleaning duties handled by the Audioquest Niagra 3000. Hanging on the end of this system were the Peak Sonora speakers, a step down from the Sinfonia’s I’d heard in the Musicworks room earlier that morning, but still a premium model. Agnes Obel’s Fuel To Fire sounded impressively spacious and dynamic, considering the small room.
Replay Audio
I have been hearing a lot of good things about the Atoll brand over the last year or so, but this is the first time I’ve had the opportunity to sit in front of a well-set-up system from this Gallic brand. On dem was the Atoll ST300 Signature streamer and IN400 amplifier, paired with Audium Comp 8.3 speakers. Leonard Cohen’s By The Rivers Dark sounded suitably eerie and, well, dark, yet sweet and spacious. The music sounded dynamic yet well-controlled, with the fatigue often associated with less than optimal digital setups notably absent.
Neat Acoustics
While Neat’s hugely popular and engaging proprietor, Bob Surgeoner, was away enjoying the sunshine overseas, the team were hard at work getting great sounds from another system which included some Atoll components. As it turned out, there were actually two systems on the racks, a second utilising a Trilogy Audio 925 amplifier.
On my first visit, I listened to the smaller Atoll system, which fed the recently launched Iota II speakers. I was impressed by the ability of these tiny speakers to fill a reasonably ample space with music. The bass, although ultimately lacking in extension, was well-integrated. As a signature quality for the brand, the music was coherent and demonstrated excellent timing qualities.
When I popped back a few hours later, the Momentum J-6 speakers were playing alongside the larger system. This setup took the fundamental musical strengths of the smaller one and, as expected, yielded a performance that was larger in scale, more extended, and had a lovely, refined, velvet-like quality, which displayed great delicacy when the music demanded it.
Acoustic Energy
AE were proudly demonstrating their new stand-mount AE1 40th Anniversary speakers when I visited. They had paired these with a source and amplifiers with eighties origins, specifically a rather fetching Mitchell Gyrodec turntable and Exposure amplification.
Talk Talk’s Happiness Is Easy continued the eighties theme and proved especially easy to digest, with the system allowing the speakers to disappear and deliver a sweet, detailed, and well-timed rendition of this classic track.
Cyrus Audio
Cyrus Audio’s recently launched 40 series components, housed on a custom rack from Melton Mowbray-based Little Hi-Fi Racks, made a strong impression, which put a smile on my face even before the music started playing. On display was the full 40 series system, including PSU external power supplies and the TT3 turntable. Hanging on the end of the system was a pair of Audio Physic Spark speakers, with Atlas Cables providing, well, the cables. On this evidence, the new components would appear to add bass depth and weight to traditional Cyrus hallmarks of a large soundstage and strong rhythmic qualities.
On static display was an advanced prototype of the soon-to-be-launched 80 series amplifier, which breaks Cyrus tradition by being full-width and including a high-current power supply as standard, thereby eliminating the need for an external PSU to achieve optimal performance. This amplifier also includes a BluOS-based streaming module, and if it sounds as good as it looks, then it should prove extremely popular. The 80 series also includes a streaming preamplifier and a 200Wpc bridgeable power amplifier.
Sound Design Distribution
During my visit to this room, I was treated to the talents of the Kii Seven active DSP stand mount speakers. The room was busy, and the music being played was unfamiliar which made it difficult to draw a comparison. From what I heard, though, the system had tremendous weight, scale, dynamics, and sound staging qualities. A well-respected product designer I spoke to told me this was his favourite room.
Stack Audio/Arke Audio
This was one of two rooms using digital sources that really surprised me at NWAS. It is likely no coincidence that both of them used expertly developed digital noise-reducing products. This was also a reasonably priced system, all things considered, so I must take my hat off to all those involved in putting it together. The music produced by this system was surprisingly analogue in character. The absence of bass bloom and the detailed, free and open soundstage are a testament to how well this system was set up.
Apart from the various Stack Audio products and the Denafrips Arcas streamer and Terminator 15th DAC, the rest of the system was new to me. Amplification was provided by Bigbottle Audio’s Pre BT2 and P-6525L amplifiers. The Mikros speakers from Arke Audio appeared to include very high quality internal components and drive units, and were paired with the Kratos bass enhancer, which is described as an intelligent unit that takes room acoustics into account. A power conditioner from Puritan and Studio Connections speaker cables completed this fine system.
Karma AV
In the Karma AV room I listened to the Mofi Sourcepoint 888 speakers recently reviewed on The Ear. The rest of the system included the Primare MP5 Mk2 streamer and a Unison Research Triode 25 integrated amp/DAC.
This system sounded lively, open and well extended at the frequency extremes. The soundstage was well layered and filled the room. It was one of those systems that sounded ‘right’ and made it hard to press on with the report.
Cambridge
I admit to having been briefly fooled by Cambridge’s diminutive all-in-one unit, the Evo 1, which they had cunningly placed between a large pair of Dynaudio Contour Legacy speakers. I say fooled, well, I could tell something was amiss, but the sound coming from this unit, whose footprint is barely larger than that of the average hi-fi component, appeared to be far too large and well-organised for a product of this type. Things made more sense when I discovered that behind the grills covering the edges of the unit are no less than fourteen drive units, each driven by up to 50 watts of power.
I was then treated to a demonstration of the EXN100 network player and the EXA100 integrated amplifier, which fed the Dynaudio speakers. I must say that the results were impressively clean and tuneful for such a well-priced system, albeit a little eager for my taste.
Symphony Distribution
This room saw the official UK launch of the new SME Model 8 turntable, with Alistair Kells from distributor Padood co-hosting the room. The turntable looked fantastic in its white finish, which proved to be a good visual match for the Esoteric system it was partnered with. The system also included Montaudio cables and rack, a Sugden phono stage, and the fabulous Kerr K320 Mk 3 speakers.
The music coming from this system sounded extremely natural. We listened to a couple of tracks from Eleanor McEvoy’s album Out There, which was particularly tuneful yet unfatiguing, flowing, and organic. Moving on to Air’s Moon Safarigave the system the chance to show off its deep, yet controlled bass. This album sounded dynamic, with a notably solid and well-defined soundstage.
Auden Distribution
Auden had two rooms; the smaller one showcased the Hegel H400 amplifier, D50 DAC, and Amphion Argon 3S speakers, along with Musicworks mains products. Andreas from Hegel was demonstrating the differences between the H400’s internal DAC and the external D50 unit, which were considerable. He went to great pains to explain that one of the main reasons the D50 sounds so good is due to its superior clock accuracy. Whatever the reason, it produced impressively polished, spacious and focused music.
I have always had a soft spot for Amphion speakers, and they do pair exceptionally well with Hegel amplifiers. The combination of Hegel’s precision and rhythmic accuracy is complemented by the Amphion’s natural and spacious presentation. The huge soundstage, accurate timing, and strong bass integrated perfectly with the room.
The bigger room also included the D50 DAC, but this time paired with the large Hegel H600 amplifier and the Egglestonworks Kiva 2 speakers. I spent a considerable amount of time in this room, streaming tracks via Qobuz Connect with the help of Auden’s proprietor, Bill Leigh. This system sounded clean, detailed, dynamic, and controlled, with weight and impact. As expected, the soundstage was huge, but also solid and accurate. I dare not listen to the same tracks at home until the aural memory of this show system has faded.
Henley Audio
The Klipsch Heritage La Scala AL6 speakers, in active form, proved popular among visitors. They were driven by a large Onkyo Icon P18 Preamp and three M80 power amps, which have VU meters, a feature that seemed in character with these retro speakers. A Project Extension 9 turntable, fitted with an Ortofon MC90C cartridge fed into a Project phono box, was spinning the tunes. A Rose streamer was also in the rack. As expected, the music had plenty of power and scale.
Chris Baillie
See the second part of our NWAS 2025 coverage here