Audiophilepure

https://www.audiophilia.com/reviews/2026/2/8/scarlatti-alla-scarlattilivia-mazzantibirdbox-audio-archive-series-reference-test-pressing

Direct tonal capture was handled by a pair of Neumann U47 microphones placed closer to the pipes, preserving weight, harmonic richness, and tonal color without sacrificing clarity. A final spot microphone was used judiciously to maintain definition during the most complex passages and ensure that musical lines remain intelligible, even at peak dynamic levels.

Every element—from microphone choice through cutting—was selected with a singular objective: to reproduce exactly what was heard in Scarlatti Hall on that day. Judging by this reference test pressing, that objective has been fully realized.

It is also worth noting that this reference test pressing is housed in an unusually elaborate presentation and was produced in a run of just twenty copies worldwide. This was never intended as a commercial edition, but rather as an internal reference and archival document. While most readers will never encounter this version firsthand, it offers a clear indication of the level of care applied throughout the project. With that attention evident in every aspect of this pressing, I have no doubt that the forthcoming commercial disc and tape editions will possess the same magic

https://www.audiophilia.com/reviews/2026/2/28/allnic-audio-asra-rhpa-7500-headphone-amplifier

Power output from the single set of speaker taps is 10 watts in triode mode and 20 watts in pentode mode. This mode can be changed (while the amp is off) by convenient toggle switches in the tube compartment. 

Power available to the various headphone taps is not as clear, although I heard from Kevalin that the ribbon output offers 4 watts. Based on my listening, the single-ended and balanced outputs offer a hilarious amount of power, and I can’t imagine there is a headphone that the RHPA-7500 could not drive. 

Photos from the recent installation of Rockport Technologies Orion loudspeakers in the dCS dedicated listening room, personally set up and optimized by Jon Zimmer, Director of Sales for Rockport Technologies. A listening session with dCS International Export Sales Manager Alasdair McDonald and dCS Managing Director David Steven featured the dCS Varèse flagship music system as the source.

https://www.stereophile.com/content/dynaudio-confidence-20-active-space-loudspeaker

As I see it, the almost full-range, full-scale Confidence 20A’s are meant for experienced audiophiles who want flagship driver technology in a smaller-than-usual footprint. They’ll also appeal to owners who value integrated amplification and DSP correction, and customers who use balanced sources and prefer a system with fewer boxes and wires. You may well choose to give these Dynaudios a hard pass if you’re on a restricted budget, want Roon and streaming capabilities built in, or love swapping tubes for fun.Priced at $24k, the Confidence 20A’s roared right into luxury territory when they were introduced a year ago. There, they compete with active offerings like Genelec’s 8380A’s ($20,500/pair) and Grimm Audio’s LS1c’s ($26,500/pair without integratable subwoofers). They’re almost twice the cost of the passive Confidence 20s, but you’re not just paying for amplification; you’re paying for drivers and electronics carefully engineered to form a no-hassle, well-matched, unified system … and maybe an end to the upgrade cycle.

The VE ONE exhibits impressive depth and power and generally impresses on the macro level, more so than competing units such as the UE5 Pro, which is quite intimate in comparison. However, it’s not quite as layered and resolving as the higher-end VE multi-driver models.

The listener’s ear will be drawn more to the low-end power and upper-register vocal presence than to a stretched, grandiose, ethereal performance.

The VE ONE has kept the tuning centered and slightly more forward for bass and vocal elements, providing a nice balance for modern pop and slower-paced synth music.

Given the matching amplitude of the 20-100Hz and 2-5k region, anything that registers in the upper-mids will still be clearly heard, but lower-mids instrumental micro-detail will be somewhat muted.

My suggestion is to pair the VE ONE with a neutral punch source and amplifier to retain a good level of dynamic range, without introducing any additional warmth to an already smooth-sounding presentation.