QLN Prestige Five Gen 2 review - Tracking Angle

“After moving among all of these speakers in my mind, I came back to the same point: each competitor could claim a particular advantage. The QLN combines much of Wilson’s resolution, the Joseph’s disappearing act, and Sonus Faber’s tonal color. However, it doesn’t mimic any of them, and it doesn’t have to win every isolated category to make its case. What it does better than most is remain adaptable to a wide range of music and systems. It is the Prestige Five Gen 2’s clearest competitive advantage.”

— Ken Redmond

Full review can be found here

Gigawatt PowerMaster Review - Part Time Audiophile

“Until the GigaWatt PowerMaster arrived at my house, I hadn’t thought a lot about reviewing additional power conditioners. As I mentioned, I’ve been very happy with the AudioQuest Niagara 3000 I’ve been using for the past few years. I’m still happy with the 3000, and I’ll return to it once the PowerMaster is shipped back to Mark Sossa. The Niagara retails for just $3,000, and I haven’t heard anything for that price that beats it. Since then, I’ve reviewed two more power conditioners in the last eight years, one from Equi=Tech and one from Telos Audio. Both are far more expensive than the AudioQuest, and both were predictably more effective at lowering the noise floor in my review system.

The GigaWatt PowerMaster, however, is obviously in a different class than most of the power conditioners I’ve auditioned. While $32K might seem like a lot of money for what one friend of mine calls “a fancy power strip,” it’s not in the context of an ultra high-end audio system where a single power cord might cost even more. From the first listening session, it was obvious that the GigaWatt was taking my system to a new level I haven’t heard before, one that’s not only silent but supremely confident in the quality of that silence. With the GigaWatt PowerMaster in the system I was able to engage in such hyperbole as “Have you ever heard vinyl sound so clean?” and “It’s like I upgraded my system all at once!”

Noise reduction devices, as I’ve learned, have a cumulative effect. I often say “the more the merrier” with grounding hubs and isolation platforms and power conditioners and network switches because I haven’t yet reached the point where I’ve felt things couldn’t possibly get any quieter. Then I try something new, and I hear an even more profound lowering of the noise floor and I know there will always be room for improvement. The GigaWatt PowerMaster, however, convinced me that I could remove most of those other devices from my system and the results would be remarkably similar. That’s a broad claim to make, except I can back it up by saying I did remove all of noise reduction devices from my system except for the PowerMaster, and I still felt I had heard the single most effective product for power management I’ve used. Highly recommended.”

— Marc Phillips

Full review can be found here

QLN Interview - HiFi Statement

HIFI Statement Germany sat down with Mats Anderson of QLN at this years Vienna HIGHEND to discuss the new Generation 2 models. You can find the complete interview here

New QLN Master 7

Introduction
At Qln, we always try to communicate music’s message with the utmost skill and balance. For us, tonal balance is more important than the standard measurements used today to describe a speaker’s performance, such as frequency response, distortion, waterfall diagrams, impedance curves, pulse/transient response, and so on.
There are so many things we can’t measure—or that are very hard to measure—and it’s difficult to judge them based only on what we do measure.
How do you measure the difference between a copper-foil capacitor and metallized aluminum? The same applies to flat-foil inductors with polypropylene isolation compared with paper-impregnated viscoelastic insulation resin.
They measure practically the same yet sound very different.
By tonal balance, we don’t mean only the frequency-response behavior. We mean tonal balance in sound character and material behavior; the match between the different drive units’ cone areas; and how the drive units change with high- and low-level signals.
Sound character should not change with frequency or signal level

Master 7
With the Signature the goal has always been to push the boundaries of what is possible for a monitor speaker with our truncated pyramid cabinet design.
Now, with the Master 7, we take the next step for a floor-standing speaker. With the Master 7, we take the Signature level further by separating the 184mm mid-woofer into a dedicated woofer and a dedicated midrange drive unit. These drive units share the same design philosophy and technology.
With a dedicated woofer, we can choose a hard cone that works better for lower frequencies (though not as well for the midrange), and for the midrange we can use a smaller driver with a lighter cone mass that gives better resolution at higher frequencies.
The Signature has always been at the forefront of technology with time-aligned drivers, minimum baffle surface area, minimal cabinet resonance, and phase-coherent crossovers—advanced technical solutions. With the Master 7, we go one step further.
We have concentrated our efforts on perfecting a technically sound design that also evokes strong emotion and a sensory connection to music. The Master 7 is the greatest expression of our core philosophy and approach to loudspeaker design

Cabinet design
The Master 7 shares the same design core as Qln’s other floor-standing speakers.
The slanted baffle provides perfect time alignment between the drivers, with a focus on correct phase behaviour. The cabinet is optimized for minimal baffle area, which suppresses baffle effects, and its truncated pyramid top reduces standing waves inside the structure.
With the Master 7, we have made key improvements to optimize performance. The shape has been refined. The 40mm-thick walls and heavily braced cabinet are fully constructed from Qln’s proprietary Qboard® technology, effectively eliminating structural resonances in the acoustic chamber.
The drive units are mounted on a 6mm aluminium frame for better, more precise mounting. Damping felt is applied around all three drive units.
The bass reflex port, with its trumpet shape at both ends, further reduces air turbulence. The cabinet is supported by four strong, solid legs with adjustable feet that suit both hardwood/stone floors and carpeted floors.
The result is a three-dimensional stereo image with lifelike depth and spatial cues from the recording environment, even in a larger cabinet design.

Read more about Timing
Read more about Qboard®

Woofer
The 184mm hard-cone woofer features an under-hung magnet system where the voice coil stays in the magnet gap at all times, resulting in a completely linear motor system. Together with the extremely open basket, this allows airflow without compression or turbulence. It offers more micro-detail and lowers acoustic noise typically found in standard baskets. Built-in copper rings in the magnet system provide symmetrical drive and lower voice-coil inductance, resulting in higher dynamics in the midrange while also suppressing intermodulation distortion.
The long-stroke 184mm hard-cone woofer, in an oversized, low-tuned bass reflex design, gives the best of both worlds: sealed and bass reflex. It extends bass down to 28Hz and minimizes group delay

Midrange
The 150mm midrange was chosen as the best size to seamlessly bridge the tweeter and woofer. The under-hung magnet system keeps the voice coil in the magnet gap at all times, resulting in a completely linear motor system.
The size of the woofer and tweeter affects the role the midrange plays. It should blend effortlessly with both the woofer and tweeter. A smaller driver can lack body in the lower midrange, while a larger driver can lose dynamics and resolution at higher frequencies. Our custom 150mm paper-sandwich midrange has both low-end capability and the ability to resolve higher frequencies because of its controlled, bent cone design, which reduces moving mass

Tweeter
The advanced 25mm wide-surround tweeter offers remarkable vocal reproduction and excellent imaging at all listening positions. Its large roll surround and textile dome diaphragm provide a flat frequency response above 30 kHz with outstanding off-axis dispersion. The acoustically open magnet system eliminates reflections and resonances. For the Master 7, we developed a new, unique chamber design. The chamber is an acoustically damped transmission-line design to avoid internal reflections and compression

Crossover
The crossover is hardwired with copper-film capacitors to the tweeter. A 6dB first-order crossover is used between the dedicated midrange and tweeter. For the midrange and tweeter, we use only paper-impregnated viscoelastic insulation resin flat air-core foil inductors. Precise copper-manganin foil resistors with high power-handling capability, low noise, and temperature-stable performance are used for the tweeter and midrange. The woofer coils are baked to avoid internal component and filter resonances, and 20W non-inductive resistors are used for the woofer.
All components are fastened with soft damping glue. With these elements, we achieve near-perfect timing within the crossover, coupled with low-noise characteristics throughout the entire frequency range

Cables, speaker connectors and internal damping.
Internal cabling is our own special design, produced in Sweden. Solid, pure copper cores with Teflon insulation are bound with a high-damping acoustic shield to minimize acoustic feedback. All components are carefully hand-selected and individually tested for any deviations.
Speaker terminals are WBT Nextgen® connectors made of the highest-grade pure copper, with minimal copper mass for low energy storage—lowering distortion and offering the purest contact to the speaker cable.
For internal acoustic damping, we use real wool. Wool is the best material for internal acoustic damping, but we need a small amount of synthetic fibre to achieve the right density.

Specs

3-way speaker

• Cabinet: 40mm Qboard® Qln multi layer damping cabinet technology

• Tweeter: 25mm, unique sound guide carbon fibre chamber

• Midrange: 150mm sandwich paper cone with under-hung magnet system

• Woofer: 184mm hard cone, under-hung magnet system

• High-end brand crossover components from leading manufactures

• Qln SP-Three pure copper solid wire acoustic shielded cable

• Sensitivity: 88 dB SPL 2,83V 1m, 100-10kHz

• Low frequency performance: -3dB 28Hz

• Impedance: 4 ohms

• Amplifier requirements: 50-300 Watt RMS

• Terminal: WBT Single wire

• Standard finish: Walnut Matte, Walnut Dark Piano, Rose Piano

AXPONA 2026 Stereophile Interview

New Merason DAC2!

Digital-to-analog conversion:
In the DAC 2, two BurrBrown PCM1794A converter chips handle the conversion in a true dual-mono configuration, meaning one chip per channel. This concept improves dynamics by 5 dB and contributes to a wide, stable soundstage.

Analog stage / signal path:
After conversion, the sensitive analog signal is processed in a discrete, fully balanced Class A output stage without feedback. This stage is built discretely with premium components and requires no integrated circuits in this area. The goal is to preserve the finest sonic nuances with a very low noise level.

Power supply:
Each critical functional unit receives its own clean and stable power supply. In total, the DAC 2 features twelve independent power supplies, precisely distributed across the circuit (including those for the left channel, right channel, and digital inputs). The oversized design with large transformers reduces crosstalk and contributes to a quiet, "black" background.

Printed circuit board architecture:
A completely redesigned, multilayer printed circuit board reduces impedance and minimizes signal loss. At the same time, it improves shielding against external interference and ensures a very low-loss power supply to the individual components.

Precision components / SMD use:
The increased use of high-precision SMD components enables shorter and more consistent signal paths. This reduces losses and supports high sound fidelity.

Improved power supply to the converter chips:
The power supply to the analog circuits of the two BurrBrown-1794A converter chips has been specifically improved: with a higher signal-to-noise ratio and an output impedance close to zero.

Thermal management:
A novel mounting system for the output transistors, featuring special disc springs, ensures constant thermal contact with the heat sinks. This precise temperature equalization reduces harmonic distortion and contributes to a clean, transparent sound.

Protection against vibrations:
New device feet with specifically combined absorber materials protect the sensitive electronics from harmful external influences.

Connectivity options:
The DAC 2 offers digital inputs via USB, coaxial RCA, optical Toslink, and AES/EBU. All inputs are galvanically isolated to keep external noise away from the audio signal. Balanced XLR outputs and unbalanced RCA outputs are available for connecting to the system.

Purist concept:
The DAC 2 is consistently designed for its core task: high-quality digital-to-analog conversion. Additional functions such as volume control or headphone amplifiers are deliberately omitted to keep the primary signal path uncompromising.

Made in Switzerland:
Development, electronics, assembly and final inspection take place exclusively in Switzerland. This stands for precision, reliability and high-quality workmanship with understated elegance.

NORSE X1 & X5 review!

“YOU DON’T HAVE TO LISTEN TO THE Norse amplifier for long to quickly discover that it produces exactly the same sound for which the Bladelius brand is renowned. That is, warm, dense, low, and soft. Yes, it’s a sound that fills the space in a dense way, without any gaps or wear and tear, where the walls “behind” the performers would show through.
WHAT IS IMPORTANT IS THAT THE SOUND of the Norse Audio amplifier is truly detailed. I seems to me that it may even be more so than with Bladelius amplifiers. I repeat, it is a very similar sound signature. However, Mike’s large amplifiers have more “air” in reserve, which is not immediately apparent, but still noticeable. This is evident in the lower volume of the vocals and in the slightly narrower soundstage. And that’s normal, because there is a huge difference in price. But it is precisely thanks to this slight shift that the tested power amplifier shows more detail.”

— WOJCIECH PACUŁA

Find the full review here

Capital Audio Fest - 2025 Recap

“Mark Sossa of Well Pleased AV always puts together solid, good-sounding rooms, often featuring Merason DACs and Qln loudspeakers. At this show Sossa’s system, fortified by Alma Music & Audio, reached new levels of transparency, quiet, and soundstaging, wowing and entrancing me.
Gregory Porter’s “Take Me to the Alley” played with plenty of graphic detail, yet it was comfy, cozy, and warm. Fleshy physicality and a low noise floor were the system’s most apparent virtues. Frank Sinatra’s “Fly Me to the Moon” was airy, vibrant, and uplifting. Kenny Burrell’s “Chitlins con Carne” featured his guitar in a giant, sweetly textured scrim; “Midnight Blue” was lightning fast and burnished. I wanted further engagement with this silky system, but duty—and more rooms—called.”

— Ken Micallef

Full article here

“The crew here at pt.AUDIO have been uniformly enthusiastic about Qln, as a brand (see reviews here and here and here, for example). There just something about them — their airy delicacy, perhaps, seamlessly integrated into a warm, present, and immersive experience, a sound that is never harsh, never aggressive, but also never boring. If I’m not being clear, I can see this brand as being an end-game aspiration for most non-Yacht-core audiophiles, and part of a system that routinely satisfies, routinely engages, and routinely seduces. And these brand new Prestige 3 Generation 2 loudspeakers are just lovely. Fed here by sweet 300b-based goodness (obviously, the best power tube ever made — but we’ve had some curiosity about Qualiton for a while now — see here and here), all I can say is, “Sure, pack it all up — where do I sign?””

— Scot Hull

Full article here

New QLN Prestige Three Gen 2!

XACT Music Servers/Streamers & Network Switch

We are happy to announce the addition of Xact Audio to our product offerings! Xact Audio was created by Marcin Ostapowicz, the founder of JCAT and JPLAY brands and author of some of the most innovative high-end audio products, including the world’s first audiophile network card.

What sets Xact Audio apart?

MASTER OCXO CLOCK
For even higher sound quality

Nichicon Muse flagship capacitors delivering exceptional resolution and natural sweetness

IMMOTUS™ mechanical isolation

phantom™ music drive cable

Industrial-grade SSD
carefully selected for its unique sound properties

Extremely resistant OS SD card developed for military conditions

Easy music importing from usb drives and over network

Audiophile network switch & router
(alternative functionality)

optimo n1™ linear PSU Three separate, galvanically isolated voltage rails power the main switch circuit, the system clock, and the isolated output individually, ensuring uncompromised signal integrity.

100% custom motherboard developed exclusively for high-end music playback

Engineered for Sound unnecessary protocols & features,are disabled to prevent any potential impact on audio performance.

Click here for more information.

New Merason Mountain Line - Available Q4 2025

The Breakthroughs: The Anatomy of a Revelation

1 The Mountain DAC – Redefining Digital Purity

Born from the legacy of the DAC1 Mk I, the Mountain DAC redefines what’s possible.

Capacitor Free Design: Eliminates phase distortion for bass that’s both profound and agile.

Jitterless Timing: Advanced reclocking ensures temporal precision, as if the music exists in a timeless space.

Halved Distortion: Reveals nuances previously masked by harmonic artifacts – hear the absence of noise as clearly as the notes.

+6dB Dynamic Range: Faithfuly renders whispers, crescendos, and everything between without compression. “We didn’t just improve measurements, we reimagined what a DAC could feel like. The first violin playback wasn’t a test; it was a revelation. That’s when we knew: this changes everything.” Daniel

For listeners who demand both technical excelence and emotional resonance.

2 The Mountain Pre – The Art of Neutrality

Zero Coloration Circuitry: Amplifies without editorializing – the music’s intent remains untouched.

MicroDetail Retrieval: Resolves the subtlest textures, from a pianist’s pedal shifts to the rasp of a reed.

UltraLowNoise Architecture: A power supply quieter than a recording studio’s midnight silence.

Precision Attenuation: A bespoke potentiometer ensures seamless volume transitions, even at whisper levels. “A preamp should be a window, not a filter. With the Mountain Pre, the glass vanishes.”

For purists who value unadulterated signal integrity above all else.

3 The Mountain Power – Authority, Refined

Class A/B Reimagined: Selective multipath feedback delivers tube like richness with transistor precision.

Unwavering Stability: 2 x 140W (8 Ohm) or 2 x 260W (4 Ohm) of controled power, unshaken by dynamic extremes.

Very High Damping Factor: Tames even complex impedance curves with surgical accuracy.

Linear Power Supply: Matches instantly to load demands, ensuring effortless control over demanding speakers. “It doesn’t drive speakers – it liberates them. The difference isn’t loud, it’s profound.” For those who seek power without sacrifice – where nuance survives even at reference levels.

The Foundation – Shared Innovations

ResonanceFree Enclosures: Multiboard construction neutralizes vibrations before they distort.

DualMode Operation: Symmetrical for purists, asymmetrical for versatility – your choice, your sound.

Decoupled Electronics: Shockabsorbed PCBs isolate delicate circuits from mechanical stress.

Advanced remote control: Bluetooth integration designed to seamlessly control the highest quality audio. “This isn’t about chasing specifications. It’s about curating moments – the breath before a vocal entry, the decay of a cymbal into darkness, the rediscovery of a lifelong favorite song. With the Mountain Series, the equipment disappears. What remains is the music, as the artist intended it. Not ‘enhanced.’ Not ‘curated.’ Simply . . . true.”

For those who measure excelence in both data and delight.

AXPONA 2025 recap

“As you might recall if you read those reviews, the QLN speakers and Brama integrated are masters of the musically moving and sonically engaging when it comes to making music and this system followed in that good form. “Under” from o was positively moving and deeply grooving, especially on Day 3 of Axpona 2025 when that new Merason Mountin DAC had time to settle into Schaumberg. ”

— Twittering Machines

Photo courtesy of Audiophilestyle

“One of my first stops on the first official day of the show was Mark Sossa’s Well Pleased AV room. As a previous winner of my best in show award, I’d be foolish not to stop in Mark’s room early and often. Using QLN speakers (an underrated gem), Vinnie Rossi integrated amp, Merason DAC, and Innuos music server, Mark delivered his usual magic. This room was reproducing music, in a sea of room’s delivering HiFi demonstrations. There’s nothing wrong with either, but I fall for those with a musical and emotion pull every time. The Well Pleased AV room stayed in my mind throughout the show, as one of the best examples of synergy, setup, and great sound.”

— Chris Connaker

“I’ve been reviewing a lot of digital over the last year, and the phrase “sounds analog-like” has become overused, to say the least. On the other hand, when you hear a DAC like the Merason Mountain out in the wild like this, it’s a beautiful thing. The sound was open and full of life, and those black silences that only seem easy with analog were plentiful and truly addictive. It’s rare when I walk into an exhibit room and I like everything about it, every single component, and the Merason Mountain was the perfect DAC for this formidable system, made by people who live and breathe music every day.”

— Marc Phillips

Photo courtesy of Stereophile

“I’m a vinyl diehard, but this digital rig made me question my loyalties. Chanteuse Madeleine Peyroux’s performance was textured, full-bodied, and relaxed—traits not always associated with digital playback. Vocals, guitar, and viola had nuance and refinement; the music moved with unforced pacing.”

— Ken Micallef

Full show coverage links below:

https://www.stereophile.com/content/well-pleased-av-qln-vinnie-rossi-merason-innuos-gigawatt-sgr-no-vinyl-no-problem

https://twitteringmachines.com/axpona-2025-favorite-rooms-well-pleased-av/

https://audiophilestyle.com/ca/audio-shows/axpona-2025-what-a-show-part-one-r1345/

https://pt.audio/2025/04/29/merason-mountain-and-well-pleased-audio-vida-axpona-2025/

New Qualiton website!

Learn more at www.qualiton.eu

Qualiton 300B Integrated Amplifier

Overview

The Qualiton 300B is an integrated stereo amplifier with 2 x 25 Watts output power, built

around the captivating sound character of 300B power tubes. This amplifier harmoniously

blends our classic heritage with modern details: it features refined vacuum tube circuits,

which we have enhanced with several additional functionalities. In shaping the overall

sound character, our primary goal was to move away from the pronounced coloration often

associated with amplifiers utilizing the 300B tube. Instead, we envisioned a smooth,

musical and balanced vacuum tube amplifier that excels across the entire audio frequency

range.

Technology

Powered by 300B

The 300B is a directly heated power triode that hardly needs an introduction. Originally

developed by Western Electric in the mid-1930s for amplifying audio in movie theaters, it

later became a favorite among audiophiles and one of the most successful vacuum tubes in

history. Its outstanding sonic properties led us to name our top-of-the-line integrated

amplifier after this phenomenal power tube. Its high linearity and low distortion serve as

the perfect basis for the amplifier's power block, in which we combine it with our own

custom output transformer for excellent low and high frequency behavior. Additionally, we

have integrated the newest iteration of our Automatic Bias System for continuous and

precise control of the quiescent currents, providing a seamless user experience.

Custom Output Transformers

The transformers of our amplifiers are custom-designed and built in our in-house

transformer workshop. Our output transformers are constructed using high-permeability,

large cross-section toroidal magnetic cores, which undergo initial impregnation during the

production process. Following this, the winding process begins, utilizing a multi-layered,

sectioned, and specially arranged winding configuration. This meticulous design ensures

optimal performance across both low and high frequencies. Once the winding is complete,

the transformers are encased in metal shielding cans to minimize electromagnetic

interference. Finally, they are potted using an epoxy compound to eliminate mechanical

vibrations and associated noises.

Custom Power Transformer

Just like our output transformers, our power transformers are also custom-designed and

built in our in-house transformer workshop. We manufacture them with the same

precision and attention to details: the high-permeability, large cross-section toroidal cores

are also impregnated, and then the winding process follows. The parameters of the

windings are designed to avoid saturation of the magnetic core and to ensure efficient

operation even under heavy load conditions. It is important to note that we use double

electromagnetic shielding for our power transformers. Finally, we employ the same epoxy

compound used to pot the output transformers to eliminate mechanical vibrations and

associated noises.

Automatic Bias System

This circuit continuously monitors the behavior of each tube and regulates the bias

voltages accordingly, ensuring the smallest possible output voltage noise while

guaranteeing the highest degree of linearity of the output stage. Additionally, it prevents

the sensitive, high-permeability output transformer cores from saturating by precisely

equalizing the quiescent currents of the power tubes. Furthermore, the bias system

incorporates a built-in soft-start function, which prevents the tubes from drawing

excessive current during start-up and eliminates pops and noises. The result is that no

further adjustment is required once the electron tubes supplied with the unit have been

installed; the Automatic Bias System takes care of everything.

Filament Soft-Start

To significantly extend the lifetime of the power tubes, we have implemented the Filament

Soft-Start feature, which limits the current flowing through the heating filaments to a safe

level during start-up when the tubes are cold. The transient current of a 300B's cold

filament can exceed eight times the nominal heating current, which poses a risk of

damaging the expensive power tubes in a short time. Therefore, each of the filaments of the

300B's is fed from its own stabilized DC power supply, and the soft-start circuit ensures

that the transient current in each filament remains well below 2 Amperes throughout startup,

providing sufficient protection for the tubes.

Highly Optimized Layout

During the design phase, a significant amount of engineering time was devoted to the

layout details of the whole integrated amplifier. Our top priority was to maximize the

signal-to-noise ratio and completely eliminate mains related signal components from the

audio frequency spectrum. To achieve this, we separated the audio circuits as much as

possible from the power supplies that cause the most electromagnetic interference.

Additionally, we repackaged a substantial portion of the internal structure of the amplifier.

By utilizing our highest-quality printed circuit boards, we have created a modular, robust,

and high-performance layout.

Pragmatic Audio Design

In terms of audio design, we firmly believe that:

• A really good tube amplifier should be compatible with as many loudspeakers

as possible.

• A well-designed tube amplifier should exhibit Total Harmonic Distortion (THD)

below 0.5% across the entire power spectrum, from milliwatts to rated power,

spanning 20 Hz to 20 kHz.

• Ideally, the THD vs. Frequency plot should remain flat when measured at a fixed

output power.

• The transient response should remain fast and controlled throughout the entire

audio range, which goes hand in hand with the frequency response being wide

and flat.

• A tube amplifier can have low noise and an exceptional signal-to-noise ratio.

• Thoughtful work, good technical parameters and excellent sound quality can

coexist in a high-end tube amplifier.

In the preamplifier and driver sections, the 12AX7 and 12AT7 tubes play a crucial role in

achieving these goals. Furthermore, their DC-stabilized filament supply and circuits with

low offset and stable DC operating points ensure resilience against parameter variations.

Relay-Controlled Input Selection

The amplifier features a total of five analog inputs: four unbalanced and one balanced.

Selection between these inputs is accomplished using precision, low-power, ultraminiature

Japanese relays with ultra-low contact resistance gold overlay silver contacts, all

of which are controlled by a microprocessor. The front panel Status Display indicates the

currently active or inactive inputs.

Relay-Controlled Volume

Our 100-step relay-controlled stereo attenuator features 25 microprocessor-controlled

signal relays that switch a total of 48 precision metal film resistors. Programmed with a

custom attenuating characteristic, it enables fine adjustments across the entire operating

range of the volume control. At position 0, it is completely muted. The stereo tracking is

exceptionally accurate. The signal relays are precision Japanese-made low-power types,

featuring ultra-low contact resistance gold-plated contacts.

Multifunction Control Knob

We have updated our front panel rotary knob, which now serves multiple functions. In

addition to adjusting the volume, it can power the device on and off from stand-by mode.

Furthermore, when the amplifier is active, it also acts as an Input Selector.

Remote Control

The remote control features a black anodized aluminum finish. Alongside the basic

VOLUME UP and VOLUME DOWN functions, it also includes a convenient MUTE function.

You can power the device on and off from stand-by mode using the POWER button. When

the amplifier is active, this same POWER button also functions as an Input Selector. To

return the amplifier to stand-by mode, simply long-press the POWER button. Additionally,

the remote control allows you to fine-tune the brightness of the status display, with three

preset levels to choose from. You can access the brightness control menu by long-pressing

the MUTE button.

Status Display

The microprocessor-based Input Selector and Volume Control System features a Status

Display. The display material is scratch-resistant smoked plexiglass. By default, the top

section of the Status Display indicates the volume value. During user action, the display

becomes more intense, and then it dims to a lower brightness after a few seconds. Users

have the option to select from three preset brightness levels. The stand-by mode's red LED

is located in the lower section of the Status Display.

Aesthetics

Our approach to the visual design centers around maintaining visual neutrality. We

intentionally avoid overdesigning the appearance, aiming for aesthetic simplicity and

cleanliness. Our products are not meant to be theatrical or ostentatious; rather, they

seamlessly integrate into the audio system's interior without disrupting the user

experience. However, we add unique touches, such as the chassis folded back at a 45-

degree angle, a stainless steel logo badge, a custom rotary knob, or simply the sight of the

gourgeous-looking vacuum tubes.

Protective Features

• The amplifier is equipped with a practical protective cover that serves a dual

purpose: it shields the vacuum tubes from physical damage and protects the

user from the tubes’ hot surface.

• Furthermore, we have implemented mechanical protection on the vacuum tube

sockets, preventing the expensive power tubes from being damaged due to

possible incorrect installation.

• The amplifier’s turn-on and turn-off sequencing circuit is designed to eliminate

any unwanted pops and noises. The circuit ensures that the speakers are only

connected to the outputs after the start-up time has elapsed. It actively

monitors the presence of mains voltage, and if it detects an absence, it swiftly

disconnects the loudspeakers from the output terminals. When turning off the

amplifier, it disconnects the speakers first. This thoughtful design enhances the

overall user experience and protects your audio equipment.

Special Components

• Tested and Selected Vacuum Tubes:

The power tubes in all our amplifiers come in matched quads. The preamp

tubes are selected for low noise, symmetry and minimum distortion.

• Gold-Plated Ceramic Tube Sockets:

Ensuring reliable connections.

• Gold-Plated Audio Terminals:

Enhancing signal transmission quality.

• Film Capacitors:

We exclusively use film capacitors in our audio circuits for optimal

performance.

• Ceramic Composition Resistors:

These resistors are placed in critical positions to enhance reliability.

• Long-Life, High-Temperature-Tolerant Capacitors:

Employed in our power supplies to withstand demanding conditions.

• Mains Filtering:

We use mains filtering on the primary side of the power transformers, with the

purpose of filtering out any incoming interference that may be present on the

powerline.

QLN Reference 9 Review - Twittering Machines

One word kept coming to mind each time I thought about writing about the Qln Reference 9 Loudspeakers—Yes.

Within minutes of getting them situated in Barn, which took all of a few minutes once Mark Sossa of Qln did all of the hard unpacked work, I was nodding my head in affirmation along with the music. Yes.

You may remember my review of the Qln Prestige Five written back in May of 2022 wherein I wrote, among other positive things:

The Qln struck me as hitting that delicate balance between micro and macro on the slightly fleshier side, which in my experience and according to my tastes means—fasten your seat belt, this is going to be one helluva fun ride.

After spending about 8 weeks with the Reference 9s playing music on the Barn’s A-Side, I will tell you up front, it was one helluva fun ride.

The new Qln Reference 9 are the company’s “statement level speaker”, a 3-way design that incorporates a new proprietary 7” Kevlar midrange and 9” woofer with a coated thin Carbon sandwich cone that join a 25mm soft dome tweeter, a further refinement of the tweeter found on the QLN Signature Stand Mounts.

The slanted front baffle is so raked to provide “perfect time alignment between the drivers with a focus on correct phase behavior.” A single pair of WBT Nextgen binding posts await around back along with the rear-firing port. The cabinets attach to solid aluminum bars that sit on Qln’s footers to stabilize their 145 lb. heft.

The company specs the Qln Reference 9’s sensitivity at 91dB (SPL 2,83V 1m, 100-10kHz), with a 4 Ohm impedance and low frequency performance reaching down to 25Hz (-3dB). The Ref 9s are designed and manufactured in Gothenburg, Sweden, which is where the company was founded in 1977 by Nils Liljeroth and Lars Quicklund, while Mats Andersen, the Ref 9’s designer, joined the company in 1982.

To my eyes and taste, the Ref 9s are an elegant looking speaker without shouting, which is my favorite kind of design as I find shouty design, HEY LOOK AT ME!, annoying real fast. These Qln’s are also manufactured to a very high standard, as were the Prestige Five and every other pair of Qln speakers I’ve had the pleasure of experiencing first hand at shows. And let me sneak this in here—in the grand scheme of hifi things with all things considered, looks + performance, the Qln Reference 9 strike me as offering a lot of refined pleasure for the buck. While it does no one any favors to talk about value when talking about pleasure, heck some people just don’t enjoy experiencing joy so why pay for it, you can certainly spend more than the cost of the Ref 9s and get less.

Here’s a quote about the Ref 9s taken from the Qln website that’s worth sharing:

We at Qln prioritize designing speakers that faithfully reproduce the human voice and natural instruments. It is the balance between driver size, cone material and cone weight that determines how a speaker will sound and perform. The integration between all parts in a speaker is to us the most important thing in music reproduction. We don’t want to listen to any aspect of the speaker, we just want to listen to music and come as close to the original recording as we can. The Reference 9 embodies these principles better than any speaker we have ever made.

While it’s been over 2 years since the Qln Prestige Five left the Barn, I have no doubt that the Ref 9s are a better speaker.

During much of their Barn stay, the Ref 9s were driven by the recently reviewed, and well loved, Vinnie Rossi BRAMA Integrated Amplifier (review) while the review Octave Audio V 70 Class A Integrated Amplifier (more info) also took a well deserved turn. The Barn resident Grimm MU1 (review)/totaldac d1-unity w/Live Clocking Option (review) handling the bits but I also sent pure analog their way in the form of records spun on my Michell Gyro SE/Sorane SA1.2/EMT HDS 006 front end with the Aurorasound VIDA MK.II Phono Stage in play. Cabling was all AudioQuest and consisted of Firebird and Thunderbird interconnects, ThunderBird Zero speaker cables, and Thunder High-Current AC power cables. Hiding in plain site is my custom, by me and Box Furniture, Fallen A rack (see full Barn and system details).

Have you ever tuned a guitar by ear or sung along with a song? When you get it right, it’s obvious, as obvious as hitting a long ball with a bat as opposed to fouling one off or buying a pair of shoes that offer nothing but comfort as opposed to pain. Listening to music through the Qln Reference 9 sounded and more importantly always felt that kind of right.

Wild God is a big splash of a record with choruses rejoicing beginning just moments into the first track. Nearly cinematically.

Here’s one thing Nick Cave had to say about it:

Wild God… there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it.

Big records that are meant to hit and lift are better served by a hifi that can hit and lift in a big way, filling a room or Barn with inescapable energy, transforming listening into a kind of contact sport for the soul. In my experience, the better the quality of reproduction, the deeper and richer the experience and the Qln Reference 9s driven by the Vinnie Rossi BRAMA with the Grimm MU1/totaldac d1-unity turned the Barn into a resoundingly lovely and rich world for Cave & Co’s secular sermonizing. Every pair of Qln speakers I’ve heard offer some of the smoothest and perfectly saturated sound I’ve experienced but the Reference 9s add a refined richness, greater reach, and a more physically involving sound that acts like an open-armed invitation to losing one’s way in music.

And Wild God is a record you want to dive into all the way without any strings of past favorites, and for me Nick Cave offers a rich mine, attached. A kind of free floating engagement buoyed by some of the most engaging reproduction I’ve had the pleasure to live with in Barn, thanks in large part to the Qln Reference 9.

Romance from Fontaines D.C., the band’s fourth studio album released on 23 August 2024 on XL, is a big splash of a record, bigger and splashier than their previous records, all of which I loved. And I’m loving this new arena-sized Fontaines D.C. that sounds freer and musically richer, less raw than their previous work. Scale, some brute force, and the ability to remain calm and resolving through even the heaviest squalls are all required traits for the hifi in charge of delivering all of Romance’s largess and the Qln Reference 9s, now driven by the very capable Octave Audio V 70 Integrated Amplifier and its very hearty 50 Watts of output power (into 4 Ohms), projected a stadium-sized and highly refined sound image in Barn.

The Qln’s, whether driven by the Vinnie Rossi BRAMA or Octave V 70, offered full range sound with deep hefty well defined and formed bass and a kind of rich silkiness all the way up to the highest strings and things adding up to some of the most inviting sound I’ve had here in Barn. In these terms—a rich, rewarding, and inviting sound—the Qln Ref 9’s remind me of my beloved DeVore O/96, which is among the highest compliments I can give a pair of speakers.

Recorded live in Berlin in 1975, Terry Riley’s hypno-masterpiece Descending Moonshine Dervishes recently got the reissue treatment from Beacon Sound. And as they say in hifi reviews, I bought it (the LP). This recording captures Riley playing his just intoned tuned Yamaha YC 45D electric organ fed through delays over the course of nearly an hour and I am convinced that given our full attention for that span of time, our mind and body will offer nothing but thanks in return. This is hypnotic stuff, trance-inducing electronic ragas whose subtle shifts in tone, timing, and chord structure draw us in to the timeless space of Riley’s fervent, near fever-pitch, music rich mind. Here, you need a hifi that can reproduce the tiniest micro-shifts in terms of resolution, dynamics, tones, textures, and overtones, along with the bigger picture that moves along like swells in the deepest of deep seas. Once again the Qln proved to be more than ready for Terry Riley and every sound and movement, no matter how subtle, he coaxed from that Yamaha YC 45D, creating a rich cloud of sound that filled the space of the Barn with living energy.

While it’s coming up on a year since I reviewed the Rockport Atria II Loudspeakers (review), that at the time cost $38k/pair, I can still remember how “stunningly real” and “shockingly present” they sounded. Based on that recollection and a re-read of my review, I’d say the Rockport’s excel at lighting up reproduced music with a kind of kinetic full range energy that makes the Qln Ref 9s sound tilted more towards rich, warm, and inviting. These words are not meant to describe a binary choice, i.e. better or worse, rather they are intended to highlight differences in voicing that directly translate into our experience of music. Or to put it another way, listening to music on the hifi is not a sprint with a medal waiting for the winner across the finish line. I will also note that I reviewed the Rockport’s mainly using the Soulution 330 integrated amplifier (review) that is among the most refined and exciting amps I’ve had the pleasure to spend time with so its voice is also part of the equation. While I wish I had the Soulution 330 here to pair with the Qlns, reviewers, and this may come as a shock to some, do not get to keep everything we review.

Fritz Hauser’s Solodrumming is a Classic Album that belongs on every audiophile’s to-do list.

From the liner notes:

On the occasion of the exhibition “Idea, Process, Result” we have searched for the correlation between architecture and music. Throughout “Klangenthüllungen” (Sound Revelations), as we labeled the concerts, the participating musicians developed their performance in accordance with the spatial conditions. with its long reverberation [7 seconds], the glass-roofed court of the Gropiusbau is a subtle partner; delicate in its silence and powerfully surging when charged up rhythmically.

Fritz Hauser has, from my point of view, made the best use of its acoustical peculiarities in a most elemental way. The Sound Pictures of Fritz Hauser lead from the real, limited, architecture to the insubstantial, endless space of our imagination. The symbiosis of architecture and music, in times of unlimited acoustical-synthetical possibilities, is genuine. ~ Bernhard Strecker, Berlin July 1985

In addition to being a great record for testing a hifi’s merits, Solodrumming captures a true master at his craft, live with no electronics or overdubs which, if you give it a listen, seems impossible coming from one human. And if Solodrumming is a test, the Qln Reference 9’s passed with flying colors as they reproduced the cavernous space of the Gropiusbau and Hauser’s crazy super-human mastery of it and his kit playing together, turning time and space into shimmering, resounding timeless energy. When a system is capable of reproducing this music at this level, the experience is transformative in that it focuses one’s complete attention on the music, sounds, space, and time (and timing) to a smile-inducing, head-shaking, time-bending degree. Masterful.

There is no doubt that the Qln Reference 9s are among the most musically moving and sonically engaging speakers I’ve had the great pleasure of spending time with in Barn. In many ways including their rich, rewarding, and inviting sound combined with their refined quiet elegant appearance allow for complete and easy entry into deep communication with any music you ask them to play. To my mind and in my experience, the Qln Ref 9s are an end game speaker that requires but a one word directive—Yes.

Merason Reuss - Hans Beekhuyzen

Merason Reuss, Editor's Choice Award - the-ear.net

“The Reuss has the characteristic sound of Merason DACs, it is fast, agile and highly engaging. The tonal balance is very even handed and makes some other DACs sound a bit thick and blurred, but if you prefer a warmer, smoother sound then this might not be the converter for you. That said everything depends on the signal and the source providing it as well as the loudspeakers and amplification, the Reuss doesn’t have a thin balance but it doesn’t fudge the issue either, it tells it like it is. And it tells it in pretty compelling fashion.”

— Jason Kennedy

Full review can be found here

QLN Prestige 1 Review - AudioKey Reviews

This excellent and insightful review of the Prestige 1 begins on page 84.

AXPONA 2024 Recap - Best in Show!

“Now for my best of show award. To me, the competition wasn’t even close, although I readily admit to NOT getting to all the rooms. The best room I heard the entire weekend was by Mark Sossa at Well Pleased AV. Hands down.”

— Chris Connaker

Full report here

Photo courtesy of Stereophile

“This system had synergy and sweetness whether playing Mark’s favorite hip-hop from Gang Starr or my selections of contemporary tenor giant JD Allen or old school tenor swinger Illinois Jacquet. It played all types of music with sensuous appeal and fine ambient detail, with a dynamic range that took me by surprise on Jacquet’s high-flying saxophone shouts and the intricate orchestral shading of Camille Saint-Saëns’s Danse Macabre, with exceptional depth, rhythmic speed, and texture.”

— Ken Micallef

Full report here

Photo courtesy of Twittering Machines

“Think liquid. This system was long on refinement, offering some of the sweetest sounds of music I experienced at Axpona 2024. Lovely, just lovely.”

— Michael Lavorgna

Full report here

Photo courtesy of Part-time Audiophile

“The Well Pleased Audio Vida brands, if you haven’t noticed yet, are always supremely synergistic.”

— Marc Phillips

Full report here

AXPONA 2024: Andrew Quint on Loudspeakers under $40,000 (Absolute Sound)

Qln Reference 9 ($42,000)

“Yes, I know it’s a little beyond my price category, but Jonathan didn’t get to hear it and I did. The Swedish manufacturer’s new flagship is a 3-way design with newly developed midrange and bass drivers, plus a textile-dome tweeter with a frequency response that’s said to be flat out past 30kHz. At the low end, the -3dB point is 25Hz and, on the basis of a quick listen, the Reference 9 seems ready to play with the big boys, in terms of dynamics, bass power, detail, and spatiality. The fact that it was driven by Vinnie Rossi’s Brama integrated didn’t hurt.”

Photo courtesy of Audiokey Reviews

“A track I know very well—“Take Five” (Time Out, Columbia)—and which served as my onsite comparator across AXPONA was distinguished further by this system. Wow! Historically, it has been difficult to get consistently good music, but here again in the WELL PLEASED room was beautiful music that had gravitas and weight, air and ambiance—dimensionality—and great clarity.”

— K.E. Heartsong

Full report here