TAA Taipei Hi End HiFi Show 2026 Report Part 1
PART ONE OF THE HiFi PiG TAA TAIPEI HI END HIFI SHOW 2026 REPORT FROM TAIPEI
Join Gyula for the first part of his report from the TAA Taipei Hi End HiFi Show 2026, the first in its new location of the Grand Hyatt Taipei Hotel.
This was my first time attending TAA at its new home in the Grand Hyatt Taipei, and it immediately felt like a very welcome change.
A NEW HOME FOR THE TAA SHOW
The venue feels fresher than the old Grand Taipei, and it is far easier to reach by public transport, always a blessing when your day already involves climbing stairs and trying to stay cheerful after hearing the same track for the twelfth time.
Still, a hotel show remains undeniably a hotel show. All the familiar, inescapable limitations were present and correct: the acoustically hostile square rooms, the bleeding corridor chatter, and that inherently gladiatorial sensation of throwing yourself from one fiercely competitive demo room to the next. Despite the spatial challenges, the 36th TAA show managed to make a seriously heavy impact. Sprawling across five floors and boasting over 150 rooms, it delivered a sense of sheer scale and ambition that very few regional audio shows can even dream of matching.
What disappointed me was the lack of enthusiasm from the organisers when it came to press support and pre-show information. For an event housing upwards of 500 respected brands under one roof, treating media outreach like a closely guarded state secret feels like a colossal missed opportunity. This event should be doing more to help those brands reach a wider international audience, and I hope the organisers will be more proactive next time around.
Please note, all content and photos are the copyright of HiFi PiG Magazine/Big Pig Media LLP and must not be copied or reproduced in any way without the prior, written consent of the editor.
TAA TAIPEI HI END HIFI SHOW 2026 REPORT PART 1
Without further ado, let us dive straight in. In typical fashion, we shall start right from the top floor and work our way down.
Room 1117: 大器國際 DACHEE INTERNATIONAL | YG Acoustics, Aesthetix, REL & HzCORE
A set of sleek, solid-aluminium YG Acoustics Carmel floorstanders was paired with an Aesthetix Mimas hybrid integrated amplifier and an HzCORE streaming server. Towering behind the main speakers was a six-subwoofer REL S/550 line array, stacked three per side in an alternating zebra-striped mix of black and white cabinets. One might expect a hybrid valve and solid-state circuit pushing six active subwoofers to deliver effortless warmth and impact, yet the presentation was confident and tight, though it probably lacked the finesse I have enjoyed from YG Acoustics on other occasions. Hugh Masekela’s perennial show staple Stimela (The Coal Train) lacked its usual fiery passion and dynamic weight, leaving the track sounding curiously clinical rather than captivating.
Room 1115: 愛樂音響 LOVE MUSIC AUDIO | SVS Cinema & Axxess
Love Music Audio showcased a full SVS home cinema configuration, though it rapidly became apparent that the system was fundamentally at war with the physical dimensions of the hotel room. SVS gear is renowned for moving serious amounts of air, but squeezing a full-scale multi-channel cinema rig into a modest square space created an acoustic environment that felt thoroughly overwhelmed. Adding to the curiosity was the choice of an Axxess Forté amplifier handling part of the amplification duties, an intriguing and rather unorthodox pairing for a dedicated cinema demonstration. The system had plenty of dynamic clout and raw impact, but the room acoustics couldn’t absorb the low-frequency energy, resulting in a bass response that dominated the space rather than integrating cleanly.
Room 1116: 愛樂音響 LOVE MUSIC AUDIO | Børresen & Ansuz
Moving next door provided a refreshing change of scale with a focused system starring Børresen C1 standmount speakers on dedicated stands, driven by an Aavik i-188 streamer-amplifier sporting its signature jumbo red dot-matrix display. Clean mains power and network management were handled by a trio of flagship Ansuz units resting on Solidsteel isolation platforms. Nearby, a flight case showcased a teardown of Michael Børresen and Flemming Erik Rasmussen’s driver engineering, complete with ribbon tweeters, iron-free magnet assemblies, and layered carbon-honeycomb cones. This compact rig delivered exceptional speed, pinpoint control, and enviable PRaT; in fact, this specific setup easily outperformed several of the brand’s larger, far more intimidating systems I have heard at other shows. It was a thoroughly engaging presentation, even if the playlist fell – a bit surprisingly – short of their usual high standards.
Room 1122: 華克音響 RAY AUDIO | Ray Audio, Manger & dCS
Ray Audio remains a firmly established staple of the Taiwanese high-end audio scene, well-regarded for their understated aesthetic, meticulously machined aluminium chassis, and serious approach to power supply engineering. This year’s showcase provided a thorough demonstration of their capabilities, featuring a comprehensive suite of domestic valve amplification, along with their own dedicated isolation transformers and linear power supplies.
Feeding the system was a dCS Lina DAC and streamer, backed by Ray Audio’s bespoke linear power supplies and fed clean mains via their Takeda-series isolation transformers. Signal handling was entrusted to the Ray Audio EX balanced preamplifier, which in turn drove a pair of imposing 211 push-pull mono power amplifiers sitting proudly front and centre on the floor. Just behind sat their single-ended 211 SE monoblocks, featuring heavy 12 mm CNC-milled front panels and charming round VU meters. Driving the main system was a pair of crisp white Manger Audio P1 floorstanders, utilising Manger’s iconic star-shaped bending-wave transducers.
The synergy between these components was particularly impressive. Manger’s ultra-fast, phase-coherent transducers can quickly sound overly clinical if paired with the wrong electronics, but the massive 211 push-pull monoblocks supplied plenty of tonal body, effortless dynamic weight, and fluid warmth without dampening the speaker’s lightning-fast transient speed. The presentation was clean, spacious, and wonderfully expressive, standing out as a brilliant testament to local high-end tube craftsmanship.
Room 1108: 冠球股份有限公司 KWAN CHIU RADIO MFG. | Arriba Audio, Zorin & DC Cable
Kwan Chiu Radio presented a comprehensive display of their domestic Arriba Audio valve electronics, backed by analogue spinning duties courtesy of a Zorin Audio TP-S1 turntable and wired throughout with DC cable. At the heart of the system was Arriba’s A-7125 integrated valve amplifier, a 25-watt push-pull design utilising four EL34 power tubes and 6922 input stages, fed by their matching P-1108 CD player, which packs a 12AU7 tube output stage and TEAC transport mechanism. Arriba also highlighted their serious focus on mains conditioning, placing their T-1801 toroidal isolation transformers and SC-010 power purifiers front and centre. Driving a pair of neat floorstanders, the setup delivered a warm, fluid presentation with plenty of classic valve charm, offering an easygoing and musical listening experience that let the performance breathe naturally.
Room 1109: LAWRENCE AUDIO CO., LTD. 勞倫斯有限公司 darTZeel, Theta & Norma
Local artisan speaker creator Lawrence Audio showcased a striking demonstration starring their flagship angular floorstanders, equipped with Jantzen diamond tweeters and Accuton ceramic and aluminium-sandwich drivers, flanked by their iconic instrument-inspired cabinet designs. Driving these sculpted enclosures was Swiss audio royalty: a darTZeel NHB-18NS preamplifier paired with the iconic NHB-108 Model One power amplifier, alongside a classic Theta DAC and an Italian Norma CD player. Designer Lawrence Liao was on hand personally selecting tracks from a well-curated flight case of CDs, treating listeners to a delightfully well-rounded and refined performance. The playlist of niche, beautifully recorded acoustic cuts provided a welcome respite from standard audiophile test-disc staples, while a classic Studer A807 reel-to-reel deck waited patiently on the side to spin analogue tape albums.
Room 1111: 德城 DEI CHENG LTD. | DC Cable, Lelio, Arriba & D+M Monza
Domestic manufacturing took centre stage with Taiwanese specialist DC Cable (Dei Cheng Ltd). Beyond producing their own comprehensive catalogue of interconnects, speaker cables, and power leads under both the DC Cable and Lelio banners, the company operates extensively across the OEM and ODM sectors, engineering bespoke wiring solutions behind the scenes for several well-known international brands. On display were acrylic racks loaded with their extensive cable lineup, highlighting high-purity OCC copper conductors, heavy-duty shielding, and substantial connector terminations.
For the active system, a compact Arriba A-7008 valve amplifier was hooked up to a pair of D+M Monza Princess Mini standmount speakers, providing a sweet, unpretentious presentation that allowed the company’s genuine manufacturing pedigree to do the talking. It comes as little surprise that DC Cable forms a key part of the ADMZ group: a strategic alliance uniting Arriba amplification, D+M Monza loudspeakers, and Zorin Audio analogue sources. It is always gratifying to see a domestic manufacturer with genuine engineering credentials standing tall at a major show.
Room 1123: 勝旗 WINKEY ELECTRIC | TEAC & Tannoy
Winkey Electric assembled a remarkably cosy and neatly arranged space, fronted by classic Tannoy Dual Concentric floor standers augmented by top-mounted supertweeters. Powering and feeding the speakers was an impressive stack of TEAC electronics drawn from their popular 500 and 700 series. Analogue duties were capably handled by TEAC’s flagship TN-5BB turntable fitted with a Dynavector DV-20X2 moving-coil cartridge playing through the PE-505 phono stage, alongside their new network streamer, PD-505T CD transport, UD-507 preamplifier/DAC, and matching power amplification. Operating on Tannoy’s effortless efficiency, this system hit all the right notes, offering a smooth, fluid, and thoroughly captivating presentation.
What struck me most about this room was a lingering feeling that TEAC remains a severely underrated brand in modern audio circles. While casual buyers often default to the high-volume consumer appeal of mainstream brands like Denon or Marantz, TEAC operates on an altogether different plane. Sharing genuine engineering DNA with its ultra-high-end Esoteric sibling, TEAC builds serious, uncompromised audio gear. Their compact, half-width components feature dual-mono circuit topologies, discrete clocking, and tank-like Japanese build quality that punches well above its weight class. It is a brand with authentic audiophile heritage that deserves far more of the spotlight than it typically gets.
Room 1107: 超凡之聲 NIRVANA AUDIO | Heed Audio, Boenicke Audio, Eversolo & Nirvana Audio
Stepping into Room 1107 brought an instant sense of familiarity, as it was centred around the Heed Lagrange integrated amplifier from Hungary. Seeing this unit in action always puts a smile on my face, largely because it happens to be the very same amplifier sitting in my own setup at home. Here, the musical, organic Heed was paired with an Eversolo Streaming DAC handling digital source duties, driving a pair of slender Boenicke W8 solid-wood floorstanders from Switzerland. Boenicke speakers have long been on my personal wish list of speakers I would love to trial in my own living room, and hearing the W8s fed by the Lagrange only cemented that ambition. The synergy was delightful, producing an expansive, airy, and deeply communicative presentation that made pulling myself away from the chair far harder than it should have been.
Local distributor Nirvana Audio also took the opportunity to showcase their brand-new Chronos audio optimiser device. Housed in a handsome metallic cube resting atop a cardboard pedestal, this completely passive unit claims to refine signal integrity and smooth out room acoustic wave vibrations without drawing a single watt of mains electricity. Regardless of where one stands on the dark arts of passive acoustic tweaks, there was no escaping the fact that the underlying combination of Heed, Eversolo, and Boenicke was making exceptionally sweet music together.
Room 1103: 惠樺 HUE HUA | Oriole Sound Audio & Jean-Marie Reynaud
Hue Hua returned with a proven crowd-pleaser, pairing Oriole Sound Audio (OSA) valve amplification with Jean-Marie Reynaud (JMR) floorstanding loudspeakers. The synergy between OSA’s 6L6 integrated valve amplifier and the elegant French transducers has always been exceptional, delivering a rich, communicative midband with effortless fluid charm and natural dynamic flow.
To truly highlight what goes on under the bonnet, Hue Hua hit upon a brilliant display idea: placing a second amplifier upside down on the rack with a clear Perspex baseplate installed. Peering into the chassis revealed an absolute masterclass in traditional, point-to-point hand wiring, densely packed with boutique NOS capacitors and painstakingly dressed component leads. In an era dominated by mass-produced surface-mount circuit boards, showing off such unapologetic, artisan-level tube engineering in plain sight was a genuine delight for any audio nerd.
Room 1102: 典立音響 DEAN LIH AUDIO | Bricasti Design & Neat Acoustics
Dean Lih Audio put together an engaging demonstration of studio-honed American electronics driving slimline British floorstanders, fronting a pair of Neat Acoustics Ekstra speakers with a full stack of Bricasti Design gear. Signal playback was spearheaded by Bricasti’s M19 SACD/CD transport feeding their M1 DAC and M3 preamplifier, with the muscular M15 stereo power amplifier commanding the bottom tier of the rack. Squeezed along the floor was an array of Telos Audio Design active grounding and noise-suppression units, keeping the noise floor strictly in check. The synergy between Bricasti’s effortless studio-grade resolution and Neat’s clever isobaric bass loading produced a soundstage that was remarkably deep, articulate, and far larger than the physical size of the speakers suggested.
Room 1128: 三圓新技 SAN YUAN ADVANCE TECHNOLOGY | Ronnie
San Yuan Advance Technology returned for their second audio show with their Ronnie brand, bringing a level of industrial fabrication prowess that clearly stems from their primary business in automotive prototyping. Proudly displaying their ISO automotive quality certificates beneath the screen, the company showcased some of the most visually wild and unorthodox creations at the event. These ranged from towering floorstanders finished in metallic supercar bodywork to standmount monitors wrapped in leather luggage or encased in copper space-frames, alongside giant octagonal subwoofers with tiny monitors perched on top.
The manufacturing ability on display is undeniably impressive, but the overall presentation left one feeling slightly bewildered as to what their market positioning is actually meant to be. Running a burl-wood amplifier straight off the carpet while streaming music videos from a TV and a budget media box suggests that what Ronnie needs next isn’t more CNC machinery but a savvy audiophile sales and marketing team to help channel their formidable engineering talent into a clear, focused product line.
Room 1138: 新音圈運動 NEW VOICE-COIL MOTION AUDIO
It takes a special kind of bravery, or sheer audacity, for a fledgling company to roll into an event as massive as the TAA show with an unfinished, quirky prototype. New Voice-Coil Motion Audio did precisely that, unveiling an eccentric 360-degree omnidirectional speaker concept featuring a top-mounted high-frequency driver sitting above a low-frequency woofer enclosure. According to the designer, the concept was inspired by vinyl pickup mechanisms, attempting to recreate the delicate micro-vibrations of a record groove directly without conventional electronic amplification stages. In truth, the entire setup was wonderfully bewildering, and whether the underlying theory translates into sound engineering remains open to debate. Still, one has to admire the sheer courage of bringing such an experimental proof-of-concept out into the wild, providing a fantastic talking point for anyone curious enough to bend the designer’s ear.
Room 1035: 鍵寧 GREENDICH | KEF & Audio-Technica
Front and centre were KEF’s new flagship LS Luxe wireless speakers, whose organic, sculpted forms sat alongside a transparent acrylic Audio-Technica LPA-2 turntable. Framed by a backdrop of vintage music posters, the pairing was stylistically spot-on—merging futuristic active digital hardware with clear-chassis analogue in a room that felt more like a chic modern loft than a sterile hi-fi showroom.
Room 1034: 音寶 TAIWAN ENG PA | Focal, Naim, Sharkwire & Analog Art
Taiwan Eng PA opted for a strikingly minimalist layout in Room 1034, with Focal’s active Diva floor standers front and centre. Packed with Naim’s active amplification and wireless streaming engine under the hood, the speakers feature a modern, almost athletic aesthetic, clad in textured grey felt side panels that look more like high-end lifestyle furniture than traditional audio boxes.
Because the system is entirely self-powered, the usual tall equipment rack was completely absent. The only hardware sitting between the speakers was a single Analog Art power conditioner resting on the floor, hooked up with heavy-duty, gold-sleeved Sharkwire Neptunus power leads.
Room 1135: 台企行 TAIWAN ELECTRIC DEVELOPMENT | SME, Lockwood, Thorens, Loricraft & Atacama
Stepping into this space was like taking a warm, nostalgic plunge into the golden age of British audio heritage. Taiwan Electric Development Corp is a true family business in every sense, with the current manager continuing a legacy of generational expertise first established by his grandfather. Their decades-long relationships with iconic British heavyweights like SME, Lockwood, and Garrard shine through in every corner of the room, oozing understated charm, authentic passion, and proper old-school hospitality.
The main listening setup was delightfully original, eschewing modern digital conveniences in favour of pure, unadulterated analogia. Sourced by an SME Model 8 turntable fitted with a legendary Decca Jubilee Type II cartridge, the signal was routed through a stack of vintage Thorens electronics, the TTP2000 stereo phono stage, TNF2000 clean power supply, and TMA-2000 mono power amplifiers—all looking so impossibly pristine they appeared to be new old stock fresh out of a time capsule. Resting on an Atacama Apollo oak rack and driving a pair of the recently relaunched Lockwood Mini speakers, the system delivered an effortlessly natural, tactile, and musical presentation loaded with proper British midrange warmth.
Adding to the nostalgic magic was a shelf of unopened, mint-condition NOS care products. Sitting alongside heavy-duty Loricraft PRC 6i cleaning machines were sealed LAST treatments and the legendary WATTS Parostatik Disc Preener. As someone who still ritualistically wipes down every LP with the Preener before dropping the needle, seeing these pristine, unopened relics on display was an absolute joy. This was easily one of the most charming and authentic rooms at the show, proving that proper analogue heritage never goes out of style.
Room 1134: 環球知音 COSMOS HIFI | Marantz & Bowers & Wilkins
Cosmos Hi-Fi put Marantz’s fresh flagship 10 Series front and centre, showcasing the impressive triple stack of the Model 10 reference integrated amplifier, Link 10n network streamer, and SACD 10 disc player. Wired throughout with Atlas Cables, the system drove a pair of Bowers & Wilkins 702 S3 floorstanders through a thoughtfully curated playlist. While the flagship Japanese electronics demonstrated effortless composure and exceptional refinement, one couldn’t help feeling that the choice of loudspeakers ultimately placed a ceiling on what this formidable reference stack is truly capable of delivering.
Room 1132: 瑞澤科技 RAYTREND TECHNOLOGY | EA Acoustics
Enigma Acoustics focused on real-world, desktop-friendly audio solutions under the EA Acoustics banner, introducing two of their latest creations. On display was the ultra-compact A-70 micro integrated amplifier alongside the far more substantial P1500 power distributor, feeding clean mains power down to a pair of their neat EA-5 monitors. The setup delivered respectable composure and surprisingly nimble dynamics from a remarkably modest footprint, providing a sensible, clean, and highly accessible demonstration of compact modern audio gear.
Room 1033: 台灣鐵三角 AUDIO-TECHNICA | Narukami, Accuphase & B&W
Audio-Technica brought a dead-serious analogue demonstration to Room 1033, meticulously curating it to be as authoritative as it was stylish. To showcase their pinnacle cartridge engineering, they set up a VPI Avenger turntable fitted with twin VPI JMW 12-inch tonearms, enabling direct, head-to-head comparisons between two of AT’s premier moving coil designs: the AT-MCD1 and the limited-edition AT-MC2022.
Adding a touch of cloak-and-dagger excitement to the presentation, the phono stage driving the setup sat discreetly under a decorative cover. Even when pressed, the staff politely stonewalled and refused to disclose what was hiding underneath—a tantalising hint that Audio-Technica might be quietly field-testing a top-secret phono stage prototype.
Downstream, the mysterious signal fed into Audio-Technica’s flagship Narukami tube preamplifier (HPA-KG NARU), a stunning piece of Japanese craftsmanship housed in Kurogaki wood and powered by Takatsuki 300B tubes, before driving a pair of behemoth Accuphase A-300 Class-A monoblocks and Bowers & Wilkins 800-series floorstanders. Evaluating cartridges at this level usually involves unwanted variables from separate arms or decks, so mounting both on the same turntable for a real-time comparison was a masterclass in proper demo execution. It was a deeply impressive, well-calculated room that balanced serious analogue engineering with a fun bit of mystery.
Room 1032: 類比藝術工作室 ANALOG.ARTIST LABORATORY | Sansui, Lenco, Diatone & A.A. Lab
As a vintage audio enthusiast, walking into Room 1032 felt like stumbling directly into a collector’s dream setup. Grabbing immediate attention was an absolute Holy Grail stack of classic Sansui gear: the legendary AU-10000 integrated amplifier sitting alongside the unicorn CA-3000 preamplifier and BA-3000 power amplifier, complete with those massive illuminated VU meters and brushed black front panels.
The room was practically a living museum of vintage gear, featuring a Swiss-made Lenco L65 turntable, classic Diatone monitors, vintage Marantz 8 Series separates, and even a pair of rare Sony APM flat-driver loudspeakers tucked beside the equipment racks.
Sitting alongside these vintage giants was A.A. Lab’s own Model 204 integrated amplifier. Designed by Teng-Yung Liu, it pairs 1970s styling, mechanical VU meters included—with broadcast-grade safety standards and an OTL Class A/B circuit loaded with NOS Japanese transistors for an intentionally warm, tube-like sound. It was a brilliant, thoughtful room that bridged genuine vintage reverence with boutique handicraftsmanship.
Room 1031: 鍵寧 GREENDICH | Cambridge Audio
The room was dedicated to Cambridge Audio’s new active speaker range, lining up the L/R series (including the L/R S, L/R X, and L/R M) in a parade of eye-catching matte finishes, ranging from a bold pop-art orange and deep forest green to minimalist white and traditional wood veneer.
Demonstrated alongside the same Audio Technica LPA-2 acrylic turntable, the display made another case for modern, clutter-free listening. Cambridge Audio is clearly leaning into the lifestyle-first, design-conscious crowd here, offering self-powered, plug-and-play boxes that manage to look like contemporary interior decor without completely abandoning their HiFi roots.
Room 1038: 鴻盛科技 ACESONIC | Jadis, Mutec, Mogami & Focal
Room 1038 presented an intriguing intersection where high-end French romanticism meets unyielding pro-audio utility. Acesonic Technology anchored the demonstration around Jadis Electronics’ gleaming tube amplification, displaying the Diapason Luxe and Aria integrated amplifiers—complete with their signature polished chrome chassis, gold-accented faceplates, and heavy mesh cages—driving a pair of Focal floorstanders.
Room 1039: 全真 ALLMUSIC | Allmusic, Rogers
Allmusic brought pure domestic tube craftsmanship to Room 1039, anchoring their setup around handcrafted valve amplification driving a pair of classic Rogers standmount monitors. Sourced via a simple laptop transport, the active rig let the glowing glass do the heavy lifting, delivering the sort of intimate, midrange-focused warmth that BBC-style speaker purists thrive on.
Over on the display table was an impressive lineup showcasing Allmusic’s boutique Taiwanese engineering. Front and centre was the Jasmine Model 3a stereo power amplifier, featuring 300B and 101D tubes. Beside it sat their whimsically named integrated amps—the larger LION and the compact Minicat 2 triode amplifier—alongside their standalone DAC-3. It was an unpretentious, honest demonstration that highlighted Taiwan’s vibrant local tube-building culture at remarkably accessible price points.
Room 1043: 雅風 RONSON AUDIO | ATC Loudspeakers
ATC made no compromises in Room 1043, giving pride of place to their flagship EL50 Anniversary active floor standers. These imposing 3-way towers, finished in high-gloss, furniture-grade wood veneers, feature ATC’s legendary SM75-150 Super Dome midrange driver and 350W of built-in tri-amplification per channel, delivering uncompressed dynamic headroom and studio-grade realism that active speaker purists revere.
Room 1028: 卡門 CARMEN AUDIO | Hegel, Revel, Mark Levinson & Wireworld
Carmen Audio laid out a clever dual-system presentation, displaying two distinct configurations built around Revel floorstanders.
The main rig was built around Hegel’s new H200 integrated amplifier, focusing on preamplifier and streaming duties, while the massive H30A power amplifier provided muscle with Wireworld cabling to a pair of white Revel PerformaBe F228Be floorstanders.
Along the side wall, the secondary rig paired Mark Levinson source and amplification, the No. 519 player and No. 5802 integrated on a Solid Tech rack, driving gloss-black Revel Performa3 F206 towers.
Room 1046: 臺灣高空 TAIWAN ACCESS | NADAC, Dynaudio & Eversolo
Tucked away in a semi-hidden, awkwardly placed corner, Room 1046 was easy to miss, and surprisingly quiet as a result. Yet despite the out-of-the-way location, it turned out to be one of the best-sounding rooms at the show, serving as a welcome sanctuary to sit back and run through a few tracks from my own playlist.
The setup maintained a laser focus on high-precision digital playback, built around a three-tier stack from NADAC, the high-end stereo arm of pro audio and multi-channel specialist Merging Technologies. Fed by a compact Eversolo streaming transport, the digital chain comprised the NADAC D DAC, NADAC C master clock, and NADAC L preamplifier, backed by acoustic treatment panels around the room.
Driving the space was a pair of Dynaudio’s flagship Confidence 20A active stand-mount speakers in a high-gloss snow finish. While compact bookshelves aren’t typically my stylistic cup of tea, this instance marked the third time these active monitors have thoroughly impressed me. The NADAC stack, with its surgical precision and timing, drove the Dynaudio speakers, integrated with Pascal amplification in the stands, to create a soundstage with dynamic punch and texture that far exceeded their footprint, enough to make even a committed floorstander sceptic reconsider.
Room 1027: 仩益 SOUND BEST | ELAC, Linear Acoustic, E.A.T. & EAR
The pairing of Linear Acoustic and ELAC is a long-standing staple at Taiwanese shows, and Sound Best delivered another commanding room this year. Anchoring the main listening zone were ELAC’s sculptural Concentro M807 floorstanders, flanked by the ultra-compact BS312.2 monitors, which, as usual, threw a soundstage so vast it made you wonder where the rest of the cabinet was hiding.
Linear Acoustic amplification provided the heavy lifting, delivering that signature confident, unflappable drive with a firm grip on the music. Over on the source rack, it was a treat to see an analogue front-end ready for action: a sleek E.A.T. Forte S turntable with a Jo N°8 MC cartridge feeding Tim de Paravicini’s classic EAR 324 solid-state phono stage.
Room 1047: 逸聲 SOUND ART AUDIO | Revival Audio, Matrix Audio & Stromtank
Sound Art Audio built the room around Revival Audio’s large ATALANTE Grande Réserve 3-way standmounts, resting on their matching wooden stands. Main driving duties were handled by Matrix Audio’s flagship M Series stack, the MS-1 streamer/preamp and MP-1 power amplifier, backed by a massive, battery-driven Stromtank power generator sitting dead centre between the speakers to keep grid noise out of the chain.
The digital front-end didn’t cut corners either, relying on a dedicated secondary rack stacked with a Roon Nucleus Titan, a Ferrum Hypsos DC power supply, and a Melco/Dela audiophile network (S3) switch and Music Library (NS-H50).
Room 1048: 韻城 WINSHINE | TAD & DeFini
Full disclosure: I am completely biased here. A full stack of TAD is my ultimate bucket-list system, to the point where I caught myself lingering a little too long near the end of the show, quietly hoping the crew might “accidentally” leave the room unlocked so I could cart the lot home.
Winshine Audio put together a stunning showcase of Japanese audio engineering, building the rig around TAD’s Evolution One AX (E1AX) floorstanders in high-gloss white. Upstream conversion and power were handled by matching TAD separates – the TAD-DA1000 DAC and TAD-A1000 integrated amplifier – fed digitally by a compact Bluesound ICON streamer running tracks from my own playlist.
The speakers were decoupled using DeFini graphite isolation footers sitting on granite slabs. DeFini’s patented isolation technology and measurements that they share with the audience is very impressive.
Hearing familiar tracks rendered through TAD’s concentric beryllium CST drivers, powered by their own electronics, was an absolute masterclass in speed, razor-sharp imaging, and seamless tonality. This was unquestionably one of my personal highlights of the entire show.
Stay tuned for Part 2 of Gyula’s TAA Taipei Hi End HiFi Show 2026 Report coming soon!
Please note, all content and photos are the copyright of HiFi PiG Magazine/Big Pig Media LLP and must not be copied or reproduced in any way without the prior, written consent of the editor.
Gyula Weeber
