GYULA HEADS TO SINGAPORE FOR THE HI END ASIA SINGAPORE 2025 HiFi SHOW
The Hi End Asia Singapore 2025 HiFi Show was held in the fantastic Suntec Centre. Join Gyula as he guides you through the incredible sights and sounds he found there.
Singapore, the gleaming city-state where efficiency meets excess, has once again demonstrated why it consistently tops “best places to live” lists, despite sky-high rent and car prices. But hey, at least it makes our HiFi spending look relatively affordable!
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.
A NEW HOME FOR HI END ASIA SINGAPORE
When the organizers chose the venue for the third edition of Hi End Asia, they made a refreshingly smart move: skip the cramped hotel rooms and head to the Suntec Convention Centre.
And what a venue it turned out to be. Spacious rooms that didn’t require contortionist skills to navigate, hallways wide enough to accommodate more than two people walking side by side, and—miracle of miracles—enough seating so you didn’t have to hover awkwardly while someone else enjoyed the sweet spot. The abundance of water fountains and restrooms contributed to one of the most comfortable show experiences I have had.
Suntec itself is a behemoth of urban planning—part mall, part office complex, and part social hub. While we listened to finely tuned systems, the same halls hosted a travel fair, a veterinary convention, and the endlessly cheerful Purple Parade celebrating the abilities of people with disabilities. It was a glorious, buzzing chaos that somehow worked.
When it comes to Singapore itself, the city more than lived up to the hype. It’s one of those places that seems to run on caffeine, ambition, and impeccable air conditioning. Between the show days, I visited some of the highlights of the mixology scene. One bar offered me an “Ugly Tomato,” an excellent rendition of a bloody mary, and I finished the night in another with a “Last Word”—as if I’d ever be short on those.
Wandering through the Gardens by the Bay felt like stepping onto a movie set. Towering trees glowing in unrealistic shades of green, tranquil walkways buzzing with the soft hum of life, and, to top it off, a few life-sized dinosaurs straight out of Jurassic Park. For a moment, I was wondering when Jeff Goldblum will show up, shirt half-open, offering philosophical commentary on chaos theory.
One afternoon I ended up at Pall Mall 67, tucked inside the stately home of an early Asian cinema magnate. Between the vintage panelling and hushed conversation, I sipped Napoleon’s favourite wine and wondered if I’d stumbled into a Kingsman briefing by mistake.
In this environment, Hi End Asia appeared to be perfectly placed. During the show, visitors had the opportunity to listen to extraordinary systems and participate in intimate concerts featuring world-renowned artists. The show’s headliners were unquestionably audiophile darlings Anne Bisson and Anette Asvik, Asia’s favourites Xiao Gang and Hao Wei, and the rising star Kiva.
HI END ASIA SINGAPORE 2025 REPORT PART ONE
ROOM 300 – AUDIO ATELIER (KAISER KAWERO, GOLDNOTE, YPSILON, BRINKMANN, LYRA, ACOUSTICS SYSTEMS)
Audio Atelier installed three distinct systems for the three sides of the room, with their knowledgeable team rotating chairs on a regular basis in accordance with the live systems.
The first set belonged entirely to the Florentine powerhouse Gold Note, which proves Italians don’t just excel at sports cars and espresso. The system was top-to-bottom Italian: XS-85 floorstanding speakers with their sculpted walnut cabinets, and the centerpiece Bellagio Reference turntable—fitted with a Tuscany cartridge—sat like an exhibition piece at a modern gallery. Driving this elegance, the PA-1175 MkII power amplifier and P-1000 MkII preamplifier handled the muscle, while the PH-1000 phonostage, DS-1000 EVO streamer/DAC, and PSU 1250 filled out the chain. The result? Refined, dynamic, and effortlessly musical—true sprezzatura in sonic form.
Following the Italian beauties, a 106 kg statement piece commanded the center stage: the Acoustical Systems A*STELLAR turntable sporting dual tonearms—an Axiom with Lyra Kleos and a Supatrac Blackbird carrying the Etna cartridge. Watching this German engineering marvel balanced on delicate-looking stands, it appears to defy gravity. Beneath it sat Greek muscle: Ypsilon Audio’s Hyperion monoblocks, the PST-100 preamp, and the VPS-100 phono stage, all feeding Kaiser Kawero Minal speakers. The result was a system built on the philosophy that more is, in fact, more—and the combination of German precision with Greek tube artistry proved that European collaboration works considerably better in audio than in foreign policy.
The third setup became a personal favourite. Facing the Italian beauties across the room sat a thoroughly German affair: Kaiser Kawero Furioso speakers paired with Brinkmann’s restrained but deeply engineered system. Matthias Lock, one of the company’s owners, walked us through their philosophy with the enthusiasm of someone who genuinely loves what they make—always a positive sign.
At the heart sat the Balance 33 Anniversary turntable, one of only 33 made, perched on an HRS plinth with the legendary 12.1” tonearm and Brinkmann’s own PI cartridge. The RöNt III tube power supply handles speed control, while a separate solid-state supply keeps the bearing properly heated—an obsessive detail that speaks to German precision. The digital side came courtesy of the newly released Nyquist ONE DAC/streamer, paired with the Marconi preamp, Edison phono stage, and Mono power amplifier, all tucked neatly into the cabinet alongside Sine cables and power conditioning. This all sat on the ungnoi M System Carbon Fiber HiFi Rack.
Lock’s demonstration featured well-curated records: the Blocker-Hemmer-Gadd collaboration, award-winning Lori Lieberman, and Reema’s haunting vocals. He explained their resonance philosophy—using 140g pressings where energy dissipates through the tonearm, bearing, chassis, and crystal-topped platter, turning vibration into warmth rather than coloration. The sound proved the theory: detailed yet organic, with a tonal richness that made you forget about the engineering and just listen. When a system makes you add three albums to your shopping list, you know something’s working.
ROOM 301 AUDIO LINE (AUDIO TECHNICA, TAD, PLIXIR, ACOUSTIC SIGNATURE)
Audio Line’s Room showcased TAD’s Reference series doing what it does best—delivering studio-monitor accuracy without the sterility. The Reference One speakers, driven by M700 mono amps, C700 preamp, and D700 CD player, created a remarkably transparent soundstage. For analog duties, the Accuphase C-47 phonostage paired with the Acoustic Signature Invitus Neo turntable handled vinyl playback with precision.
Near the entrance, Audio-Technica showcased its excellent headphones and popular cartridges, while an impressive display highlighted the new Hotaru all-in-one turntable. Peak Consult and Diapason speakers rounded out the room, with PLiXiR power supplies keeping everything running clean.
ROOM 302 ALEXANDRIA AUDIO
This was my first encounter with Alexandria Audio, and the Indonesian artisans made an impression that will last. The room felt right from the moment you stepped in—finely tuned acoustics, inviting lighting, and a playlist they curated for perfection, with titles that were original and fun.
At the heart sat the Praetoria 2-way horn speakers, their 96 dB sensitivity making light work of dynamic swings. Four Gravitas subwoofers with DSP handled room acoustics without showing off, while dual Legatus 700W power amplifiers provided the muscle. The newly finalized Nero preamplifier and Purva tube network streamer fed the system, with only the Denafrips Terminator DAC breaking the Indonesian manufacturing streak.
What struck me wasn’t just the technical accomplishment—it was how time both sped up and slowed down in that room. Time sped up as an hour vanished without notice, always luring me with “just one more song.” Each moment felt complete and unhurried, allowing the music to breathe and allowing you to calm down with it. This room became my refuge during the show, the room I returned to when exhaustion set in or when I simply needed to sit and collect my notes with something genuinely musical playing in the background.
ROOM 303 DIRECT SOUND MACHINE
Room 303 belonged to Direct Sound Machine, representing proud Singaporean heritage with youthful energy backed by over 40 years of combined experience. I first saw the brand at the Shanghai Show in July, and their approach immediately piqued my interest: line-level active crossovers split frequencies before amplification, with each driver powered by its own dedicated amp housed separately from the speaker cabinet. Complex engineering choices that make perfect sense on paper but demand obsessive attention to execution.
In Shanghai, the massive cabinets overwhelmed the confined hotel room. Here at Suntec, with proper space to breathe, the size felt justified. The sound was effortless and airy, with the kind of dynamic authority only serious mass and power can deliver. Sound Machine also unveiled two new models aimed at audiophiles with average-sized spaces: the SM650 bookshelf and SM500 floorstander, proving they understand not everyone has room for battleships in their listening space.
ROOM 304 AV INTELLIGENCE (MOON, VPI, AVALOS)
AV Intelligence created a showcase for the talented Felix Avalos, best known for his Fono Acustica cables but equally accomplished as a speaker designer. His Wave Series floorstanding speaker was the star—beautifully crafted with a magnesium-ceramic composite tweeter (quite a rare choice) and a cabinet constructed from thermoformed acrylic polymers and Panzerholz wood. At 92 dB sensitivity, these speakers are easy to drive, though during the show the Moon Audio 861 power amplifiers in mono configuration with the 891 preamp provided far more power than necessary—overkill in the best possible way. The VPI Avenger direct-drive turntable handled analogue playback duties fitted with a VPI Gold cartridge.
They also brought along a luxurious foosball table from Impatia that looked absolutely stunning, though I suspect its real purpose was to lure visitors into the room. Sadly, nobody dared to play.
Anne Bisson, herself an avid audiophile, held a lovely meet and greet in this room—thanks to her longstanding collaboration with Simaudio. The discussion ranged from live performance to studio experience and her own audiophile journey. You know that old adage about never meeting your heroes? Anne proved it wonderfully wrong. Many of us have heard her voice countless times during demo sessions, but meeting her in person revealed something better: an artist who understands what we obsess over because she obsesses over it too.
ROOM 305 AUDIO 88 (YG ACOUSTIC, NORDOST, LUMIN)
YG Acoustics was represented by the XX3 Live in a stunning custom bronze finish—a customer’s personal system that Bobby graciously brought along for the show. The timing was perfect: when I walked in, Copland’s “Fanfare for the Common Man” was blasting through a setup that couldn’t be further removed from the common man if it tried. The irony was delicious—this 20th-anniversary flagship system with its 5.6kW of amplification per speaker and advanced DSP crossovers is about as democratic as a private yacht club.
Nordost cabling, power conditioning, and network optimization kept the signal pristine in every possible sense, while a Lumin X1 handled source duties. The XX3 Live’s active design eliminates the usual amplifier matching anxiety—each of the eight drivers per speaker gets its own dedicated 700W amp, and the controller unit handles everything from digital to phono and Roon Ready streaming. It’s the ultimate modern all-in-one system, minimalist in concept but maximalist in execution.
ROOM 306 AUDIOLINE (ACCUPHASE, PIEGA)
The Piega Master Line Source MKII speakers dominated the room—imposing black towers with their signature ribbon driver arrays running vertically alongside multiple woofers. These Swiss-built reference speakers were driven by serious Japanese horsepower: Accuphase’s 50th-anniversary A-300 mono power amplifiers, each weighing in at 46kg and delivering pure Class-A power (125W into 8 ohms, but capable of 1,000W into 1 ohm when needed). The C-2900 preamplifier and DP-770 CD player completed the Accuphase front-end, all resting on elegant Montaudio stands with PLiXiR power conditioning keeping everything pristine.
The sound quality was excellent—no surprise given the pedigree—though the playlist leaned heavily toward opera and Chinese standards which meant I couldn’t fully judge the system’s versatility across genres.
ROOM 307 HIGH-END RESEARCH (WILSON AUDIO, PASS LABS, METRONOME, KALISTA, CLEARAUDIO, SME)
High-End Research arrived with a well-proven setup that speaks to decades of collective experience. The centerpiece was Wilson Audio’s new Sabrina V speakers—a thoughtful redesign that brings technology borrowed from Wilson’s flagship models down to a more accessible package. Pass Labs electronics provided the amplification muscle, while the SME 35th anniversary turntable anchored the analogue side. For digital duties, they brought the AQWO 2 from Metronome, completing a system that sounded exactly as reliable and accomplished as its pedigree suggested—no surprises, just consistency and reliability.
Beyond the main setup, High-End Research had a cool vinyl sale. Around the room, they featured gear from Franco Serblin, Clearaudio, SME, Wilson, and Metronome. I found myself particularly intrigued by the new Metronome DSAS—an integrated core and transport solution built around the Audirvana software environment. As someone actively researching how to improve my digital source, seeing how Metronome has approached software integration rather than fighting against it felt refreshingly pragmatic.
ROOM 308 ANALOGUE PLAYGROUND (PEAK CONSULT, WESTEND, SHARKWIRE)
Audio Playground with Sharkwire proved you don’t need faff to impress. The setup consisted of only three boxes and the speakers, all connected by flagship Sharkwire cables. The Acoustic Signature Tornado Neo turntable, JYC Audio Phono preamplifier, and Peak Consult Dragon Legacy speakers formed a cohesive trio, all driven by Westend Audio’s Monaco tube integrated amplifier—a Munich-built masterpiece that commands attention the moment you enter the room. The Monaco’s resonance-optimized aluminium rib construction isn’t just eye candy; it’s an engineering spectacle. With 100 watts per channel into 4 ohms from those E130L power tubes, the amp drove the Dragons beautifully, delivering the kind of lively, clean presentation that proves tube amps don’t have to sound soft or romantic.
Near closing time, something magical happened. I sat alone in the room when Hugh Masekela’s legendary album, Hope, dropped onto the Tornado Neo. As that opening trumpet filled the space, it was a goosebumps moment. I couldn’t leave. The entire A-side played as I sat there, utterly captivated—the kind of moment that reminds you why we obsess over this stuff.
ROOM 309 ANALOGUE PLAYGROUND (WESTEND, DIESIS, SHARKWIRE)
The room was filled with fascinating people and engaging conversations. Right at the entrance—on display for everyone to view and even touch—sat an engineering prototype of the upcoming Westend Ludwig turntable, presented by legendary turntable designer Helmut Thiele. The Ludwig will incorporate Thiele’s IDW 01 dual-motor idler wheel drive and his TA01 tangential tonearm—both Thiele innovations now finding a home in Westend’s upcoming flagship. The prototype looked impressive, and hearing Thiele explain his design philosophy firsthand was genuinely valuable.
Inside, the system featured Diesis Aura speakers with matched Bonham Tribute subwoofers on each side, driven by a pair of Westend Monaco amplifiers in master-slave configuration, along with the newly released Servus DAC. I also met Stefan Trog, founder of Westend Audio Systems. After 30+ years working in the industry, he established Westend to pursue his vision of combining exceptional engineering with uncompromising build quality and surface finishing. His background in chrome plating for Burmester and AVM before founding Westend explains the Monaco’s stunning metalwork.
ROOM 311 OPTIVOX (PEAK DESIGN, NAGRA)
Optivox brought an unconventional idea to the show: fiber optics for high-end audio. As a major provider of fiber optic solutions, they’re experimenting with what fiber connectivity could deliver to audiophiles—eliminating electromagnetic interference and ground loop contamination in the signal path between components. Their first product is a matched preamplifier and power amplifier pair connected via fiber optic cable.
The demo system paired these with a Peak Consult Diablo speaker, a Nagra DAC and streamer, and Sharkwire analogue cables. The sound was powerful and clear—impressive for a first-generation approach. The catch: currently no compatibility beyond their own ecosystem.
Whether fiber optics becomes the next audiophile “must-have” or remains a fascinating sidebar depends entirely on Optivox’s follow-up moves. But watching specialists from another field question the assumptions of audio always invites interesting possibilities.
ROOM 321 ONG RADIO (MCINTOSH, B&W, STRADIUS, POWER LAB)
Ong Radio’s room made a statement. As Southeast Asia’s oldest high-end home entertainment distributor—established in 1937—they’ve spent nearly 90 years writing the region’s audio history alongside the world’s most prestigious brands. The display reflected that legacy: meticulously designed demo systems scaled for spaces of any size, and they even got some premium furniture in for presenting the lifestyle better.
Powerlab occupied a compelling corner, addressing every conceivable power-related issue that plagues serious systems. At the room’s back, Ong Radio had created something unexpected: a mini museum of vintage electronics from the 1950s, a tangible reminder of the expertise that built this company. Watching a founder who started as a radio repair shop evolve into Southeast Asia’s leading integrator of state-of-the-art home systems—that’s not marketing. That’s earned heritage.
ROOM 336 AUDIO MAESTRO (AUDIO GROUP DENMARK, BORRESEN, AAVIK, ANSUZ)
Audio Maestro showcased two Audio Group Denmark systems spanning vastly different price points, each demonstrating the Danish house’s signature approach to high-end audio.
The Flagship (SGD 860k): The ultimate expression featured Børresen M3 speakers with dual A3 bass modules, fed by the full Aavik trilogy—the SD880 streamer/DAC and I-880 integrated amplifier—all optimized with Ansuz’s complete ecosystem: D3 power switch, Mainz power distributor, D-TC power box, and D-TC3 Gold cables throughout, all mounted on Solid Steel stands. Technically flawless and surgically precise.
The “Entry Point” (SGD 150k): The Aavik P-188 power amplifier paired with the SD-188 streamer/DAC and controlled by the I-188 integrated, driving the Børresen C3 floorstanding speakers with Ansuz optimization. Remarkably coherent.
The sound embodied Audio Group Denmark’s hallmark: effortless clarity, surgical precision, and lightning speed. Both systems delivered that distinctive Danish DNA.
Click here for Part Two of Gyula’s report
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
