T.H.E. Show was slow to complete the website for this show; locating the online press portal was a challenge. At the event itself, signage was subpar: Demo rooms were somewhat scattered, some…
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The first thing to know about T.H.E. New York International Audio Show is that it’s not in New York. The inaugural event was held Oct 24–Oct 26, 2025 at the Hilton Hasbrouck Heights, a New York bedroom community accessible from Manhattan by train, taxi, Uber, rental, or personal vehicle. There were no directions shown on T.H.E. Show’s website—though that's hardly a problem in the Google Maps era.
Sidebar 2: Associated Equipment
Digital sources: Custom Intel/Win11 music server running JRiver Media Center v34, Roon 2 and DiracLive-ART, Merging Devices Hapi MkII DAC. QNAP TVS-873 NAS. Oppo Digital UDP-103 universal disc player.
Power amplifiers: Benchmark AHB2 (3).
Loudspeakers: KEF Blade 2 Meta with IsoAcoustics GAIA II feet (3). KEF LS60 (2); KEF KC92 (2) and SVS SB 2000 Pro subwoofers.
Cables: Digital: Mogami Gold AES TD DB25-XLR0 snake. Analog interconnects: Mogami Gold AES TD DB25-XLR snake, in-wall analog and digital wiring per AES72 via CAT6 and Thomann the sssnake…
Sidebar 2: Associated Equipment
Digital sources: dCS Bartók APEX streaming DAC, Oppo UDP-203 universal disc player.
Preamplifier: Benchmark LA4.
Power amplifier: Benchmark AHB2.
Integrated amplifier: McIntosh MA6500.
Loudspeakers: Bowers & Wilkins 808, Amphion One18.
Accessories: Butcherblock Acoustics equipment rack, various cables and connectors made by Belden, Canare, Mogami, Switchcraft, ITT-Cannon, Neutrik.—Tom Fine
Sidebar 3: Measurements
I used my Audio Precision SYS2722 system to measure the HiFi Rose RA280. While the manufacturer describes the RA280 as a "class-AD" design, it appears to have a class-D output stage for its two channels. Because class-D amplifiers emit relatively high levels of ultrasonic noise that would drive my analyzer's input into slew-rate limiting—the RA280 emitted enough RF noise to interfere with reception on the portable FM radio I keep in my test lab—I inserted an Audio Precision AUX-0025 passive low-pass filter between the test load and the analyzer. This filter…
Sidebar 1: Specifications
Description: Two-channel, "class-AD" integrated amplifier with phono stage. Inputs: 3 line-level RCA unbalanced, 1 line-level XLR balanced, 1 trigger. Outputs: Two pairs loudspeaker output terminals, subwoofer (RCA), trigger. Power output: 250Wpc into 4 or 8 ohms (21.15dB or 24.15dB). Frequency range: 20Hz–20kHz. Input impedance: 47k ohms unbalanced. Output impedance: 30 milliohms. Input sensitivity: 600mV for full output, RCA and XLR line inputs; 5mV phono input. Bandwidth: 20Hz–20kHz: ±0dB, 10Hz–66kHz: +0dB, –1dB. Damping factor, speaker output: >250. Tone…
Sidebar 2: Associated Equipment
Analog sources: Thorens TD 124 turntable with Korf TA-SF9R tonearm, HS-A02 ceramic headshell, Ortofon 2M Black LVB 250 MM cartridge, Kuzma CAR-30 MC cartridge with Grimm PW1 phono preamplifier.
Digital sources: Tascam CD-200 iL CD player, HoloAudio May DAC.
Integrated amplifiers: Riviera Labs Levante, Unison Research S6 Black Edition.
Loudspeakers: GoldenEar BRX, Voxativ Ampeggio 2024, Wharfedale Super Linton.
Cables: Interconnects: AudioQuest Pegasus and Firebird, Triode Wire Labs Spirit II (RCA), Spirit 75 S/PDIF (RCA/BNC). Speaker:…
It's been said before, but the essential truth remains as shiny as a new 2A3 tube: A well-made, good-sounding integrated amplifier is a sonic marvel, a triumph of audio engineering.
Sound quality is just the beginning. Consider economics. An integrated amplifier is gentler on the wallet than often-cumbersome separate pre and power amplifiers. It's the Marie Kondo of the audio world, decluttering your hi-fi rack with hardnosed efficiency. Fewer connections mean even more value—fewer expensive cables—less fuss, and a refined, all-inclusive electrical architecture tucked into one (often but…
BEAT BAND (L–R): Tony Levin, Steve Vai, Adrian Belew, Danny Carey. (Photo by Alison Dyer)
Adrian Belew had an itch that needed some serious scratching. The iconoclastist/vocalist had a hankering to perform material from the three King Crimson albums he fronted during the proto-prog band's 1980s revival—October 1981's Discipline, June 1982's Beat, and March 1984's Three of a Perfect Pair—but how could he go about it in a way that pays respect to and expands upon their original intent, all at once?
First order of business: Make sure King Crimson founder and guitar visionary Robert…