In search of the unattainable, YG Acoustics unveils its new Gemini loudspeaker at Munich, the first in a new Ultimate series, even superior to the Reference series.
As Group CEO Matthew Webster explains (interview forthcoming), the Ultimate series was born of the idea of being able to design and manufacture a loudspeaker without limits, i.e. without having to restrict oneself in the use of technologies, analyses and materials.
Measuring 2.15 m (84.5’’) in height and weighing 455 kg (1 000 lbs) per unit, the Gemini appears after more than three years of research and development, integrated into an enormous triple-layer aluminum multi-part cabinet in which seven drivers are positioned in a perfectly symmetrical array. With its five-way construction, the Gemini uses the Reference range’s aluminum Latice tweeter, with two 15 cm (6″) Billetcore drivers for the upper midrange. This is followed by two 18.5 cm (7.25″) midrange drivers, driven by neodymium magnets.
The last pair of drivers returns to 26 cm (10.25“) Billetcore drivers to handle the mid-bass frequencies, this time via a ultra-high field strengh motor, identical to that of the 8th driver at the very bottom of the cabinet, a 32 cm (12.5”) devoted solely to bass. Naturally, all these speakers are perfectly matched per pair, as on the Reference Signature, and the crossovers have been specially designed and are totally separated in a box, to which more than five pairs of cables can be connected, in order to attack each channel separately.
Available in three versions, the Gemini can be purely passive, semi-active with an amplified subwoofer (version presented at Munich) or purely active (Live), amplified by 8 x 700W amplifiers then placed in a second box similar to that of the DSP-optimized crossovers. As for prices, we heard close to $800 000 at the presentation, enough to reach the heights!
Previewed to the press during a visit to Clearaudio headquarters, the Compass is Clearaudio’s new entry-level turntable.
With the new technologies of the recent Concept Signature (cf. VU#54 review), the German company has had to raise the price of its entry-level turntable. So, to stay within the 1 000 € price range, the brand headed by Robert Suchy has added a new model to its catalog.
Named Compass, this model retains Clearaudio’s visual signature and many of the brand’s referential elements, such as the acrylic platter, though thinner and therefore lighter than that of the Concept. The chassis, available in grey or black, is also simpler than the one of the top plate, but remains in MDF (Medium Density Fibeboard) with a steel bottom plate, designed to increase weight and rigidity. As always for the manufacturer, the rotation, available in 33 and 45 rpm (78 rpm remains the prerogative of higher-end models), is belt-driven.
As usual, the manufacturer has rethought the whole concept of its new turntable to accommodate a new arm and a new cell. Included in the package, the N1 is a moving magnet (MM) cartridge that sits beneath the Concept V2 and uses a new formwork, without compromising the quality of the materials. Launching very soon, the Clearaudio Compass will be priced at 1 290 €, with arm, cartridge and cover.
Renewed over a longer period than integrated amplifiers, the analog tuner remains a product that the Japanese Accuphase doesn’t want to abandon.
In 2018, the brand had already surprised us by renewing the T-1100 after eight years of loyal service. By the way, the T-1200 had already lost dab+, i.e. terrestrial radio, to concentrate on what tuner afficionados are still looking for: FM radio.
After seven years, the T-1200 is bowing out to make way for the T-1300. And this will come as no surprise to fans of the Yokohama-based manufacturer: the newcomer appears with very discreet cosmetic changes. As with every new product, the modifications appear limited, like the gold ring around the large knob, seen around all the volume knobs on recent models, and now around the knob for manually changing the frequency on the tuner.
The dual red LED display has been slightly reworked, as have the button positions, with the “memory” button moving from right to left in a line of ten rectangular station memory buttons (each doubled to store up to 20 frequency ranges). At the rear, the changes are even more subtle, with a section for the antenna, RCA and XLR outputs, a coaxial output, and an IEC socket for connection to the mains.
Inside, again, the improvements are slight. The signal still enters via the antenna to an attenuator that leads to a dual circuit separated by an RF amplifier, with phase control by a DDS oscillator. A bandwidth selector maintains the T-1200’s six frequency choices (50, 75, 100, 150, 250, 500 kHz), managed by DSP. But in the end, all measurement curves are further refined, and the signal-to-noise ratio gains 2dB in both mono (94dB) and stereo (78dB), while the device weighs 100g (13.1 kg).
The new Accuphase T-1300 is no revolution compared with previous models, but it shows that engineers still believe in this segment, and therefore in the interest of certain music lovers in getting the most out of radio. With it, the Japanese brand remains in the race to maintain a benchmark product in FM listening.
Initially positioned in the digital sector, then increasingly also in amplification products, the Alsatian manufacturer has until now overlooked analog playback, since neither its preamps nor its all-in-one offer a phono module.
This oversight has now been rectified with the presentation at Munich of an optional phono card – in addition to the integration of Qobuz Connect on all streamers (EX version). Integrable on all preamps, i.e. Référence series B.dpr and One series B.dpr one, this card is also a real complement for the Alpha One all-in-one (test FR VU#50; Remarkable).
Thanks to this option, the RCA 1 line input also becomes phono, and can read MM and MC cartridges. A very promising rendering, from what we were able to judge on site at High End 2025, this card lets you choose between two gain levels per cell type (MM: low (+38dB) / high (+50dB); MC: low (+58dB) / high (+70dB)), as well as four capacitance levels for moving-magnet cells (50pF, 100pF, 150pF, 200pF) and five impedance levels for moving-coil cells (33 ohm, 50 ohm, 100 ohm, 150 ohm, 300 ohm).
Based on an ultra-low-noise matched-transistor input stage, the card corrects a passive RIAA curve on two separate stages. Available now, it can be added to any of the above-mentioned units for 2 500 €, or ordered as an option on a new unit for 2 000 €.
A leading name in amplification for decades, Danish brand Gryphon has long operated a power amplifier alongside its famous Diablo integrated. Originally known as the DM100, it later became the Antileon and was subsequently upgraded to Signature and Evo versions.
Today, the Antileon reappears followed by the term Revelation, in a design that considers the modifications made to the Diablo 333 (VU#50 test; Remarkable). In a chassis immediately recognizable from the brand’s products and still designed by Flemming E. Rasmussen, the pure double-mono configuration is now conceptualized under the leadership of chief engineer Tom Møller.
In order to output no less than 2 x 160 watts under 8 ohms in pure class A (2 x 320 W / 4 Ω; 2 x 620 W / 2 Ω), this big 90 kg baby 570 mm wide and 600 mm deep uses 40 Toshiba bipolar high-current output transistors on each channel. This amplification is combined with a gigantic power supply of four 1 500 VA toroidal transformers, decoupled not only in pairs per side, but also between the control and amplification elements.
Filtering is as phenomenal as the rest of the product, with no less than four huge polypropylene capacitors totaling 670 000 μF, while a microprocessor and automatic polarization control (Green bias) monitor all current and signal flows and adapt power consumption as best as possible. Previewed in Munich, the Antileon Revelation is available from August at a European price of 46 500 € and an American price of $45 500 (before the new Trump taxes…).
