Những cuộc thăm dò nhà của người mê âm nhạc ở Indonesia | IHEAC 2024: Hành trình âm thanh đầy ấn tượng

As the IHEAC show ended, the second part of my journey had just begun–the Indonesia audiophile home visits. I was first invited to a private dining room atop one of Jakarta’s nicest buildings to get a view of the city. Jakarta’s night skyline is a stunning sight. The city stretches endlessly, with towering skyscrapers lit up against the dark sky and streets below aglow with bustling life. The view captures Jakarta’s vibrant energy and modernity, making it a truly captivating scene.

From Michelin class restaurants to exquisite wines, Jakarta boasts some of the finest experiences the world can offer.   

The delicious meal was the perfect introduction to the warmth of Indonesian hospitality. Their genuine smiles and friendly demeanor during the Indonesia audiophile visits made me feel as if I were one of their own or visiting an old friend, even though we had just met. I’ve traveled the world, and I must say Indonesia has a disproportionate number of dedicated rooms per square mile. The level of enthusiasm and passion surpasses many other countries.  I hope to share a part of my journey with you and get a glimpse into Indonesia audiophilia. 

Technically, this doesn’t count as a home visit because Dan Santoso is a dealer who runs the business out of his house. Dan has four to five audio rooms inside his mansion in Indonesia, including a very impressive home theatre.

I was given nearly an hour of an impressive Dolby Digital demo. From gladiatorial fights to The Greatest Showman to Underworld,  and it was almost like an IMAX theatre. But I couldn’t bring myself to tell him that I’m mainly a two-channel guy and home theatre is an entirely different animal. Not my forte so to speak.

The acoustic requirements for a home theater are completely different than those of a music listening room, just like the acoustics of a concert hall differ from that of an IMAX theater. Those who try to blur these lines often end up with a room that’s either too lively for home theater or too dead for music. However, Dan seems to have a solid understanding of the needs for both. The audio room is noticeably less “dead” sounding than the home theater room. The wall treatments were designed and crafted by Horn Studio, his company in Indonesia. He offers custom solutions from speaker building to room acoustic treatments.

Dan also designs custom horn-loaded systems for two-channel setups, and in his home in Indonesia you’ll find plenty of massive subwoofers scattered around—most of them are experimental samples from his R&D work. Unfortunately I didn’t get a chance to demo his horn loaded speakers, and the demo was centered around home theatre rooms. The Two-Channel Room is the one that tickled my fancy!

Thanks to Dan, a fantastic host!  Give him a call if you need custom solutions in Indonesia. The following day, I boarded a flight and flew to Seramang, where my 960 km journey began.

Stepping out of the car, I was immediately enchanted by the tranquility of a Balinese-style estate in Seramang, Indonesia. A traditional bale adorned with intricately carved woodwork overlooked a sparkling pool surrounded by lush gardens and the soothing scene of tranquility and calmness. It was a serene retreat where nature and design blended in perfect harmony.

But the best was yet to come, as the host guided me pass the garden and into a dedicated listening room with a tall ceiling. 

The system was based on a pair of PMC MB2XBDi, which happens to be one of my favorite floor standers. The passive PMC MB2 XBD features hand-built 75mm midrange and twin 12-inch Radial™ bass drivers, with an external 32-element 24dB/octave crossover. Upgraded with the SONOLEX™ tweeter for clear, open highs and precise imaging, the speaker’s cabinet is crafted from high-density Medite® with real wood veneers for added stability and elegance. Its twin cabinet design improves bass response and room integration, while the efficient 91dB sensitivity allows for a wide range of amplification options. The MB2 XBD delivers deep, distortion-free bass down to 20Hz.

The front-end equipment includes a TriangleArt turntable, a Kuzma XL (hidden at the back), with the DaVinci Grandezza as well as the Kuzma 4-Point, matched with TriangleArt and Miyajima cartridges. The phono stage is the FM 222 Mk 3, Pre-Amp the FM 266 Mk 3, and the FM 711 Limited Edition amplifier.

The owner dedicated considerable time to experimenting with various acoustic treatments, a process validated by both room measurements and listening tests. He has rebuilt the space multiple times from the ceiling to the walls to achieve the desired sound, using a combination of diffusion and absorption panels.

The PMC MB2XBDi is by far my favorite speaker in the entire PMC lineup. No other PMC model delivers the same solid, high-impact dynamic bass punch that these drivers provide. I find the transmission line design to sound a bit slower and slightly bloated, whereas the sealed-box, infinite baffle design of the MB2XBDi offers a much tighter, and cleaner presentation.

The combination of FM Acoustic’s fast, dynamic, and high-contrast sound with the full-bodied, rich midrange of the PMC creates the perfect synergy, capturing the best of both worlds. I can listen to this system for hours without feeling fatigued, yet it has the power and drive to really “kick ass” when needed.

Tom Vu’s TriangleArt turntable has an undeniable bling factor, featuring a thick chrome finish that evokes the style of 1960s Buick bumpers. With its oil-drilling platform-like stack, it has an imposing presence that commands attention and stands out in any setting. The room acoustics are perfectly balanced—not too dead or “muffled,” yet not overly lively. I felt no overwhelming sound pressure, often forcing me to turn the volume down.

This system turned out to be one of my favorites of the entire journey through Indonesia.   

ProAc / Blue Circle / Venture

That same evening, I had the opportunity to briefly visit another dedicated sound room in Indonesia with extensive acoustic treatments. The woodwork was beautifully crafted, and the room was completely free of echo or reverb. Unfortunately, the evening ran late, and I didn’t have time to experience the system—a Roksan player, Blue Circle preamp, and a Venture power amplifier driving a pair of ProAcs. These speakers seemed perfectly proportionate to the room size, and given the dimensions and speaker placement.

The best sounding rooms tend to be ones with a smaller speaker in a big room, than a big speaker in a small room. The small speaker can be made to sound much bigger than they are by finding the optimal positions. But once a big speaker overload the room, they are difficult to tame. I was anticipating an expansive soundstage and warm tonality. But that was all just in my imagination—for now. Until next time…

The Over-The-Top Gryphon & Venture system

As soon as I walked into the room, my eyes lit up like a kid in a candy store, and my mouth started to water with excitement. When I said “Hello” and started chatting, I immediately noticed that the room acoustics were nearly perfect. 

Many professionally designed rooms make the mistake of sounding too “dead” from the outset, but this one felt just right from the moment I stepped in. Another common pitfall is the tendency for audiophiles to feel compelled to hang something on the walls, often opting for high-end, branded panels that can cost thousands of dollars, merely for psychological comfort. “It is an audiophile room, so it must be treated.” Nothing is further from the truth.

But here in Indonesia, the focus seemed to be on getting the acoustics right, without the need for unnecessary status symbols — the proof is in the pudding, and the pudding delivered was an acoustically comfortable, and aesthetically pleasing room. 

The walls are primarily MDF, covered with fabric, creating a clean and simple look. The Vicoustics panels add a beautiful accent to the room, featuring recessed indirect lighting that enhances the overall atmosphere. Overall, the room feels minimalistic and elegant, with a refined simplicity that complements the acoustics and design. But the treatments began from outside the room, starting from the electricity panel.

When I say “over the top,” I mean it literally. The owner pulled a separate line with independent six-gauge wire with a dedicated fuse panel directly from outside the house into the audio room. The grounding terminal is custom-plated with 24K gold! And if that wasn’t enough, many of the cables inside the room are custom-plated with 24K gold as well. 

Grounding is also done properly with super low gauge wire connected to solid copper rods hammered deep into the ground.

Analog front end includes both the Air Force 1 and Air Force 2, both fitted with the Graham Phantom Elite and the Thales Statement tonearm. I also saw an Etsuro Gold and a Top Wing cartridge. But none is as alluring as a near-mint condition EMT 948 table with a matching EMT tonearm.

His phono stage is a no-holds-barred design made by a local boutique manufacturer in Indonesia called Eleven Audio. According to the owner, no other phono stage comes close to the performance of this “DIY” unit. He also has the multiple chassis Phasemation EA-2000. Amplifiers are four separate Gryphon Mephisto Monoblocks. The speakers are the Venture Xtreme.

Out on the hallway is an impressive LP collection with plenty of jazz treasures.

The sound of this system in Indonesia is unmistakably fast, dynamic, and immediate. We were enveloped in some of the most vibrant jazz performances, where the energy of the sound wasn’t just something you hear, but something you could actually feel—a presence so palpable, you almost want to reach out and touch it. The focus is on high contrast, lightning-fast rise times, and perfectly controlled impact—think Sheffield Labs’ Drum album, but taken to the extreme. 

The top end is sparkly, airy, and extended, while the overall character is more like a Porsche 911, launching you like a jet engine, as opposed to a 1980s Cadillac wallowing like a waterbed. If you’re looking for a warm, mellow tube vibe, you won’t find it here. But for a high-octane, adrenaline-fueled thrill ride, you’ll leave completely satisfied—and craving more.

This is one of the most unforgettable listening experiences of my life. If I had to choose just one thing to take home from Indonesia, it would undoubtedly be the one thing that can’t be taken—the ROOM! The room itself is the true star here. Okay, may be I’ll take the EMT too.

I have immense admiration for the owner’s dedication, relentless pursuit of perfection, and the no-holds-barred, cost-no-object approach to audiophilia. Bravo—an outstanding job all around!

Wilson Audio & FM Acoustics

As I walked into the room, I was greeted by the owner, one of the kindest gentlemen I’ve ever met. He had prepared a selection of local delicacies that I had never tasted before in my life, which I found fascinating, and I am grateful for his hospitality.

The intricacy of the custom-made woodwork is truly impressive. The abundance of exotic woods used is remarkable, and even in Indonesia, renowned for its wealth of unique species, these materials come at a premium. Beyond the cost, the challenge of sourcing them in such large quantities is a feat in itself.

Multi-layered wood panels can help control reverberation by absorbing and diffusing sound waves in a way that reduces excessive reflections. Depending on the panel’s construction (e.g., incorporating sound-absorbing materials between the layers), it can act as both a diffuser and an absorber.

Due to language barriers, I didn’t fully grasp his explanation, but the acoustic effects of the room are truly unique and special. There’s a complete absence of echo or reverb, yet the room remains exceptionally quiet without sounding muffled or resembling a recording studio. The walls do reflect sound, but in a highly dispersed manner—something I’ve never experienced before. It makes perfect sense, though, as I’ve never encountered a room quite like this one.

Tom Vu of Triangle Art has a huge following in Asia, as I have noticed its popularity. The Master Reference you see here, IMHO, is the best looking out of all of them. Aesthetically, I prefer this over the oil rig-like top model.

The pre and power amps are, once again, FM Acoustics, a brand that holds a prestigious, almost royalty-like status in Southeast Asia. The name is so highly revered that it has become synonymous with opulence and exclusivity. Notice the amps are sitting on a solid wood platform rather than the Finite Elemente platform. 

With fast and dynamic sounding FM, combined with a pair of Wilson Alexx, I was pretty surprised to see the system sound so polite and elegant – quite opposite of what I was expecting. The low frequency was tamed quite effectively, and there were no room resonances to speak off. Very often I find old Wilsons to have bass notes that are stronger and tougher than the real thing. But here, it’s the opposite.

Gone are the days of the harsh, in-your-face Wilson speakers of the ’80s. The new generation of Wilsons, now equipped with silk domes and upgraded drivers, offers a much more natural, smooth, and voluptuous sound. In the room, the soundstage was deep and wide.    

I was humbled and honored when the owner asked me to check on his turntable, and I happily obliged. Minor adjustments were made to the pivot to spindle distance and alignment of the cartridge. VTA was also raised which had the effect of raising the height of the center image focus.

Generally, I don’t like to put on a “hat” and focus solely on evaluating the turntable setup or the soundstage. I prefer to spend my time either learning from the experience or simply enjoying the sound of such a unique room. However, the owner was so kind and welcoming that, out of respect, I offered a tip or two regarding the setup. I also repositioned his speakers a little by moving them forward by four inches, also adding toe-in. This tightened up the bass to give it more “punch” and sharpened the focus of the center image.

Overall, I loved the sound of the system, and if I had a room like that for my setup, I’d be over the moon!

Sadly, the day passed in the blink of an eye, and it was time to bid farewell to the owner. As I stepped out of the room, my gaze was captivated by the exquisite hardwood intricately carved with a mesmerizing depiction of a “Dragon”—truly a breathtaking work of art.

ProAc, VTL, Garrard and a whole lot of SME goodies!

This room in Indonesia was the smallest of all my visits, yet it boasted one of the most expansive soundstages, especially considering its size. As I listened, it was clear that the owner had invested significant time, energy, and effort into positioning the speakers to perfection.

While the owner and I may have different strategies and test tracks for finding the ideal speaker placement, our goal remains the same. The height, depth, and width of the soundstage were spot-on, and the system accurately projected the size of each instrument within the acoustic space, with exceptional center image focus. Once the optimal speaker position had been found, the speakers were effectively “coupled” to the room, with the bass energies carefully tuned to produce a response far beyond what the system might initially suggest.

Front-end equipment consists of Garrard turntables, lots of SME arms, and Manley phono and preamps, followed by a pair of 300B VTL tube amps and a pair of ProAcs. “Punching far above its weight” is the praise I’d use to summarize this system; in a way this has reached far and above the system’s potential, way more so than any other system I saw on this trip to Indonesia!

Look closely at the subtle details—the gentleman was using eight original Western Electric 300Bs to power his system. The bass dynamics I heard weren’t earth-shattering, but they had the impact and control of something like 100W KT88s instead of the 20-30W of 300Bs that he had. Truly amazing!

The Balinese-style palace with the most amazing Avantgarde horns

As an audiophile, I am truly blessed to have been invited into the homes of many fellow audiophiles around the world. More often than not, especially in Asia, guests don’t know who I am and assume I’m one of those “gurus” or “Si Fu” (a term for Grand Master, often used in Kung Fu films), expected to don a judgmental hat and “evaluate” their systems. This culture is very dominant in Asia.

Most people don’t realize that I sit at the opposite end of that spectrum. My own system is set up in such a way that when guests visit, they’re never placed in the “sweet spot” or asked to focus on a “system demo.” For me, a great-sounding setup is just one part of the equation; the full experience includes not only music but also meaningful social interaction and genuine hospitality. This is why, even when I had an 18’ x 29’ x 9’ dedicated room, I consciously avoided creating a “purely audiophile” listening space with a single chair. Instead, I had an open bar adjacent to the room. The room itself was filled with as much normal furniture and decorations as possible, aiming to create a living space environment that exuded warmth and a welcoming vibe. After all, a crazy, eccentric host can ruin the experience, no matter how great the system sounds.  

I also avoided using any tube traps or acoustic panels, and I prefer to leverage the room dimension using a speaker positioning method called “Room Coupling,” originally devised by Ivan Li. 

This beautiful home in Yogyakarta, Indonesia housed a beautiful Avantgarde system in a Balinese-style room, rich with artwork and treasures, creating a warm and inviting atmosphere. The gracious host never imposed a “demo” session, nor was he concerned about what these “audiophiles” might think of his system. Instead, it was a laid-back evening where the host treated us like old friends, creating an atmosphere I cherished most, and we listened to real music like normal people. Never once was it put onto a spot to evaluate this or that; I wasn’t judging whether the bass went deep enough or whether he needed more “air” on the guitar strings. 

Careful thoughts had been placed into his choice of equipment, and boy, o-boy, he had everything I ever wanted while I was in high school! The Jadis JP80 MC Preamp and the JA80 monoblocks powered the Avantgarde Trio gracefully; they disappeared into the room and made you forget you were listening to music.

The Mark Levinson is the most highly sought-after CD transport, which often commands a resale price higher than its initial MSRP. It is built like a tank with a heavy-duty, rigid metal chassis designed to minimize vibrations and ensure precise operation. Its sleek, minimalist design features a brushed aluminum finish and sharp industrial lines, exuding both strength and sophistication. This robust, timeless look complements its legendary performance, making it a true audiophile classic.

The problem with any old CD player from that era is the Philips CDM-9 transport, which is as rare as dragon eggs. Once they start mistracking, very few people know how to fix them, and obtaining a replacement is practically impossible. This makes finding one in good condition extremely challenging.

The Krell KID iPod/iPhone Dock you see on the floor is a strange mix of high performance and everyday convenience; it’s both quirky and intriguing—almost like owning a vintage cash register or an Edison telephone, but with a 21st-century “old-high-tech” twist.

The sound of this rig in Indonesia? Why focus solely on that—it’s wonderful, but the experience as a whole is so much more! I can tell you the room has plenty of inconspicuous acoustic treatments, which is hidden from the naked eye. By the end of the evening, I felt as though I had just stepped out of a spa, completely refreshed and relaxed. As I made my way through the hallway and into the garden, I couldn’t help but admire his stunning Balinese garden, swimming pool, and impressive art collection.

The owner is a man of class and impeccable taste, and he certainly understands what it means to have a great listening session.

This was my kind of room, my kind of visit, my kind of vibe—and, without a doubt, the highlight of my entire trip!

The ATC + Krell + Pass Labs System

From one Balinese garden to the next, I went to visit another fine gentleman in Indonesia with a superb sounding ATC speaker powered by various amplifiers, chosen depending on his mood!

The ATC SCM-150 is a behemoth featuring 15″ drivers that can reach down to 23Hz. The room is acoustically treated with great care to prevent standing waves or bass booms. Whatever magic they’ve deployed seems to be working because I usually wouldn’t dare place such massive speakers in such a space—these 150s could easily dominate a room four times the size.

The near-field listening experience is voluptuous, intimate, and incredibly up-close. Female vocals are sweet, sensual, and seductive—the hallmark of the renowned ATC mid-range dome. Yet, when deep organs are played, the soundstage extends far beyond the walls, creating an ethereal, almost otherworldly experience.  If the lights are turned off, I’d imagine the space would appear 2x the size of the room.

He has both the new and the old Krell KSA amplifiers. When asked which one he preferred, he said the “old one is the cat’s meow.”  But of course, there’s also the Pass Labs!   

Front-end equipment features the Gyrodec and Linn LP 12 turntables, and the Pass Labs Xono phono stage, an Audio Research preamp, and an Accuphase CD player and DAC. 

By this point, I was experiencing sensory overload, having seen so many incredible systems and impressive gear. I was tempted just to stop and relax, letting the smooth tunes of Ella Fitzgerald lull me to sleep in this perfect “man cave.” But our guide Yono smiled and said, “The best is yet to come!” So, with a sense of anticipation, we continued our journey towards another city in Indonesia.

Gryphon Apex + Vivid Giya

As the first notes thunder through the speakers, you feel the music gripping you. The low strings pulse with an almost physical weight, resonating deeply in your chest, while the brass section surges forward, bold and commanding, cutting through the air with an intensity that’s both menacing and majestic. The brass section is used to convey power, intensity, and aggression, all of which are central to the imagery of battle. The timpani and percussion crash like the pounding of war drums, their echoes reverberating around the room with perfect clarity, each striking a visceral shock to the senses. The sweeping orchestral crescendos build as the soundstage expands—growing larger, more engulfing—drawing you into the chaos and fury of the battle.  

It was Prokofiev’s Alexander Nevsky that I played, “The Battle on the Ice,” so beautifully yet ominously portrayed through the Vivid Giya and the mighty Gryphon Apex amplifier.

I’d say the speakers are a bit big for the room, but don’t look with your eyes, listen with your ears. The ears told me the bag of tricks up on the sleeves of the owner managed to leverage the acoustic treatments to mitigate the effects of a large speaker in a small room effectively. But the room is not small in the usual sense, and I have seen much smaller rooms than this one with even bigger speakers.

Triangle Art, Nottingham Dias and a stack of dCS Vivaldi power the front end. Top of the line Gryphon Commander and Apex amplifier drive the Vivid speakers.    

By now I have heard enough Apex amplifiers to thoroughly understand their characteristics. The Gryphon Apex Stereo amplifier impresses with its remarkable control and sonic finesse. It combines a deep, authoritative bass with crystal-clear mids and lightning-fast transients, creating a seamless and engaging listening experience. The bass response, if not well controlled, such as when an amplifier runs out of juice or not having enough grip on the speaker, will result in a loose and soggy bass. And in a small room, it will turn into a boom box. But the bass was well controlled and reasonably clean in this room.

The amplifier excels at musical timing and delivers exceptional spatial depth, allowing instruments to be presented with rich texture and natural characteristics. The soundstage feels expansive and grounded, with superb imaging that places every element in its correct place. With its precision, transparency, and ability to handle complex musical passages effortlessly, the Apex offers a dynamic, lifelike sound that brings music to vivid life. Tonality leans towards the warmer and darker side of the spectrum, it doesn’t sound “sibilant or solid state-ish.” The APEX will never be the bottleneck to any system; if they are matched with proper equipment, they will shine and flourish, but I do not see any speaker that they cannot drive within the horizon.

MBL + dCS 

But that wasn’t the end of the story with this gentleman. We drove just a few minutes down the road to visit his second home. Or should I say, mansion? 

This was not the Indonesia I had expected. I had imagined overcrowded streets with 50,000 motorcycles weaving through traffic and street vendors hawking bananas. How ignorant and narrow-minded I had been. This was not the Southeast Asia I had been taught to believe in by Western media. I am sure I was visiting the wealthy segment of society, and not everyone lives like this; however, the vast difference between when I was taught to believe versus meeting people in Indonesia is eye-opening.

These countries have abundant natural resources and boast vibrant and welcoming societies that aren’t consumed by constant political rhetoric encouraging animosity towards opposing parties. There’s no paranoia about being shot while walking down the street, and to my surprise, there’s also a thriving market for high-end audio gear, with a level of enthusiasm that’s much stronger than many places on earth. People are friendly and happy here.

As we arrived at his second residence in Indonesia–I admired the architecture, as well as the nice infinity pool backing onto a nice golf course.    

The picture doesn’t do the room justice. As we walked into the room, all the guests simply went, “Wow…now, we’re talking.”

The ceiling of a room has recessed lighting that appears like the color of natural sunlight, so it feels more like a sunroof than artificial lighting. The room also appears smaller in the photo than the actual size, especially for the length of the room.

The system is very simple: a full stack of the dCS Vivaldi, the MBL 101E Mk II Omni directional speaker, 6010D Preamp, and 9011 Monoblocks. What is hardly visible is the complete set of Nordost Odin 2 speaker cables and interconnects. They are nothing too expensive; just a kidney or two will do.

As soon as I saw the system I knew exactly what to play. I pulled out Sondre Bratland’s “Rosa Fra Bethlehem”, a live recording performed at the Church of Nativity in Bethlehem. The listening experience is a Disney ride that teleports you to the recording venue. The MBL 101E’s unique design, with its 360-degree dispersion of sound, creates an expansive soundstage that envelops the listener, as if you are walking into a ball of music, right amidst the large, reverberant church. The music isn’t confined to the typical left-to-right channels. Instead, the sound appears to emanate from all directions, much like the natural acoustics of a grand cathedral. You can almost feel the grandeur of the space, the airiness, and the subtle echoes that would be present in such an environment. Each note feels like it resonates through the walls, the ceiling, and the floor, filling the entire listening space with a rich, enveloping sound that mirrors the acoustics of a church.

Warm reverberations of the organ in Kling No Klokka to the delicate, crystalline clarity of Bratland’s voice in O, Du Herlige, adds to the realism of the performance. The bell-like chimes, for instance, in Kling No Klokka, ring with a lifelike quality, and you can sense the subtle vibrations in the air as though you were standing in the church itself, feeling the resonance of the bells.

Bratland’s rich and resonant voice is placed perfectly within the soundstage in a larger-than-life proportion. But that’s how the sound was in every system. The song itself always had a larger-than-life voice. The clarity and presence of his performance make it feel like you are right on set with him. The vantage point is not from an audience; it is more like you are part of the performing team. In essence, the MBL 101E speakers, with their ability to render sound in such a natural, three-dimensional way, allow the listener to experience Sondra Bratland’s music not just as a recording but as a live, breathing event, where the boundaries between the listener and the church itself dissolve. The soundstage becomes the church, and the experience becomes transcendent.

Next, we played Fink’s “Trouble’s What You’re In” from the Wheels Turn Beneath My Feat live album. Fink’s voice is rendered with striking realism, capturing every emotional nuance, while the acoustic guitar feels incredibly lifelike, with each note resonating in the room. The speakers balance instrument separation and cohesion perfectly, allowing the track to unfold organically. Overall, the MBL 101E brings a new level of depth and intimacy to the song, making it feel like Fink is performing right before you.

This is the type of sound that can truly “scar” you as an audiophile. When I first heard the MBL Xtreme at CES 2012, the sheer unrestricted nature of the sound was unlike anything I had ever experienced before. The transparency and open airiness, once it gets inside your head, leave everything else feeling dull in comparison for days afterward. I was almost afraid to listen to my own system for weeks. This time around, in Indonesia, it was a similar feeling—my cone drivers just can’t match the immersive, expansive soundstage that omnidirectional speakers create. Now you can see why I was worried.

I must admit, I was glued to the chair and hoarded the iPad to myself for nearly an hour. Song after song, from classical to rock, to soundtracks, to hymns, to opera, I plowed through it for over an hour. It was an unforgettable experience that I will always cherish, and I’m deeply grateful to the host for their warm hospitality in welcoming me.

The Marvellous NAIM System of a Music Lover

I belong to the camp of audiophiles who prefer to place the speakers well into the room, much like what you see in the photo on the floor. I must admit I was initially skeptical when I first entered the room, but I reminded myself not to be one of those ego-driven critics who focus on nitpicking instead of appreciating the warm and welcoming spirit of the host.

Humbleness paid off as I sat and listened to album after album. The sound of the room reminded me of the Massey Hall in Toronto, renowned for its rich, warm acoustics, and much of this is due to its extensive use of wooden walls and floors. The hall’s interior features beautiful, natural wood elements, including wood paneling on the walls and wooden flooring, contributing significantly to its sound quality. The speaker position he chose worked marvelously!

I lost count of the number of albums we played, but meeting another music lover who uses his system to listen to his music is far more exciting than a gearhead. Katie Melua is not someone I listened to, nor Andrew Bocelli, but we played several of their albums back to back, with the listener drawn into the music. We play music well into the night, and it is the best way to end the evening. Another unforgettable experience and I thoroughly loved this small version of “Massey Hall” of a room. 

PMC Fenestria and Viola Spirito + Bravo Amps

Paul Jayson, the visionary designer and CEO of Viola Labs, is not only a good friend but someone whose innovations I have long admired. Having had the Viola Bravo amplifiers in my system for nearly 3-4 months, their sound is deeply familiar to me. However, this particular room’s acoustics was the most lively of all on my trip to Indonesia, and it instantly reminded me of the excitement of a Ferrari 348—fast, dynamic, and brimming with vitality. The pace, energy, and sheer drive of the system were undeniable, with every note bursting forth with sharp precision and effortless rhythm. It was a remarkable experience, one I couldn’t help but christen the “Ferrari 348” of my audiophile journey!

The Viola Labs Spirito Preamp and Bravo Amplifier deliver an exhilarating listening experience that mirrors the performance of a Ferrari 348—fast, agile, and effortlessly dynamic. Their speed and pace are striking, with every note unfolding with lightning-quick precision, while the dynamics leap from the speakers with a sense of urgency and life. The top end is nothing short of exquisite—silky smooth yet detailed and pristine, offering a sense of openness that feels both expansive and intimate. The midrange is equally impressive, accurately conveying the full richness of vocals and instruments with an uncanny ability to place them in the perfect spatial context. Together, these components combine a thrilling sense of motion and clarity with an engaging musicality that keeps the listener on the edge of their seat, much like the sharp handling of a high-performance sports car.  And trust me, when I describe the sound of my own McIntosh C1000 + 1969 MC3500 based system, I’d use very different words because they resemble more like a Cadallic Escalade.

The PMC Fenestria’s rich midrange complements the Viola Labs electronics beautifully, seamlessly enhancing the overall sound. Its natural, organic qualities bring a lush warmth that perfectly fills the space, harmonizing with the Violas’ clarity and dynamic drive. The midrange from the Fenestria adds depth and body to the performance, fitting precisely where the Violas’ strengths can truly shine. Together, they create an ideal synergy.

The room has plenty of hard surfaces, but diffusion panels were applied extensively on the front wall and the ceiling. Bass Traps were also deployed to mitigate the effects of the mid to low-frequency standing waves. 

My only wish is to one day reciprocate their kindness by inviting them to visit my humble home and travel across the ocean from Indonesia to visit my audiophile group. Although I must admit, we don’t have as many impressive systems to offer!

Alexandria Audio 

With only 3 hours before my flight out of Indonesia, we managed to squeeze in one more visit to Kenneth Lin, designer and co-founding partner of Alexandria Audio.

This was another “to die for” custom-built sound room in Indonesia, with measurements down to the finest detail. Countless months of meticulous research went into its creation, ensuring every aspect of the room was optimized. The design process involved a thorough analysis and balance of both absorption and diffusion properties, leaving no stone unturned in pursuit of sonic perfection. The result was a space where every element worked harmoniously to deliver a truly exceptional listening experience.

Kenneth spent a lot of time explaining his design philosophy and the all-new NERO preamp to us. All his designs strongly emphasize power supply management rather than “Brute Force.” When asked what he meant by brute force, he explained: “Instead of suppressing the power supply with regulators and huge stiffening capacitors, he regulates the supply through stages of cascade filtering, using voltage buffers in a way that doesn’t restrict the voltage swing. Whenever a burst of dynamics is required, there’s always enough energy in store to meet the demand.”

In the NERO, the power supply is carefully fine-tuned using oscilloscopes, audio spectrum analyzers, and extensive listening tests, ensuring a balance of musicality, authority, and control. The power supply is built with three stages of filtration to achieve a high signal-to-noise ratio, delivering clean power without background noise. Each stereo channel has a dedicated tube linear power supply featuring customized Japanese ISO Tango power transformers, hand-selected tubes, and intricate multi-stage filtering, including ISO-Tango Choke Inductors and Oil Smoothing Caps, for superior clarity and dynamic range. Additionally, the Nero boasts a range of premium components, including Tokyo Ko-On Denpa TKD selectors, ultra-low output impedance via line transformer coupling, and a true dual-mono design that ensures channel isolation and precise, holographic sound projection. The use of top-tier parts like Black Gate capacitors, AN Tantalum resistors, and high-quality internal wiring, combined with attention to shielding and resonance management, further elevates the performance of this exceptional linestage.

How was the sound? Have a listen yourself. These guys mean business. People tend to think you go to Indonesia to buy pineapples and exotic woods, not amplifiers or speakers. But the country is filled with plenty of both. For example, SB Acoustics is one of the biggest manufacturers in the world, and it supplies drivers to Wilson Audio, Vandersteen, Sonus Faber, and more. Alexandria will also be a name up and coming, judging by how they do things.

We were fortunate to experience his cost-no-object power amplifier in Indonesia, The Kingdom (a non-production model). This remarkable amp features independent ISO TANGO transformers for each stage of the circuit, ensuring optimal performance at every level. The design is entirely tube-based, with the 845 SE tube as the main power tube, contributing to its exceptional warmth and clarity. The level of craftsmanship and attention to detail in The Kingdom is evident, making it a truly unique and awe-inspiring piece of audio engineering. Sonically, it is another step above the Legato power amp you saw in the video. It is the kind of stuff he will do for himself, but it may be too costly for mass production.

I truly appreciate Kenneth’s comprehensive, all-encompassing philosophy as a designer. He firmly believes that a well-designed system must consider the room’s acoustics and precise measurements, which are essential for positioning speakers to optimize the room’s response. While most manufacturers focus their marketing efforts on the technical specs of their products, leaving customers to figure out the rest. Kenneth views this as only part of the equation. The other crucial component, in his view, is the careful placement of the speakers and the fine-tuning of the system, often using a subwoofer to correct for any low-frequency standing waves. This thorough approach ensures that the system delivers the best performance, tailored to the unique characteristics of the listening space.

His sound room in Indonesia perfectly demonstrates the old adage, “The proof is in the pudding.” Every detail of the room showcases the results of his meticulous design philosophy, where theory meets exceptional, tangible performance. But to ruffle his feathers a bit, I teased him, saying he’d never truly reach perfection without a turntable in the mix. Frankly, that’s about the only thing that I could conjure up as a criticism. The room acoustics and the overall performance of his system, including the speakers that Alexandria designed in-house, are truly extraordinary.

I could find no fault with the soundstage, tonal balance, or the level of involvement; everything was simply flawless – except for the tease. Hey, I’m the AnalogMagik guy.

The camera doesn’t lie; this was my humble system on June 3rd, 2005, which I loved and treasured. Shortly after, I hosted a group of audiophiles at my home, extending a warm welcome with fine wine and hospitality.

Sadly, they offered some of the nastiest comments I could imagine. It wasn’t just my system they criticized, but my character. My setup was unlistenable to them, and I was a fool who assembled a lousy system that wasn’t worth their time. The custom rack was a disgrace, they said. (I’m still using the same rack today). After they left, the insults behind my back were so harsh that the person who had invited them admitted he couldn’t bring himself to repeat what they said.

I felt utterly miserable.   

Over time, I have seen far too many people with similar attitudes, especially in Asia. The problem was not with me or my system; the problem was with their attitude, classlessness, and bad manners.   

I chose to distance myself from those toxic individuals and, instead, went on to form the Greater Toronto Area Audiophile Club. One of our founding members has over 50 years of experience in music, audio, and system setup. In the two decades we’ve been friends, I’ve never heard him speak negatively about anyone or any system. He always offers constructive and respectful advice only when asked upon. Why does he do this? It’s not because our systems are flawless but because he values class, integrity, friendship, and good manners. This is the mindset I’ve chosen to adopt.

As I meet more people, I realize how many incredibly knowledgeable individuals there are, far more experienced than I am. It’s made me less inclined to criticize, as I understand there are systems out there that are far better than mine.

The journey is far more important than the destination; everyone has different circumstances in life.  Rich or poor, young or old, knowledgeable or a novice, I appreciate those who kindly welcomed me into their homes. 

The audiophile community is what we choose to make it out to be. We have the power to foster a better, more supportive world by encouraging others and maintaining a positive, respectful, and open-minded attitude.

I thank “Yono” and all the fine gentlemen who hosted me in Indonesia.  I hope you found my journey through Indonesia interesting.

Richard H. Mak

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