14 Years of Ultimate Audio: A Gift for Those Who Live for Music

The 6th anniversary of Ultimate Audio’s Porto store was, for me, a remarkable event, showcasing two systems that represented diametrically opposed concepts. On one side, the Western Electric 300B tube integrated amplifier paired with the Wolf Von Langa field-coil speakers; on the other, the dominating Halcro monoblocks powering the imposing Zellaton speakers. With this level of excellence, the anticipation for the Lisbon event, celebrating the brand’s 14th anniversary, was immense.

New releases, exclusive equipment, and premieres in Portugal—this has been the hallmark of this house events. If I had to choose highlights? Truthfully, all three systems stood out, for different reasons:

In Room 1, we saw how a 300B integrated amplifier can transcend its traditional limits. And the Colibris, despite being in Avantgarde’s accessible zone, didn’t skimp on musicality and dynamics. The subwoofers added a new dimension to the performance.

Jorge Gaspar, the host, took risks by straying from the usual sonic clichés for such configurations, playing “Odyssey” by Spiffy Man and “Los” by Rammstein. The set’s exceptional dynamics were evident in “Det Tänds Ett Ljus” by Christian Jormin 3. But Jorge Gaspar didn’t disappoint those seeking the classics, offering a bouquet of vocal tracks from Chantal Chamberland, Sete Lágrimas, Mália, and Dead Can Dance. Serena Kaos also invited us on a sensory adventure with “Canção de Engate.”

In the main room, the Zellaton + Halcro system reaffirmed everything experienced in Porto, with the added detail brought by the Wadax suite (as if this system hadn’t already proven its ability to excavate the finest nuances in Porto).

Miguel Carvalho once again played to the emotions with tracks like “Ó Gente da Minha Terra” by Mariza. And then, giving no rest to the heart—at least to this Tripeiro’s heart—with “Porto Sentido” performed by António Zambujo & Miguel Araújo, also live, in Ultimate Audio’s main auditorium. The formula used in Porto two weeks earlier repeated itself—because why change a winning team? Here, enhanced by four Wadax “sculptures” that also play music.

Room 2, just between us, was the one that musically impressed me the most. Surprise! You expected me to prefer the Avantgarde + WE + Cinnamon combo, right?

I confess, I might be going through a “Boulder moment.” These amplifiers, paired with the Marten speakers—a brand that never ceases to impress me—were further elevated by the LampizatOr Horizon 360 DAC. Łukasz Fikus’s design had already wowed me with the Fezz Audio Equinox at “just” €2500. In this case, the price tag is in five digits. Naturally—and typically (though not always)—what is delivered is superior. Here, the promise was fulfilled, in spades!

This system not only sounded “musical” but also as transparent as a showcase for music, where no detail, texture, or nuance went unnoticed. It also sounded grand—really enormous—in soundstage and depth. But I must note that both Rooms 1 and 2 competed fiercely for the soundstage medal, as well as for scale and command over the music and the rooms. Exemplifying this were “Fanfare for the Common Man” by the Minnesota Orchestra & Eiji Oue and “Thora Vukk” by Robag Wruhme.

Naturally, I won’t repeat myself by describing the Porto event from two weeks earlier—you can find the report here. In Porto, two systems spoke entirely different languages, each aiming to move the listener in radically different ways—one directly to the heart like Cupid’s arrow, the other with the scale of a Hollywood blockbuster.

Lisbon, on the other hand, had the advantage of more dedicated stereo rooms, serving a menu with three different approaches. We moved from the “emotional honesty” of the Wolf Von Langa field-coil speakers to the Colibri’s horns, which I suspect will quickly attain best-seller status—affirmed by the confirmation of the Western Electric 91E.