The 6th anniversary of Ultimate Audio’s Porto store was a celebration of passion for music and hi-fi. Each note seemed to traverse the space, touching the hearts of everyone present. The event showcased two extraordinary sound systems, in my opinion: two rooms, two atmospheres, two sensory journeys, where attendees surrendered to the power of the equipment. Equipment that transformed music into emotion.
Two Rooms, Two Distinct Experiences
Ultimate Audio’s Porto location, near Serralves Park, has two listening rooms: one dedicated to stereo systems and the other to home-cinema setups, acoustically treated to maximize absorption, as is typical for these setups. In a space with such heavy sound absorption, choosing a system driven by the Western Electric 91E – a single-ended integrated amp with a 300B tube per channel – might have seemed risky. Yet, it turned out to be a brilliant choice.
Technology and Tradition in Symbiosis
Amplification was provided by the Western Electric integrated amp I had seen on display two weeks earlier at the Ultimate Sessions Budget Beats in Lisbon. The speakers were Wolf Von Langa 12639 Son, featuring Field-Coil drivers instead of traditional magnets, a technology abandoned decades ago due to cost but now resurrected by this German manufacturer. The AMT tweeters are mounted on acrylic plates held by magnetic supports, adjustable in position to configure the soundstage to each listener’s taste. Temporal alignment is easy to find—just use a CD case as a guide! You can set the soundstage for more focus or dispersion by simply adjusting the tweeter’s position.
The sources included the Luxman NT-07 streamer and the D-07X SACD player, used here only as a DAC. Cables were Siltech Legend 680 and Crystal Ultra 2 Diamond.
The Western Electric 91E integrated amp, from the iconic American tube manufacturer now revived, delivers up to 20W of power (Yes, 20W with a 300B tube per channel!). This is achieved through a linear current supply controlled by the tube, removing the need for massive output transformers as in other amplifiers, reducing distortions, and delivering much more power than usual for a 300B without the usual risks.
This setup was already interesting, not only due to its technological features but also in how it performed in a room with so much absorption. The challenge was overcome, leaving me curious about how it would sound in a space not specifically designed for home-cinema. And how did those Field-Coil speakers sound? Would the advanced tech in the 91E change the expected sound of a 300B tube amp? Shall we find out? I promise the technical jargon ends here!
What We Heard
When I entered the room, Clark Terry’s “Alternate One” was playing. The immediate impression was of micro-detail, texture, and an organic sense of music. Even Paolo Fresu’s trumpet in “Que Reste T’il De Nos Amours” lost its typical “sharpness” that other systems tend to deliver. Could this tweeter transform brass into wood? Experiences like this are hard to capture in text…
I’ve mentioned before that perhaps the most challenging acoustic instrument for a hi-fi system to reproduce is the piano. If you ever get the chance to hear Adolf Drescher’s “Nocturne, B-Moll, Op. 9, No. 1: Larghetto” on this system, don’t miss it—it’s something you’ll only experience live. Even the resonance of the piano lid was there, right next to Serralves.
The strings’ horsehair seemed to cry in “Carmen Fantasy, Op. 25: Introduction. Allegro moderato” by Anne-Sophie Mutter. Those who seek 300B tubes want a rich, full sound with prominent vocals and acoustic instruments (“When Things Go Wrong” by Archie Shepp), well-defined, natural bass (“Lost Without You” by Freya Ridings), velvety timbre, and a wide, deep image (“Thanks To You” by Boz Scaggs). This Western Electric amp, with the help of the WVL speakers, delivered all of that with distinction. Hadouk Trio’s “Soft Landing” was proof of it.
The sound of this room took us on diverse sonic landscapes. What a surprise! Could this be the secret weapon? Was the WE + WVL setup in the “secondary” room like Ronaldo coming off the bench to turn the game? What chance did the “main” system have after such a performance?
In the Main Auditorium
I entered the main auditorium just in time to hear Mariza sing “Ó Gente da Minha Terra” live. In the next moment, she pauses to compose herself. I swear I felt the audience, mostly men my age or older, doing the same to control the tightness in their chests because, after all, men don’t cry… Did I mention she was there live? She wasn’t. But it felt like she was.
The system was impressive, not only for its sound but also visually. The Zellaton Plural Evo speakers stood like massive pillars in Nuremberg’s landscape in Leni Riefenstahl’s film Triumph of the Will, flanked by Halcro Eclipse monoblocks, the Wadax Reference Server, the dual-chassis portuguese DAC Galle II from Cinnamon Audio in its absolute world debut, the Torqueo T34 turntable with Ikeda IT307 tonearm, DS Audio W3 cartridge, and the Boulder 1110 preamplifier. Only the best.
The Boulder 1110 preamp shone as a transparent showcase for the music, standing out at this event, as well as in the system presented last week (report here).
What We Heard
As for the system, five words: Dynamics, Scale, Power, Muscle, Authority! Listen to HEDEGAARD’s “Ratchets.” All of this without losing emotional impact (“Tears In Heaven (Live)” by Eric Clapton, with the acoustic guitar cracking and Clapton’s voice revealing a window to his wounded heart.
Comparing the rooms just five seconds apart showed how two radically different concepts can convey the power of music in distinct, equally valid ways. This experience challenged my personal journey, reminding me that the most important thing is the sensory experience these setups offer. Isn’t that what really matters in music? Like in Chris Botti’s “My Funny Valentine (feat. Sting) [Live Audio from The Wilshire Theatre].” An absolutely delightful experience.
These speakers and monoblocks are pure rock n’roll! The transients and physical character of the bass impacted the senses (“Jean Pierre” by Marcus Miller), close to the live experience. If the adjacent room’s path leaned towards acoustic instruments, this larger room imitated live amplified sound. Although this is the immediate impression, remember that, for example, John Adams’ “Purple Rain (Acoustic)” piano reproduction was equally realistic. The parade of instruments in “The Heroic Weather-Conditions of the Universe, Pt. 7: After the Storm” by Alexandre Desplat and in “Tubular Bells” was delightful and lifelike.
What I Learned
In these two weeks, I’ve learned another lesson on my high-fidelity journey. Another one. If I’ve recently been looking for just the “spice,” now I’m back to focusing on the pure quality of the ingredients. The fewer elements that stand between you and the music, the better.
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