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Floorstanding loudspeakers


Divine Acoustics

Price (in Poland): od 5200 zł/pair
Manufacturer: Divine Acoustics
ul. Sikorskiego 29/11 | skrytka pocztowa 22
46-040 Ozimek | Poland

tel.: +48 774 65 32 59
tel. kom.: +48 784 18 78 14

Country of origin: Poland

t began quite simple, as always.

15.04.2013 11:21

Dear Mr. Pacuła!

I would like to ask you when you will publish the next edition of the news section? On April 21st I plan to launch a new version of my flagship design – the Proxima. It was initially scheduled for the last January but unfortunately not everything was completed back then. I will have the photos and description ready for the next weekend. Retail price will be 5,900 PLN per pair in Poland (higher in other countries). And one more thing – will it be possible to send the speakers over for a review?

Kind regards,
Piotr Gałkowski

The review was arranged and the speakers were delivered for it. After their auditioning and examining I read again the accompanying materials. This is a case where I can, in good conscience and practically without changes, quote the company literature in full as an introduction. This is a rare case of manufacturer honesty combined with engineering knowledge.

according to Piotr Gałkowski

From my childhood I have been fascinated by science fiction movies. They are a true mine of ideas and inspiration, helping develop abstract thinking, push the boundaries of imagination and technological possibilities and escape the rigid confines of reality. This is very useful during the design process. Some movies of this genre have played a special role in my life. Their incredible scenery and beautiful music have been my inspiration. The Proxima is this - special - for me. Since the first version six years ago, I have devoted much time and attention to its design. It has been for it and through it that new design solutions were created and technologies developed that were later used in other designs. Proxima’s sound has also evolved along the way. This time is no different.
The design of the first Proxima was inspired by the mysterious monolith from Stanley Kubrick’s 2001: A Space Odyssey. The inspiration for the latest version have been the soaring skyscrapers of future New York and the wonderful costumes designed by Jean-Paul Gaultier for one of my favorite sci-fi movies – The Fifth Element by Luc Besson. In the movie, our planet was saved by four mysterious stones symbolizing the four elements: wind, fire, water and earth; the fifth element was a beautiful and extraordinary woman “from the stars”. For me the fifth element on Earth is music and I hope that the Proxima will prove to be this unique “fifth element”.

Cabinet shape
The Proxima cabinet forms a compact block. Its main part consists of five layers: the front baffle, the rear panel, and three frames made of MDF of varying thicknesses. They form the inner part of the side, top and bottom walls, and are connected to each other by additional components made of HDF. From the outside, the sides and the top are covered with an additional layer of MDF panels finished with leather. These components have a double function of damping cabinet vibration and being a decorative part of the unique Proxima design. The speaker proportions have been very carefully defined – the height to width ratio is not random and has been chosen to make the Proxima look smaller than it is in reality and “not dominate” even in a small listening room, despite its height of 120cm. The individual drivers have also been placed at the appropriate height not only for the best acoustic performance, but also to optically lower the cabinet’s center of gravity, thus making it more stable. A 16mm panel has been fixed to the front baffle using multiple screws and damping mass. It acts as a woofer support and a cover for the tweeter and TMI (Tweeter Multilayer Isolation) system. It is the most complicated part of the Proxima cabinet. To cut it from a single sheet of MDF, 19 different cutter settings and more than 50 different operations have been used, including milling, drilling and grinding. The unusual shape of this decorative panel was created over many days of drawing and repeatedly “improving” each of the curves, matching their correct proportions to achieve the desired effect. Every detail has been drawn and made by hand, without using a computer. The embossing that runs through the front and side panels resembles a “sail in the wind” and complements the unique Proxima design. The carefully designed cabinet shape with leather finishing results in a slim and graceful loudspeaker full of finesse. It will certainly be a great addition to any room. The front baffle is complemented by speaker grilles fixed with neodymium magnets. On the back of the cabinet, another panel covered with leather has been mounted. It features the gold speaker terminals and the "magic eye" - the opening protected by a thick acrylic plate, through which you can look inside and see the high quality crossover network which controls the Proxima. Proxima stands on a multi-layered plinth covered in leather and equipped with four gilded spikes. The plinth also has Divine Acoustics laser-etched logo - also seen on the tweeter frame. CRCdesign (Cabinet Resonance Control design) – is a combination of rigidity and vibration damping properties that significantly affects the final sound of the loudspeaker. All methods of connecting the various materials, assembly components and the complexity of the entire cabinet of the Proxima were evaluated. The CRCdesign was designed to ensure ideal enclosure-to-speaker integration and to minimize vibrations and parasitic resonances.

Driver units
The Proxima is a two-way loudspeaker. Two carefully matched drivers precisely mated to the other to form a single “voice”. The woofer has a 17cm polypropylene diaphragm, a large vented magnet system, inverted rubber surround and die-cast basket precisely tuned to compensate for parasitic resonances that are created by diaphragm vibrations. This tuning - BAD (Basket Accurate Dampening) system - led to a significant reduction in distortion yielding the most accurate midrange free from coloration. The tweeter chosen is the original Divine Acoustics’ model that was created specifically for the Proxima. It was built on the basis of a light dome with a diameter of 28mm, prepared with rare woven silk. The voice-coil operates in the surrounding chamber, which reduces the dome’s resonance and air pressure generated around it. Ferrite magnet system resonances has been suppressed thanks to BAD system. Behind the magnet another chamber has been built. It is designed to control and suppress vibrations of the magnetic system. It is filled with a dampening mass - a combination of fractionated sand, saturated with oil.
At Divine Acoustics, a proprietary TMI (Tweeter Multilayer Isolation) system has been designed to effectively isolate the tweeter from distortion-causing micro vibrations. The Proxima was the first loudspeaker in which TMI was applied. The tweeter is effectively isolated from the cabinet by utilizing a set of gaskets of different thickness, hardness and damping coefficients. Such a highly specific combination of materials significantly affects the "pacification" of the magnetic field oscillations thus improving the micro-signals response within the coil. Simply put, TMI system results in a very precise, natural, detailed and extended treble reproduction.

Crossover network
The amplifier sends a full-range signal to the loudspeaker. The loudspeaker crossover is responsible for dividing the signal and sending it to the appropriate driver. It’s the "brain" of the speaker, responsible in creating the final quality of sound. It’s by no means a simple endeavor. Designing the crossover for new Proxima took over one year. During this time, hundreds of hours of listening and weeks of burning-in between successive revisions of sound, 17 crossover components were painstakingly selected. They form a second order filter with auxiliary systems for phase and impedance corrections. Proxima crossover utilize the excellent Jantzen Audio Z-Superior, Z-Standard and Cross-Cap capacitors that are used in configurations selected during long listening sessions, without use of any computer software. Specially designed crossover filter system allows to use the RFpath (Resistors Free path) system – the complete elimination of using a voltage divider resistor for the tweeter. The result is an extremely transparent, open and detailed sound, rich in micro-signals in the upper midrange and treble. At the same time a balance between all tonal ranges has been assured. Thanks to the new crossover, the dynamics, power and overall integration of sound throughout the entire frequency spectrum, authenticity of rhythm and recording atmosphere has been significantly improved.
All crossover components are paired with a truly laboratory accuracy. OFC coils are made with the utmost attention to repeatability, carefully weighed and measured. The elements are mounted on a plate coated with a damping material and connected to each other directly to ensure the optimal driving signal path. Geometric layout of the components on the board is subjected to the SGP system - a Single Ground Point for the entire electrical system. To keep the overall repeatability and the highest quality of hand-mounted crossovers, more than 30 measurement points have been selected along with additional tests that must be executed for select components.
The signal is fed to the crossover using strips of OFC copper, to the woofer is flowing through the litz cable cross-section 2.5 mm2, and the tweeter is powered by an R-core cables with pure OFC copper with a diameter of 0.85 mm2. All internal connections are made using lead-free soldering alloy.

Divine Acoustics in “High Fidelity”
  • REVIEW: Divine Acoustics GRAVITY – anti-vibration platform, see HERE
  • REVIEW: Divine Acoustics ELECTRA 2 – floorstanding speakers, see HERE
  • REVIEW: Divine Acousitcs PROXIMA (2008) – floorstanding speakers, see HERE
  • Albums auditioned during this review

    • Assemblage 23, Bruise, Accession Records,A 128, “Limited Edition”, 2 x CD (2012).
    • Carole Creveling, Here Comes Carole Creveling”, Euterpean Productions/Sinatra Society of Japan XQAM-1021, CD (1956/2008).
    • Chet Baker, Chet Baker sings and plays, Pacific Jazz/EMI Music Japan TOCJ-90028, HQCD (1955/2006).
    • Daft Punk, Random Access Memories, Columbia Records/Sony Music Japan SICP-3817, CD (2013);
    • Et Cetera, Et Cetera, Global Records/Long Hair LHC00071, CD (1971/2008).
    • Foreigner, Inside Information, Atlantic Records/Warner Music Japan WPCR12566, “Atlantic 60th”, CD (1987/2007).
    • Joe Pass, For Django, Pacific Jazz/EMI Music Japan TOCJ-90027, HQCD (1964/2006).
    • Laboratorium, Anthology 1971-1988. Nagrania wszystkie, Polskie Nagrania Muza/Metal Mind Productions MMP 10 CD BOX 001, „Limited Edition No. 0157”, 10 x CD (różne/2006).
    • OMD, English Electric, 100%/Sony Music Japan SICP-3810, CD (2013);
    • Republika, Masakra, Pomaton EMI 52975 2, “Reedycja 2011”, CD (1998/2011).
    • Savage, Tonight, Extravaganza Publishing/Klub80 Records CD001, “25th Anniversary Limited Edition, No 59/150”, CD (1984/2009);
    • Schubert, Lieder, wyk. Dietrich Fischer-Dieskau, dyr. Gerald Moore, EMI 55962 2, "Signature Collection", 4 x SACD/CD (1955, 1957, 1958,1959/2012);
    Japanese editions of CDs and SACDs are available from CD Japan

    Regardless of how I started, I would end up dedicating most of the time to a certain sound philosophy we buy along with the Proxima speakers. It’s an unusual approach, virtually unheard of at this price level and therefore so fascinating. I'll start with that so as not to introduce unnecessary confusion. All other details will follow to make up a full picture of these fascinating speakers that are far from perfect and absolutely not universal, but yet form a complete whole, something like the summa of all auditions.
    The implemented design solutions impose advance restrictions but also offer some possibilities. The restrictions result from a low capacity closed cabinet and a medium-sized midwoofer while the possibilities lie in the cabinet design and its unusual shape, the quality of crossover components and the tweeter.
    The Proxima do not have such deep bass extension as – for example – the Monitor Audio Silver line floorstanders. Even the PMC speakers seem to offer a lower and meatier bottom end, despite being smaller – “seem” being the key word here. In a normal audition, firing up, say, Portishead, Assemblage 23, Depeche Mode or any electronic-dominated music, the said Monitor Audio and PMC will floor us with the amount of woofer-generated bass. It will be a good, meaty sound, no doubt about it. Next to them, the Proxima will seem lighter and more subdued. Not lean or thinned out, though. Play a disc with the organ, grand piano, or even some jazz with double bass that doesn’t really visit the low end, to hear that the bass in those speakers is slightly “made up”. In a very cool, “from-the-gut” way, but tweaked up nevertheless. The “wings” from Divine Acoustics will sound cleaner and more dynamic here. Even if the PMC speakers, unique in this respect, are capable of rendering a bass drum kick as well as at a rock concert, they do it by emphasizing the mid-bass. It's their “licentia poetica”, so to speak, a part of PMC’s sound philosophy. Mr. Gałkowski’s speakers are about something else – quality over quantity. That’s the way I see it.

    But it’s about bass, not dynamics, quantity. The latter is way above average in the Proxima. Listening to well recorded material, not mangled by overly aggressive compressor treatment, even a vocal accompanied by piano as featured on the album Schubert. Lieder performed by Dietrich Fischer-Dieskau, you will need to be careful with your amplifier’s volume knob. If the amp is a match for the speakers, you will hear true dynamics, comparable to what we actually experience sitting a few meters from the vocalist with the piano a little further away. There is no chance these two experiences can be identical but such will be our impression, as if a door opened in our mind to evoke our live experience (that’s why it’s so important to listen to live music!), giving the act of listening to the album an aura of a real event.
    This is all due in part to differentiation. Only a few speakers on the market are so transparent to the source material. The nearest example of anything similar would be the work of Anssi from Finnish Amphion (see HERE and HERE. Especially the flagship Krypton3, costing nearly 70,000 PLN. It shows a similar approach to what constitutes the sound. Looking through the eyes of Mr. Gałkowski and Mr. Hyvönen the most important is timing, rhythm and keeping pace, in the sense of attack and decay precision. To paraphrase a classic, "everything else shall be added unto you" in this kind of approach – both sonic texture and body.
    At first, moving over from speakers offering a different philosophy, such as the Harbeth M40.1 in which its tonality that plays the primary role, the sound seems to be lacking power and “ground”. That is true in some way as these are not speakers that “thicken” the soundstage. Yet since they don’t thin out anything, either, but rather get to the “truth” – that which is on the disc – from the timing angle, we get an equally credible presentation as from good "tonality-based" speakers, only that with differently placed accents and other overtones.

    Now we reach the point where we must discuss the midrange and treble. The company literature claims that it is handled by a driver that is Divine Acoustics original design, created specifically for the Proxima. At first glance it resembles large silk dome tweeters from Dynaudio Esotar or Morel and it has a similar sound. The treble is juicy and very, very, very resolving. Not only in showing transient attack, but also its differentiation. It can be simulated even in cheaper speakers by contouring their sound. Except that this deceit can be fairly quickly deciphered and acted on appropriately – either by appreciating the effort if we think it translates into a better contact with the music, or by snorting with disappointment if we believe it to be a scam. Here it is not a try but something inherent to the tweeter or, in one word, normal. The richness of meaning it is able to articulate is extraordinary!
    Thanks to that it is equally normal for the whole speaker to differentiate recordings – the (ultimate) goal of all our efforts, right? The most interesting for me was to listen to how the Proxima conveyed the diversity of “patina” that covers the old recordings. At first glance it may seem that the technology available at a given time defines every kind of recording made with it. That is true to a certain extent but not fully. It also needs to take into account “extra-musical” limitations, such as the available time, the type of re-mastering (if it’s a new album version) as well as the skills and taste of the sound engineer, producer and label manager. That is the reason for such diverse sound of various recordings, like the band Laboratorium recorded in 1977 in Rotunda hall in Krakow, or the much earlier 1960 recordings of Dietrich Fischer-Dieskau that we already referred to, or an even older recording of Nat “King” Cole from his album Love Is The Thing. The differences are not only limited to tonality, which is quite normal, but mostly concern the “density” of recordings, the naturalness of sound and its depth. It just so happens that in the case of these three albums their recording quality is inversely proportional to when they were made – such is life.

    The Proxima showed it straight up, without any veil. That’s a characteristic that needs to be kept in mind. Everything else I wrote above does not affect in any significant way our consideration of a system with the speakers from Mr. Gałkowski. This one last thing does a lot. The speakers are resolving and dynamic with nice full tonality. But their differentiating follows a straight path like an arrow – nothing is disguised. Whether the recording is sharp, bright or light, it will be shown exactly like that. We will get a full information, i.e. not distortion but the whole package. We will also get to know why it is sharp, bright or light, but also dark or dull. This is great news, but only on the condition that the rest of the audio chain is of the highest quality. I can easily see good tube gear in this role, as the speakers are quite an easy load. The SPEC RSA-V1 amplifier or newer would be ideal, but tube amps from Acoustic Research would also work fine. That is not a problem in itself. We would all love to to hear the difference between the mono and the stereo version of Nat “King” Cole’s album, the latter being a 3-track transfer. A number of speakers are capable of showing it, some even do it well, but the brighter stereo mix with noticeable sibilance often proves too punishing, while the mono version sounds too subdued. The Proxima not only showed that but made both auditions possible, too. It’s the kind of sound “with the benefit of inventory”.


    However, the listener may not pay any attention to it or consider it to be secondary. The first thing that stands out after connecting the speakers to a good system is incredible space. At first, one may even suspect that the speakers are in counter-phase due to reversed polarity. Until strong, full vocals suddenly appear in the center. These speakers actually love the vocals, worship them even. The vocals of Chet Baker, Grzegorz Ciechowski, Enya, and above all Dietrich Fischer-Dieskau had a beautiful body, vivid and mature tonality as well as depth. Everything that accompanies them spans wide and deep, while the elements in counter-phase (the true, intended one) spread around us and behind us with ease and lightness. Perhaps, then, this brief conclusion is all you need. The speakers are inexpensive and show excellent precision workmanship and conscious design consideration. The man behind them is a designer with cool ideas he is not afraid to put into use. A prerequisite is high quality accompanying electronics. That is the only problem we encounter with these speakers.

    Et Cetera
    Et Cetera
    Global Records/Long Hair LHC00071, CD (1971/2008)

    The information recently released by The Vinyl Factory, crazy guys from the UK who make the best re-releases in the world in terms of graphics and sound, about their planned re-releases of krautrock albums didn’t only electrify me (see HERE). What is krautrock? It’s a term used to describe German bands from the early 1970s which focused on long, instrumental passages built of psychedelic tones and sound effects (see HERE). It’s hard to categorize it as one musical genre, because do Kraftwerk, Can, Neu!, Popol Vuh or Amon Duul II have anything in common, I ask you? Oftentimes this movement is considered a genre, though. Krautrock bands played music that had nothing to do with rock’n’roll – it was rather something avant-garde and electronica. I’ll quote Rafał Ziemba’s article yet again: “The musicians of Can, Neu!, Popol Vuh or Amon Düül II experimented a lot with the early synthesizer models and tape effects. Their sound became more electronic and mechanical. Although there were numerous exceptions, such as Necronomicon, which used a more traditional sound and instruments. In the 1980s krautrock took over many of new wave’s and industrial’s elements.”

    An example of how different the music played by these bands can be, as well as how many common factors you can name as well, is Et Cetera’s self-titled album from 1971. It’s the brainchild of Wolfgang Dauner. As a child he began with playing the grand piano, but he graduated from a conservatory in Stuttgart in a trumpet class. In 1963 he founded a jazz band and focused on the modern music scene, playing with Eberhard Weber, a bassist, and the drummer Fred Braceful. The band played together up until the 1970s. Dauner gained fame and recognition for combining jazz and his own experiments. At the end of the 1960s, certain elements could be observed in their music which would later become a solid part of the krautrock seen. Being barely 36 years old, but already a veteran of the modern jazz scene, Dauner recorded Et Cetera with his friends. The musician’s young age wasn’t anything special, though – in the same year, Irmin Schmidt who was only 34 released an album with his band CAN and Hans-Joachim Roedelius, aged 37, did with Cluster.
    The recording session took place in the middle of December, 1970 in the Orange Recording Studios in London, with the band comprising of Roland Wittich (percussion), Eberhard Weber (bass instruments, vocoder), Fred Braceful (drums, vocals, and bongos), Siggi Schwab (guitar, sitar, and sarangi) and Wolfgang Dauner (synthesizers, clavinet, ringmodulator, trumpet, flute and others). As the author of the article on (David [Guldbamsen, DK], see HERE) says, it’s a musical combination of nearly anything – Indian raga music, psychedelic and avant-garde jazz with elements of modern rock. The basis of it all was improvisation, however. The band released another album titled Knirsch a year later (1972), with Jon Hiseman on drums and Larry Coryell on guitar; then the band fell apart.

    Although I’ve heard many, and I own lots of SHM-CDs released by Belle (a Japanese record label available at CDJapan, where it has its own banner to get to their catalogue, see HERE), I’ve never yet heard the album we’re talking about. I got it from a friend of mine, which I’m greatly thankful for! And that’s because it’s one of the best krautrock albums from its experimental phase, with guitars in the main role, all really well-recorded and re-mastered. Although it’s a classic boxed European edition, not some SHM.
    The sound is very resolute and diabolically dynamic. The drum cymbals sound surprisingly good, as in the 1960s and 1970s they were usually recorded very badly. They have a clear texture, weight and reverb. The midrange is a similar story; it’s lively, but also deep. The low bass is just underlined and there’s not much happening there. The mid and upper bass is very meaty, though, and it sounds in a way that never, ever seems “light”. I recommend this record to everyone looking for something irreplaceable that never gets boring. I assure you you’ll quickly get drawn into it and direct your credit cards in a krautrock direction. I, myself, have already ordered another album by this band, as well as several Daunter’s albums in different configurations.

    Sound quality: 8-9/10

    Proxima is available in the following finishes:
    - African Ebony – see the pictures
    - Wild Zebrano
    - Macassar
    - Magic Venge
    All veneers are natural except for ebony. The version under review was finished with imitation wood veneer in order to keep the price as low as possible. Using the same natural veneer raises the price by almost 800 PLN (5,200 vs. 5,990 PLN). Sold outside Poland, their prices start at 1800 Euro.
    These are beautiful speakers. Every detail is carefully thought out and their assembly is quite difficult. They are very tall but rather narrow and very shallow, which is a characteristic feature of this manufacturer’s designs. The speakers are stabilized by their large plinths. The stability is not ideal, however. To minimize vibration, the speaker is mounted to the plinth on a layer of cork, which also has a relatively high pliability. The plinths are asymmetrical and are designed specifically for the left or right speaker. They are mounted to the bottom by four wing nuts that allow for easy and secure tightening. Spike arrangement is not common, with four golden spikes at the front, back and both sides.
    The driver units are mounted to the cabinets in a rather complicated manner. I did not manage to reassemble them properly and sent them as they were to the manufacturer. There was no problem with that since I was forewarned about the problem. For example, the woofer is mounted in such way that the grounding wire runs between the driver chassis and the cabinet. According to Mr. Gałkowski, mounting it without the wire will cause a sonic difference. The dome tweeter with an added metal front is mounted on spacers. One of them is made of fabric and its assembly is fraught with problems. One needs a lot of patience to lay it correctly. Again, Mr. Gałkowski claims that its absence “will result in a slight sonic difference”.
    All other details were given by the designer in his description above. I see no need to add anything to that.

    Specification (according to the manufacturer)

    • Impedance: 8Ω
    • Efficiency: 89dB
    • Frequency response: 45Hz-22kHz (-3dB)
    • Recommended amplifier power: 2-90W
    • Recommended listening room size: 12-30m2
    • External dimensions without plinth: 120x25x16cm (HxWxD)
    • Weight: 20kg/ea.


    - Turntable: AVID HIFI Acutus SP [Custom Version]
    - Cartridges: Miyajima Laboratory KANSUI, review HERE | Miyajima Laboratory SHILABE, review HERE | Miyajima Laboratory ZERO (mono) | Denon DL-103SA, review HERE
    - Phono stage: RCM Audio Sensor Prelude IC, review HERE
    - Compact Disc Player: Ancient Audio AIR V-edition, review HERE
    - Multiformat Player: Cambridge Audio Azur 752BD
    - Line Preamplifier: Polaris III [Custom Version] + AC Regenerator, regular version review (in Polish) HERE
    - Power amplifier: Soulution 710
    - Integrated Amplifier: Leben CS300XS Custom Version, review HERE
    - Stand mount Loudspeakers: Harbeth M40.1 Domestic, review HERE
    - Stands for Harbeths: Acoustic Revive Custom Series Loudspeaker Stands
    - Real-Sound Processor: SPEC RSP-101/GL
    - Integrated Amplifier/Headphone amplifier: Leben CS300XS Custom Version, review HERE
    - Headphones: HIFIMAN HE-6, review HERE | HIFIMAN HE-500, review HERE | HIFIMAN HE-300, review HERE | Sennheiser HD800 | AKG K701, review (in Polish) HERE | Ultrasone PROLine 2500, Beyerdynamic DT-990 Pro, version 600 - reviews (in Polish): HERE, HERE, HERE
    - Headphone Stands: Klutz Design CanCans (x 3), review (in Polish) HERE
    - Headphone Cables: Entreq Konstantin 2010/Sennheiser HD800/HIFIMAN HE-500, review HERE
    System I
    - Interconnects: Acrolink Mexcel 7N-DA6300, review HERE | preamplifier-power amplifier: Acrolink 8N-A2080III Evo, review HERE
    - Loudspeaker Cables: Tara Labs Omega Onyx, review (in Polish) HERE
    System II
    - Interconnects: Acoustic Revive RCA-1.0PA | XLR-1.0PA II
    - Loudspeaker Cables: Acoustic Revive SPC-PA
    System I
    - Power Cables: Acrolink Mexcel 7N-PC9300, all system, review HERE
    - Power Distributor: Acoustic Revive RTP-4eu Ultimate, review HERE
    - Power Line: fuse – power cable Oyaide Tunami Nigo (6m) – wall sockets 3 x Furutech FT-SWS (R)
    System II
    - Power Cables: Harmonix X-DC350M2R Improved-Version, review (in Polish) HERE | Oyaide GPX-R (x 4 ), review HERE
    - Power Distributor: Oyaide MTS-4e, review HERE
    - Portable Player: HIFIMAN HM-801
    - USB Cables: Acoustic Revive USB-1.0SP (1 m) | Acoustic Revive USB-5.0PL (5 m), review HERE
    - LAN Cables: Acoustic Revive LAN-1.0 PA (kable ) | RLI-1 (filtry), review HERE
    - Router: Liksys WAG320N
    - NAS: Synology DS410j/8 TB
    - Stolik: SolidBase IV Custom, read HERE/all system
    - Anti-vibration Platforms: Acoustic Revive RAF-48H, review HERE/digital sources | Pro Audio Bono [Custom Version]/headphone amplifier/integrated amplifier, review HERE | Acoustic Revive RST-38H/loudspeakers under review/stands for loudspeakers under review
    - Anti-vibration Feets: Franc Audio Accessories Ceramic Disc/ CD Player/Ayon Polaris II Power Supply /products under review, review HERE | Finite Elemente CeraPuc/ products under review, review HERE | Audio Replas OPT-30HG-SC/PL HR Quartz, review HERE
    - Anti-vibration accsories: Audio Replas CNS-7000SZ/power cable, review HERE
    - Quartz Isolators: Acoustic Revive RIQ-5010/CP-4
    - FM Radio: Tivoli Audio Model One