Reporter: Carlo Iaccarino
The show took place from June, 4th through June, 7th 2026 at the Vienna Austria Center, in Vienna, Austria
Originally written: June, 2026
Website with plenty of resources: High End Society

Let's move on

In this second part I would like to point out some things that caught my attention, not necessarily after listening.

As our Editor has already anticipated on the magazine's FB page, this year FOSI AUDIO has decided to shift gears.
Alongside the traditional plethora of very affordable products, many of which have also been favourably reviewed here, they have decided to produce a series of higher-end devices called INGENUUS.
To do this they called upon Guy David Tuneh, a classical double bass player, as a collaborator, and placed him in charge of this project.
During his press meeting, Tuneh said that he had explicitly "promised to make Fosi better" continuing to produce great products, but with better technology.
He started from one of their best commercial successes, the small V3 mono power amplifier, and thought about an upgrade.
He thus conceived the V4 mono, still a switching power amplifier, but based on Hypex modules, specifically customized. He explained that, although the chosen modules guarantee power up to 300 W, he preferred to design the amplifier limiting it to 250 W. The designer focused heavily on the aesthetic work, which he never left separate from the functional one: they invested a lot of time in crafting the front panel, all in aluminium with a thin central tilting copper strip that acts as a switch. Moreover, the feet are made with a strip of rubber material to give them greater "non-slip" grip on the support surface compared to the V3. The ventilation slots were also redesigned. Another major step forward, both aesthetically and technologically, was the decision to abandon the external power supply in favour of an internal power supply. For the latter, they exchanged the linear PSU for a switching one, to keep the space contained and, at the same time, ensure low temperatures and performance efficiency, but also in this case with careful engineering to avoid any interference or other problems.
Below are the two models, for an immediate dimensional comparison.

The size and power have increased, and consequently, the price has also increased, though it remains at a modest USD 500 (we'll see if the promises are kept...).
This amplifier also recently received the Red Dot Design Award: here's the proud designer with the award certificate.

The Ingenuus series also includes a larger power amplifier, the V5 mono, still switching, but with different Hypex modules, whose internal engineering has also been modified. The cabinet has been designed with the same attention.

For the V5 mono, both size and power have increased further: we're at 550 W for an expected price of USD 1,000. Below, the brave father with his creations. The different dimensions are clearly visible. Both models are final prototypes and are expected to be released for sale within 3-6 months. Initially, they asked us not to photograph them, for fear that competitors might draw inspiration from them; they then relaxed this restriction, considering that even if an expert competitor could trace the internal technology just by looking at it, it wouldn't be possible to procure it in a timely manner that would worry them.

I was a bit perplexed by the company's communication during the press conference. They explicitly stated that the design of this new Ingenuus series was based on the idea of ​​not being ashamed of making "sexier" equipment. With this initiative, they say they want to reach an audience that would never have bought a FOSI; the choice of Hypex also seems to me to follow this approach, as it was clearly dictated not only by the quality of this manufacturer's products, but also by its popularity in audiophile circles. Consistent with this approach is the plan to expand the series with a non-switching, traditional class AB amplifier, and a class A headphone amplifier. Furthermore, they intend to equip the Ingenuus equipment with better support and repair service compared to the "plain" Fosi products, which are admittedly capable of improvement in this respect. They believe the Ingenuus series is to Fosi what Lexus is to Toyota. Finally, they also expect that all the improvements designed for the Ingenuus series will eventually trickle down to regular Fosi production, which will continue anyway.
Now, I'm far from a marketing expert, and I have nothing to teach a young, fast-paced Chinese company, but hearing Tuneh speak, it seemed to me that the company had decided to lose sight of its core customers, the ones who made it successful. I thought he was saying that they could continue to settle for the good but ordinary Fosi devices; then, if they really want to improve, they'll be granted access to the Ingenuus devices. It sounds like a customer upgrade program, rather than a machine upgrade. But maybe I was just a victim of the language barrier...
In any case, I was fascinated by Tuneh's personal stance within the company: he's not an engineer or a technician (although he told us he was tinkering with equipment since he was a child), but rather a creator. He continually conceives the forms to give the equipment and functions to serve those forms, and vice versa. He then presents his ideas to the company's technology department, which begins designing the actual device. Together, they proceed until the project is fully defined. For the V5, for example, once the aesthetic and functional goals were established, Tuneh spoke of extensive comparison tests between various switching amplifier modules, including those from Hypex itself, before choosing not only the module to use, but also its concrete implementation and the modifications to be made. Clearly, he emphasized at this stage the importance of his artistic sensibility and his practical experience of how live music should sound.
Now, for this new initiative, Fosi is expanding, and... it's hiring. Perhaps some young readers might be interested in joining such a sophisticated development environment and contact the company. If so, you should look for these two people below 😊

I received a warm welcome from Fosi, once I introduced myself as the Editor's emissary, and I thank them for that.
But that wasn't the only time I experienced the power of TNT-Audio 😉
Both in terms of character and strategy, I approach visits to the rooms by taking advantage of my anonymity.
I also did the same for the VOLUMIO stand, where their entire production was on display.
Thanks to their grouped display I can show you two "family portraits".
Below are the two RIVO and RIVO+ streamers, the PRECISO DAC and the LINEO5 linear power supplies.

Here instead is the MOTIVO desktop streamer DAC, which, as far as it may interest you, I found aesthetically very pleasing 😊 and the two traditional streamer DACs PRIMO, in the new MkII version, and PRIMO PLUS, the latter recently reviewed here.
And because of that review, once they glimpsed my badge, the guys at Volumio abandoned their professional and calm demeanor and broke into huge smiles.
Dario Murgia, the designer responsible for all of Volumio's electronic products, was keen to extend warm words of appreciation and affection to the magazine. These words, of course, go to the Editor-in-Chief, but I'm happy to acknowledge them. I hope the photo conveys his sincere enthusiasm.

Dario was keen to point out that they assemble practically everything in-house, in Florence, Italy, and therefore have direct control over everything they produce.
This company, known for its initial down-to-earth approach, also wants to expand its catalogue to higher-end products.
Their latest creation, still on display in prototype form, was the new RIVO ULTRA, Volumio's flagship streamer, meticulously crafted both electronically and in software. It also boasts an innovative —for the RIVO line— display (a multifunctional one, at that: it shows details about the song currently playing, the VU meters, or other information) and a lid covered in genuine leather crafted in Florence, a tribute to the city's tradition. Perhaps the only thing that stands out is the cabinet's shape; to me, it's a clear move toward a more traditional, and I'd even say more international, aesthetic. It's just my unsubstantiated opinion, but it seems to me they're aiming for an aesthetic that's perhaps more acceptable to us older folks...
It is a device that can be interacted with, that aspires to be displayed, no longer relegated to a utilitarian state where it can be hidden away and accessed only to turn it on.

Continuing with the warm welcome, the annual gathering with friends from LAB 12 could not be missed.

This year they finally set up an exhibition with sound; you'll allow me a surge of patriotic pride in their choice to give voice to their electronics through Sonus Faber loudspeakers.

The Greek electronics present in the system were as follows.
Gordian AC conditioner/distributor, their old workhorse, whose display provides information on input voltage and frequency, as well as current and power consumption of the connected appliances.

Digital/analogue conversion is entrusted to the DAC1, another of their successful devices, here in the new reference version, a NOS DAC (it uses 8 Philips multibit chips in parallel) with tube output.

Integré4 stereo integrated amplifier, here in its MkII Toroid version (named after its toroidal power supply transformers).

The boss, Mr. Vichos, told me that starting this year they will start giving their devices a different aesthetic: the first example is the PRE1 MkII tube preamplifier, also improved internally, for an expected price around €3,000.

I don't know about you, but I like the "laboratory" aesthetic that, not surprisingly, has always distinguished LAB12 equipment. However, this new version maintains its sobriety and minimalism, without a clear break with the past.

Staying among friends, I can't help but tell you about RIVIERA AUDIO LABORATORIES.
I don't have a decent photo of owner Luca Chiomenti to share this year, so let's start with a "family portrait".

In the foreground, the entry-level solution for separate amplification. The APL-1 line-only preamplifier, to which you can add either the AFS32 stereo power amplifier underneath or the two AFM70 monoblock power amplifiers on either side. In the background, another of their commercial successes: the AIC10 Bal integrated headphone amplifier (and more), now in a balanced version, as the name suggests.
To satisfy our voyeuristic obsessions, here's the very tidy interior of the APL-1 preamplifier.

Staying on the subject of preamplifiers, Luca also exhibited his top-of-the-line model, the APLO 1 Special Edition.

I think you'll also be interested in taking a look inside, where I seem to detect a certain family feeling.

Big news for this year is the very advanced APFO1 SPECIAL EDITION phono preamp, which Luca has been working on for some time.

As you can see, this is a highly configurable device. It has three inputs, one of which is for moving coil cartridges; the latter can be selected as either unbalanced (RCA) or balanced (XLR). The output can also be selected between unbalanced and balanced. The three inputs are independent, and resistance and capacitance values ​​can be specified for each. The input being listened to is switched downstream and controls the "output" settings, so to speak, allowing you to select both the gain and the high- and low-pass de-emphasis. I don't know if it's visible, but there's also a phase inversion button.
They plan to release it in December. I tried to ask about the price, but they haven't determined it yet.

Speaking of phono preamps, we head to another face surely familiar to many of you, the very nice Paul Mc Gowan of PS AUDIO, here proudly together with the components of the company's flagship series, the PMG Signature, not coincidentally titled with the initials of his name.

The entire line features a very "clean" aesthetic, with software controls and a graphical interface, without knobs or buttons. Clearly designed to fit easily into a normal home environment.

Their new Paul McGowan Signature Phono preamp also belongs to this group, with a "normal" voltage input, selectable between MM and MC, and another, only for moving coil cartridges, labelled as "transimpedance" (so, if I'm not mistaken, current-driven). Both the inputs and the output are in both unbalanced (RCA) and balanced (XLR) versions. The gain and input impedance can be adjusted. Paul confirmed to me that this device is a design by Darren Myers, their talented young designer who later joined Parasound, who was able to operate free from the budget constraints of his equally acclaimed Stellar Phono. I think it's entirely more interesting to show you its rear panel.

Naturally, their renowned ASPEN series loudspeakers were also on display at the PS Audio stand, pictured here in an overall photo that doesn't do their appearance justice (especially the small stand-mount model).

The series is completed by the FOUNDRY F12 amplified subwoofer, compact in size, both for easy placement in any room and because, if necessary, several can be stacked for greater "firepower". It features DSP; it is loaded in pneumatic suspension and here in the photo you see it with a small optional wireless transmitter, which can drive up to ten of them (solving the problem of connecting stacked subs with practical elegance...).

Continuing the theme of phono preamps (and of friendliness...), we turn to Fabrizio (and Enrico) Baretta, of FABERS' CABLE.
This Italian manufacturer also offered the latest version of its phono preamp, the GM v.3.0 phono model, also highly configurable, also built with attention not only to components and circuit layout, but also to the many years of experience and the many errors Fabrizio was called upon to correct over time.

As you can see from the photo, the goal here too, as with its compatriot Riviera, was to provide a product that allowed for extreme configurability: three inputs, this time all for moving coil cartridges, only one of which may be switched for moving magnet cartridges; the ability to precisely select the input resistive load and the deemphasis high-pass pole, as well as the option to invert the phase. One of the two inputs is for MC cartridges in balanced format, and the output can be selected between unbalanced and balanced formats. All this for around €15,000, a demanding price but still far from the exaggerations that have unfortunately become the norm in the high-end.

Pit stop

I'd say it's time to stop for this second part too...
[Back to Part I]

Did you enjoy this article? You can support our free, advertising-free magazine with a small Paypal donation using the button below. Thank you!

Copyright © 2026 Carlo Iaccarino - www.tnt-audio.com

[ Home TNT-Audio | Staff & Contacts | HiFi Playground | Listening tests | DIY & Tweakings | Music & Books ]