After nearly 45 years of doing things the hard way and usually the right way, Creek Audio is stepping back into the spotlight with something to prove. At the 2026 Bristol Hi-Fi Show, the British brand will outline its next chapter, previewing the new CYMATICS speaker platform and signaling a fresh amplifier direction that looks forward without pretending the past didn’t matter.

Creek’s story has always been about defying expectations: starting with a £99 integrated amp that raised eyebrows in the early 1980s, surviving ownership changes, and steadily building a loyal following by prioritizing sound quality, sensible engineering, and price discipline over flash. That DNA still matters, but this announcement suggests Creek isn’t interested in living off nostalgia or legacy goodwill.

The CYMATICS platform and amplifier reset point to a company that understands where hi-fi is heading, and is ready to remind long-time fans and introduce new ones, why Creek earned its reputation in the first place.

CYMATICS

On the loudspeaker side, Creek Audio will introduce the CYMATICS 6, the first model in a new three-speaker lineup that will expand with the planned CYMATICS 3 and CYMATICS 9. Together, the range outlines Creek’s long-term loudspeaker strategy rather than a one-off design exercise.

Cymatics refers to the study of visible sound—how frequency organizes matter into repeatable patterns. For Creek, the concept is applied practically, informing decisions around drive-unit selection, crossover topology, cabinet behavior, and dispersion control. The goal is not visual spectacle, but predictable acoustic behavior: controlled resonance, coherent phase response, and even energy distribution within real listening spaces.

The CYMATICS speaker platform is built around scale and system hierarchy. Each model is designed to serve a clearly defined acoustic role while sharing a common engineering foundation, allowing performance to scale logically across the range. This approach is intended to strengthen Creek’s position in the performance-driven segment of the British hi-fi market, where system matching and room compatibility matter as much as raw specifications.

In short, the CYMATICS name reflects Creek’s focus on how sound behaves in the real world—prioritizing controlled dispersion, phase coherence, and balanced low-frequency integration over abstract theory or headline-grabbing design claims.

CYMATICS 6

The CYMATICS 6 has been developed as the reference model within the CYMATICS series. Its cabinet architecture, crossover topology, and driver integration are engineered to deliver controlled low-frequency extension and precise spatial imaging, while maintaining stable, realistic amplifier loading characteristics.

Tweeter Design Focused on Controlled Dispersion and High-Frequency Energy

In the CYMATICS 6, a 25 mm aluminum dome tweeter is paired with an aluminum waveguide. The waveguide improves off-axis response, manages acoustic loading, and enhances integration through the crossover region, resulting in stable imaging and consistent tonal balance across the listening area.

Mid-Bass Design Delivering Scale from a Compact Enclosure

The CYMATICS 6 uses a 171 mm custom fiber mid-bass driver, selected for controlled excursion, low distortion, and neutral, natural tonality.

Crossover Architecture for Coherent System Integration

Creek Audio considers the crossover the defining element of a loudspeaker, and the CYMATICS 6 reflects that philosophy. The crossover network is engineered for component neutrality and electrical stability, with driver integration taking priority over chasing specifications for their own sake. Phase behavior is carefully managed to maintain image solidity and tonal continuity, contributing to a measured frequency response of 44 Hz to 26 kHz (±3 dB) and a sensitivity of 88 dB SPL (2.83 Vrms, 1 m).

Cabinet Design Focused on Resonance Control

Both the tweeter and mid-bass driver are housed in a heavily braced MDF cabinet with a tuned rear vent, allowing the system to achieve meaningful low-frequency extension without sacrificing speed or articulation. Resonance is not eliminated, but deliberately controlled.

The CYMATICS 6 enclosure uses high-mass 25 mm MDF panels combined with strategic internal bracing to shift structural behavior outside the critical midband region. This approach reduces cabinet contribution and preserves dynamic integrity across the operating range.

Specifications

• Speaker Type: 2-way rear vented (Bass Reflex)
• Cabinet: Highly Braced, 25mm MDF construction
• Drive Units:
• 25mm Aluminium Dome tweeter
• 171mm Custom Fibre mid-bass
• Impedance: 4 Ohms
• Sensitivity: 88dB spl (2.83Vrms, 1m)
• Frequency Response (+/- 3dB): 44Hz – 26kHz 
• Power Handling: 120W
• Grilles: Magnetically attached
• Finish: Gloss Black, Wood
• Dimensions (HxWxD): 410 x 225 x 340mm  (26.1 x 8.86 x 13.5.inches)
• Weight: 15 kg / 33 lbs  each
• Price: TBD – Creek Audio products can be purchased through Authorized Dealers.

New Amplifiers?

In parallel with the CYMATICS loudspeaker program, Creek Audio is developing a new generation of integrated amplifiers built around its established MOSFET Class A/B architecture. While specific details have not yet been disclosed, the new direction is intended to preserve Creek’s core engineering principles while adapting them to the demands of modern systems and listening habits.

Bottom Line

After years of focusing our coverage on their integrated amplifiers, Creek Audio is clearly signaling a broader reset for 2026, but much of the picture remains unresolved. On the amplifier side, the return to development, with multiple MOSFET Class A/B prototypes expected to appear at the Bristol Hi Fi Show, plays directly to Creek’s historical strengths. This is familiar ground, and Mike Creek’s long record as a disciplined designer earns the brand real credibility.

The more uncertain move is the decision to enter the loudspeaker market. The CYMATICS 6, a passive two way stand-mount design, places Creek squarely in one of the most competitive segments of British hi-fi. Choosing a passive approach rather than an active or streaming based design suggests a deliberate philosophical position, but it also raises practical questions. Why passive in 2026, when much of the market momentum is shifting toward active, DSP driven, or networked systems?

Will the new integrated amplifiers incorporate streaming or broader system integration to complement that choice? And where will pricing land in a category already crowded with established loudspeaker brands such as KEF, Q Acoustics, ProAc, Spendor, Harbeth, Wharfedale, Tannoy, Fyne, and NEAT?

What remains to be seen is what truly differentiates CYMATICS beyond sound engineering fundamentals. Controlled dispersion, phase coherence, and amplifier friendly loading are sensible goals, but they are not unique in this category. If Creek can translate its amplifier focused design DNA into a speaker that delivers genuine system synergy, predictable room behavior, and a clearly defined sonic character, it could become a serious contender.

For now, CYMATICS reads as an opening statement rather than a finished conclusion. The interest is real, and expectations are high, but until pricing, final specifications, and extended listening impressions emerge, Creek’s loudspeaker ambitions remain a compelling work in progress rather than a settled result. 

For more information: creekaudio.com

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Regardless of what you think of GPT and the associated AI hype, you have to admit that it is probably here to stay, at least in some form. But how, exactly, does it work? Well, MicroGPT will show you a very stripped-down model in your browser. But it isn’t just another chatbot, it exposes all of its internal computations as it works.

The whole thing, of course, is highly simplified since you don’t want billions of parameters in your browser’s user interface. There is a tutorial, and we’d suggest starting with that. The output resembles names by understanding things like common starting letters and consonant-vowel alternation.

At the start of the tutorial, the GPT spits out random characters. Then you click the train button. You’ll see a step counter go towards 500, and the loss drops as the model learns. After 500 or so passes, the results are somewhat less random. You can click on any block in the right pane to see an explanation of how it works and its current state. You can also adjust parameters such as the number of layers and other settings.

Of course, the more training you do, the better the results, but you might also want to adjust the parameters to see how things get better or worse. The main page also proposes questions such as “What does a cell in the weight heatmap mean?” If you open the question, you’ll see the answer.

Overall, this is a great study aid. If you want a deeper dive than the normal hand-waving about how GPTs work, we still like the paper from [Stephen Wolfram], which is detailed enough to be worth reading, but not so detailed that you have to commit a few years to studying it.

We’ve seen a fairly complex GPT in a spreadsheet, if that is better for you.

Big moves are unfolding for Pro-Ject Audio Systems on both sides of the Atlantic this weekend. At the Bristol Hi-Fi Show 2026, the Austrian analog specialist is set to unveil the Debut Reference 10, a new flagship for its long-running Debut turntable range. At the same time, the company has confirmed a major shift in its U.S. strategy with the appointment of a new exclusive distributor, effective March 1, 2026.

The Debut Reference 10 moves the series further upmarket with a 10-inch tonearm built from a carbon-fibre and aluminium sandwich construction, positioning it as the most technically ambitious model yet within the Debut lineup. It signals that Pro-Ject is not content to let its entry-level reputation define the brand’s ceiling; the original Debut PRO was awarded our Editors’ Choice Award twice in the turntable category and was replaced by the Debut PRO B in 2024.

Equally significant is the U.S. announcement. Pro-Ject Audio Systems, part of the Vienna-based Audio Tuning Group, has named Stereo Distribution LLC as its new exclusive American distributor. The move formalizes a new structure for the U.S. market and confirms that the previous Pro-Ject alignment within the McIntosh Group ecosystem, alongside brands such as McIntosh, Sumiko, and Sonus faber under the Bose Luxury Group umbrella is no longer in place.

Debut Reference 10 Specifications

Pro-Ject Audio Systems positions the Debut Reference 10 as the most advanced model in its long-running Debut lineup, and the engineering choices reflect that step up.

At its core, the turntable is fitted with Pro-Ject’s Pick it Pro Balanced cartridge and includes a Mini XLR balanced output. That combination allows for a true balanced signal path from cartridge to phono stage, which can reduce noise and improve signal integrity over longer cable runs. However, it does require a compatible balanced phono preamp to take advantage of the connection. Without one, you will not unlock the full benefit of the balanced design.

The Debut Reference 10 uses a 300 mm acrylic platter, chosen for its inherent resonance resistance. This sits atop a diamond cut aluminum sub platter, adding mass and rotational stability. The platter bearing consists of a high precision stainless steel axle seated in a bronze bushing, designed to maintain smooth rotation and long term durability.

The chassis is constructed from hand painted MDF and supported by three height adjustable, damped aluminum feet. These feet are designed to provide stable leveling while helping to reduce the risk of acoustic feedback, particularly in environments where speakers share the same surface or room structure.

This is a belt driven turntable with the motor fully decoupled and suspended within the base to minimize vibration transfer into the platter and tonearm assembly. Electronic speed control allows convenient switching between 33 and 45 RPM, while manually moving the included round belt enables playback of 78 RPM records.

A Puck E record weight is included in the box, designed to help secure records more firmly to the platter surface for improved contact and stability during playback.

The 10 inch one piece carbon aluminum tonearm measures 254 mm in effective length and has an effective mass of 16.6 g. It supports both adjustable azimuth and vertical tracking angle (VTA). By loosening two grub screws, users can continuously adjust tonearm height to accommodate cartridges of varying body heights or different platter mat thicknesses. This level of adjustability is not always standard in this price category and allows for more precise cartridge alignment.

Performance specifications are competitive for the class. Wow and flutter is rated at ±0.16 percent at 33 RPM and ±0.14 percent at 45 RPM. Speed drift is specified at ±0.4 percent at 33 RPM and ±0.5 percent at 45 RPM. Signal to noise ratio is listed at 68 dB.

Physically, the Debut Reference 10 is not some oversized statement deck. It measures 462 x 145 x 345 mm, which translates to roughly 18.2 x 5.7 x 13.6 inches (W x H x D), and tips the scale at 6 kg, or about 13.2 pounds net. Manageable, solid, and realistic for the kind of racks and consoles most people actually own. In the box, you get the essentials: a dust cover, a dedicated 78 RPM belt, and a 7-inch single adapter.

The Bottom Line

Now here’s where it gets interesting.

The U.S. Supreme Court issued a ruling this morning related to tariffs that could have a meaningful impact on imported audio products. Could that work in favor of American buyers when this table finally lands? Possibly. But it’s far too early to know how that decision will ripple through distribution, freight, and final retail pricing. Anyone pretending they have clarity right now is guessing. It’s basically a mess.

And all of this unfolds against the backdrop of a bigger shift.

So while the Debut Reference 10 is the headline product, the more consequential story may be the business side. New flagship table. New U.S. distributor. Potential tariff recalibration. That is a lot of moving parts for one weekend and it suggests that the next chapter for Pro-Ject in the U.S. will look different than the last.

A new U.S. price list is expected shortly, and dealers are reportedly receiving updated pricing ahead of the March 1, 2026 transition. From what we understand, most existing Pro-Ject retailers should not see negative disruption as the new distribution structure takes effect. That said, whenever a brand shifts logistics, and billing systems, there is always the potential for short-term hiccups. It comes with the territory.

The current U.S. website, www.pro-jectusa.com, will be discontinued after March 1, 2026. Moving forward, product information will live on the global site at www.project-audio.com, aligning the U.S. more closely with the brand’s international presence.

Heinz Lichtenegger, CEO of Audio Tuning and the driving force behind Pro-Ject Audio Systems, has built the company over decades into one of the most dominant analog brands in Europe. With that kind of track record and with the U.S. market representing significant growth potential, there is little incentive to let this transition stumble. There is simply too much at stake, both commercially and reputationally.

Price & Availability

The finish is satin black, understated and safe. UK pricing is set at £999, with Australia confirmed at AU$2349. U.S. customers will have to wait a bit longer, and pricing is still to be announced.

For more information: project-audio.com

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JVC’s W-VHS VCR made a splash in the analog tape world when it debuted in 1993, and with good cause. Engineers at the business decided to go all out on the tried-and-true VHS cassette casing, upgrading the tape and devising some ingenious ways to load high definition video onto it a few years before digital formats truly took hold. From the outside, the product appeared to be any ordinary VCR, but, surprise, under the hood, it is managing signals far beyond the capabilities of a standard VHS.

MUSE, the Japanese Hi-Vision broadcast system, required a mechanism to record its high-definition images at home, thus JVC developed W-VHS (short for Wide-VHS). Their first machine, the Victor HR-W1, was released on December 28, 1993. It receives the 1125-line interlaced signal from Hi-Vision tuners via analog component connections (separate channels for luminance and color difference), and when playback time arrives, it produces sharp, wide-screen images that dwarf anything you’d normally see on a television at the time.

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Standard VHS used to try to jam color and brightness onto the same tape, resulting in reduced detail and distortion. W-VHS turned the entire methodology on its head. It records in component form, keeping those two items distinct so they don’t interfere with one another. It then lays down two parallel tracks for each video field using a dual-track system, which can have up to 12 heads on the drum in some models.Luminance spans both tracks, whereas the two color signals are delivered in compressed bursts on either track. This ‘time-compression integration’ approach doubles data throughput without stretching the tape channel to its limit or speeding up the reels to breakneck speeds.

Bandwidth ended up being quite outstanding for a tape-based system, with luminance reaching roughly 12 MHz in high-definition mode, a far cry from the 3 MHz seen on consumer VHS. Horizontal detail reaches around 960 pixels equivalent per line, while vertical resolution approaches 1035 active lines per frame when the interlaced structure is taken into account. The chroma resolution suffers slightly as a result of the sequential recording, but the overall image remains clear and detailed. Then there’s the audio, which is presented as digital PCM files, providing a level of clarity that matches the video enhancement.

The best part is that W-VHS decks maintain a high level of compatibility with ordinary VHS and S-VHS cassettes, allowing you to play or record them without any issues. So, aside from capturing regular broadcasts or even two standard-def signals at once to help kickstart early 3D experiments, you’re looking at around 2+ hours on tape in high-def mode on the right cassettes, which use that higher-density metal particle coating inside the familiar shell.

Of course, the primary barrier that prevented W-VHS from catching on was the cost of the devices. They were pricey and were primarily purchased in Japan by Hi-Vision enthusiasts, with a few appearing worldwide for medical imaging purposes. By the time digital formats such as DVD appeared, analog high-definition tape seemed like a dead end. Production virtually ceased, and today, all these years later, a small group of ardent collectors and W-VHS machines appear on occasion, despite the fact that they have been largely forgotten.
[Source]

The Men’s T20 World Cup moves into its next phase this week as the Super Eights get under way. The original 20-team field has been reduced to eight contenders, featuring many of the tournament’s heavyweights — though notably without Australia, who were knocked out by Zimbabwe.

The format is straightforward: two groups of four, with the top two from each progressing to the semi-finals, as India, South Africa, West Indies and Zimbabwe make up Group 1, while England, New Zealand, Pakistan and Sri Lanka form Group 2.

A wounded England and a galvanized Ireland face off at Twickenham this Saturday in what looks like a second-place decider – possibly more if France slip up somewhere down the line. Andy Farrell’s men had entered the Six Nations as title hopefuls, a tag that latched onto Steve Borthwick’s group when Ireland were annihilated in their opener… only for England to be shredded by an out-of-sorts Scotland.

More than any other fixture, this is the one both teams must win in order for their respective campaigns not to be written off as a complete failure. The line really is that fine. England’s Triple Crown hopes are gone, and they’ll want to ensure that Ireland aren’t able to claim it instead.