Best Of

CLYNELISH 1990 OVER 30 165 Bottles
If the 25-year-old Clynelish aged in sherry casks from the 2022 creation catalog made many round trips between Brora and Andalusia, this version distilled in 1990 dazzlingly reflects the “coastal” style typical of single malts from North of Scotland. Both rural and maritime, she tells the story of a region she knows by heart. The only aged – lees version in bourbon barrels of this sherry-oriented Artist #12 range, it imposes itself with remarkable naturalness. Defying the onslaught of time, it restores with even more force the herbaceous, waxy, saline and medicinal character that has made the reputation of this mythical single malt.

TASTING NOTES 
Colour: Deep gold.

Nose: Rich, heady. On the first nose, scents of rooty and empyreumatic peat (sleet, soot) rub shoulders with vanilla, lemony and medicinal notes (Velpeau band, poultice) of very pure expression. Allowed to breathe, the aromatic palette becomes increasingly mineral (schist, charcoal, basalt), saline and at the same time creamy (barley porridge, rice cake). Then, essential oils (savory, rosemary, sage) and spices (star anise, clove, nutmeg) intermingle with fresh fruit (Williams pear, Golden apple).

Palate: Clean, full of vitality. Finely liquoricey (stick) and oily (green olive), the attack on the palate develops into candied (lemon, pineapple, pear) and herbaceous (green barley, cut hay, alfalfa) flavors. On the mid-palate, notes of barley sugar and anise deeply permeate the taste buds. The finish is minty, very slightly earthy and rooty (gentian, genepi).

Finish: Long, dense. Anchored in a soil full of mineral salts, the start of the finish is supported by a remarkable chocolate and malty bitterness. In the aftertaste, the pungent flavors of a burning cigar float in an atmosphere increasingly saturated with intense smoke and eucalyptus notes. The retro-nasal olfaction is malty, peaty (dry peat), medicinal (balm), vanilla and lemony. The empty glass leads us right into the middle of a spray-swept peat field.

MUSIC PAIRING
This whiskey was matched with the following tracks 

1) Good Morning School Girl - Muddy Waters > Davinci Gabriel / Miyabi Fuuga / Zanden 1200 Signature
2) Trouble's what you are (Live) - Fink > Wadax Reference Server and DAC
3) Keith Don't Go - Nils Lofgren > Vertere SG1 / Thales Voro / Engstrom Mphono

LEDAIG 2005 OVER 15 - 665 Bottles

The history of the Tobermory distillery, which was renamed Ledaig between 1972 and 1975, is interspersed with periods of closure and reopenings. Since 1993, it has produced two single malts, one unpeated, named Tobermory, and the other peated and named Ledaig (30-40 ppm). Alternately very peaty, heady, rancio, exotic, chocolatey, saline, empyreumatic and spicy, this

version brilliantly summarises the unique and enchanting style that is the trademark of the finest Ledaigs.

TASTING NOTES
Colour: orangey copper.

Nose: rich, concentrated. The particularly intense and expressive first nose reveals a fairly dry, rooty and yet very elegant and compact peat. Next, notes of brandied cherries and apricot highlight the quality of the very well-integrated sherry cask maturation. Allowed to breathe, the aroma palette becomes increasingly heady (lily, freesia), exotic (mango, persimmon) and superbly chocolatey. The overall effect is one of radiant harmony.

Palate: lively, tempestuous. The striking attack is an accurate summary of the nose. Very quickly, however, an even more chocolatey and above all more saline peat takes over. On the mid-palate, it is dressed in medicinal (arnica), camphoric, animal (bacon) and empyreumatic (sandalwood, chimney fire) tones. The end of the palate allows a glimpse of a fruity (raspberry) and lemony spirit.

Finish: long, deep. Characterized by notes of slightly damp earth, the start of the finish is subtly floral (poppy, cornflower, violet). The peat has quietened down, becoming more liquorice and delicately peppery. With its flavours of curry and ylang ylang, the end of the finish is undeniably oriental. On the retro-nasal olfaction, once again very present peat takes over the centre of the palate, allowing the deliciously sweet juice of a ripe apricot to flow through. The empty glass is nobly spicy (cardamom, saffron, ginger)MUSIC 

MUSIC PAIRING
This whiskey was matched with the following tracks which were played on the WADAX Reference Server / DAC 

1) The Man Machine (live) - Kraftwerk
2) Something About Us - Daft Punk
3) Seven Days in Sunny June - Jamiroquai

Grand Opening of AE Singapore 

Mohan and his crew had been conquering challenges one after another in the past 12 months. First, a channel imbalance of 6db was identified in the mid range between left/right channel. Second, the measured output between the 2 x active 項羽 subwoofer despite the same volume reading was different. Third, the integration of Arya Air Blade (located at the back of the main speakers) was obstructed by impedance mismatch with the main speakers stressing the amplifier.

Numerous late nights were spared with respect to a demanding daytime job in the past twelve months.  It was not until these anomalies were resolved before they could seriously move on to the next stage. These are structural problems no expensive cables and accessories could resolve. Given the titanic scale of the Cessaro Carmen Horn system, the challenges are tremendously physical involving change of new compression drivers alongside physical relocation of subwoofers many times.  

What I admired Mohan the most is that he did not put the cart in front of the horse.  He had chosen to rectify structural ills before meticulous selection of cables at the right place alongside instruments to annihilate various kinds of noises. They even resorted to the use of an external analog crossover to replace the digital crossover of the subwoofer due to circumstances repeatedly called for such a solution.  

At AE, we don’t use Uber items for the sake of exemplifying the price tag. We focus on harnessing intrinsic value from the system as immensely as possible.  Value in the form of musicality must far exceed price. That requires skills, knowledge, patience, education and communications.  Think of us as a chef preparing an artisanal dish. We need good ingredients but not all have to be pricey. It is the integration that matters. 

This system consists of two pairs of active subwoofers and a pair of 180 degree augmentation tweeter.  Blending them together as if they don’t physically exist is next to impossible, notwithstanding numerous acoustic issues consequentially resolved by Acoustic Grove System.  Mohan did it with flying colour.  Even the analog part is fabulously presented with conviction.

Due to the intelligent application of external analog crossover bypassing digital crossover in the subwoofer, this is probably the most transparent system I have ever experienced confirmed (bass is particularly phenomenal) by acoustic measurements and listening.  

I am proud of Mohan carrying the AE badge in South East Asia. 

Chris Leung 

To kick off this exciting occasion, we’re hosting three workshops led by industry experts, each focused on different aspects: Noise Management, Acoustic Management and Network management

Please email mohan@audioexotics.com with the time and session to book a place

11am Saturday 21 and Sunday 22

Noise Management – Chris Leung - Founder/CEO of Audio Exotics Group

Noise management is a critical topic, and here at AE, we take it very seriously. If noise isn’t effectively dealt with, it doesn’t matter how much you’ve invested in your audio system – it won’t perform at its best. There are six types of noise to consider: ground noise, AC noise, mechanical noise, RF noise, EMI noise, and room noise. Each type has its own unique characteristics and demands a different solution.

During the presentation, Chris will walk you through a series of demonstrations that highlight the negative impact of noise on music playback and how addressing these issues can help us bring the essence of musicians back to life from their recordings. The ultimate goal, when handled professionally by AE, is to transform your audio system into a time machine, taking you on a journey through the history of music like never before.

Acoustic Management – In the Conductor’s Seat : Adrian Lo – Founder and Principal Consultant Soundzipper

Discover the world of acoustics with Audio Exotics and Soundzipper in this unique learning session. Explore the Main Room at Audio Exotics Singapore, where innovative acoustic designer Adrian Lo has defied convention by blending wood and metal for optimal sound, avoiding traditional acoustic absorption materials. Learn how this approach, inspired by concert hall stages, creates a perfect balance between clarity and envelopment. Join us to experience the Main Room’s immersive design that puts you in the conductor’s seat. Delve into the intersection of science, art, and audio excellence in acoustic innovation.

Network Management – Edison Wong – Founder and CEO Ediscreation

A properly configured network is essential for a smooth and top-notch audio streaming experience. Factors like latency, buffering, congestion, packet loss, and network speed all come into play to make sure you get the best sound possible.

Join Edison Wong as he takes you through the essentials for achieving the ultimate sound quality when streaming music. Edison will demonstrate how using high-quality network cables, audiophile switches, and fiberboxes can significantly enhance your audio experience.

Prologue Part 1/2

The Akasu Elemento (AE) project was initiated by Lee Paul Dalby from United Kingdom 5 years ago without any commercial considerations and third-party funding support.  I was intrigued from the outset of this unique daring conception and closely followed its design and engineering progress ever since. It’s a freak of nature. A one of a kind. I proclaim it as the “Analog Turntable of the Century”.  

The goal is neither to claim it is the most expensive turntable in the world (there is not a price tag attached to it) nor whatever “the best” means. Indeed, the Akasu wasn’t made for resale. They will only ever be three: one for Lee, one for Chris of AE, and one for spare.  The ordeal is to exemplify an attitude and a standard of extreme artisanal craftsmanship, to ascertain it a legend. 

The objective of the design is to resurrect the soul of artists through recorded music on vinyl without sonic coloration by the materials that the turntable are built upon.  (Beware minimization of mechanical vibrations does not warrant the elimination of sonic signature of material from a lump of copper and alumimium). The engineering required to prove Lee’s philosophical goal is a gigantic undertaking never ever attempted by anyone hitherto. Lee counts on AE to unleash the full potential of it at Divin Lab.  (He had not listened to the Akasu before shipment to Hong Kong.) Dalby Audio Design and Audio Exotics shall make history.  

Akasu is something that wouldn’t be out of place inside the library of Buckingham Palace.  Lee joked with me and said, “Akasu will still be around decades later after I’m gone.” The word ‘upgrade’ does not illuminate positivism to Lee because it wasn’t the best it could be to begin with. ‘Do it once, do it right’, springs to his mind. This is not a typical business approach for repeat sales, but Dalby Audio neither aims at conveyer belt sales, nor schmoozing at biggest audio shows. Dalby Audio is simply enigmatic and off grid, just like it’s founder.

The Heart

At the heart of Akasu is an evergreen Garrard 301 transcription unit, discovered through a fascination with vintage audio in the theatre era of 1930s-50s. During Lee’s quest for vintage Western Electric over the years, a humble Garrard 301 caught a spot in his heart.  There was something charming about the sound quality that Lee likes it so much despite its obvious flaws, mostly due to mechanical rumbling noises crowding out finesse of musical details. It spurred him on to formulating a grand plan to transcend the 301 to be a masterpiece - with all the anomalies ironed out. 

Let’s get it straight here – other than the motor and the control levers remain, nothing is left.  The project is not a simple transcription of upgrading old parts.  Nothing is off the shelf and all components are custom made by craftsmen with respect to over hundreds of original CAD drawings. It is a gigantic engineering transcendence project with a clear philosophical quest - we should not hear what the turntable is made of by what materials. 

Lee states: “Turntable is a complication of systems fighting against each other. Negative and positive forces going about their business. The aim is to create the most silent environment for each system so that they work seamlessly without hindering each other.”  The complexity of making Akasu starts from within.  There are meticulous works on numerous tiny jewelry-grade engineering details not seen from the physical exterior. Lee has strong conviction that every little thing adds up, for instance, the deployment of hundreds of titanium screws matter to the consequential sound quality.  In reality, simple things aren’t always easy to implement. In fact, when pursuing such things, they become increasingly elusive and seldomly achieved. Yet Lee had chosen to carry on at whatever the cost.