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There’s a reassuring matter-of-factness about the design and construction of Bryston’s amplifiers. While they might lack a little glamour – there’s no frivolous dressing up to impress – there’s an understated purposefulness to the marque’s range that has brought the company considerable success in the professional arena since it first began making amplifiers in 1973. Countless professional sound studios around the world employ Bryston electronics for 24/7 amplification duties thanks to the company’s acclaimed quality control and reputation for reliability. In the world of high-end hi-fi manufacturing, boasting to be somehow connected to the worlds of medical and/or the aerospace industries adds a certain cache to a brand, conjuring up images of hard science and meticulous attention to detail.

You may be forgiven for having not yet heard of Firestone Audio though its quirkily designed little boxes appear to be gaining something of a cult following. Made in Taiwan, there’s a plethora of components in Firestone’s range, encompassing phono preamplifiers, various solid-state and valve headphone amplifers including a battery powered model, digital-to-analogue converters and even a dinky little 8W stereo power amp dubbed Big Joe. One of its headphone amps is called Cute Beyond. Did I mention that these miniature boxes looked cute? Funny, that; Firestone calls them the Cute Series.

Although CD has improved in leaps and bounds since its introduction, the sound initially disappointed many audiophiles and music lovers. One of the first companies to realise that CD replay could be improved was Meridian, giving rise, in 1984, to the Meridian MCD and MCD Pro. Based on a robust Philips mechanism, but with Meridian’s own analogue circuits and oscillator, the MCD Pro really lifted CD sound and a succession of Meridian CD players have continued to set high standards ever since. The CD-only 808 was launched in 2004, but Meridian has developed its replay technology so far since then that it has significantly re-designed and re-launched it as the 808.

For those who use SME arms as the yardstick for all others, the mere presence – no pun intended – of Presence Audio’s London tonearm will come as a slap in the face. No, make that a bucket of foetid, lukewarm water poured over one’s post-modern, refined-by-Wallpaper magazine sensibilities. It looks as if it was made of scrap metal scavenged from a skip behind the Meccano factory, circa 1956. Finish? The review sample hit every branch on the shabby tree, and didn’t even stop at the roots.