
“The entire performance was more grounded, more solid, more reach-out-and-touch-it present in my room.”
John Acton – Aug ’26
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“The entire performance was more grounded, more solid, more reach-out-and-touch-it present in my room.”
John Acton – Aug ’26
Read Full Review

“With extraordinary definition and luscious instrumental textures, I heard depth and width with no phase distortion or undue colorations from the gorgeous wood cabinets… I was stunned.”
Robert H. Levi – July ’26
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Audiophile Junkie – June ’26
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“Whatever music you’ve ever fallen in love with, you will fall deeper in love with through these speakers.“
Mike Garner – June ’26
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“Moving the needle forward was not an easy task”
Neil Gader – March ’26
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hi-fi+ Issue 253 March ’26
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Notable honorable mention exhibits at CAF 2025.
Capital Audiofest 2025 Show Report By Rick Becker
Audience (703) is more commonly known as a manufacturer of cables and power conditioners, but here they premiered a floorstanding speaker as a follow-up to their very highly acclaimed monitor, now in its fifth generation. The music was exceptional, but the speaker holds even greater promise if paired with higher-performance components, including tube amplification for which it is eminently suited, with its internally powered bass driver. Its modest size and elegant presentation make it suitable for fine homes.
See their CAF 2025 coverage here.
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“Taking the opposite approach to crossover filter implementation (or the lack thereof) the Audience Bellare ($36,000/pair) employs multiple 3** wideband drivers to produce all the loudspeaker’s output from 120Hz up—there’s no crossover above that point. This, the manufacturer maintains in its promotional materials, “preserves phase integrity, tonal purity, and an ideal radiation pattern” with a variety of amplifiers, including low-powered single-ended designs. Low frequencies are the responsibility of the Bellare’s active bass section that’s equipped with a 300-watt amplifier that provides DSP room-correction and has the capacity to adjust the speaker’s bass output level with the supplied remote. Driven by Atma-Sphere amplifiers, cymbals on well-recorded jazz tracks were pristine and extended. Vocal sibilants were well behaved. Reproduction of an acoustic bass’s upper harmonics was exceptional on Patricia Barber’s version of “Ode to Billie Joe” with bassist Michael Arnopol from the 1994 album Café Blue.”
Andrew Quint – Dec ’25