Our updated time coherent compact loudspeaker, now with the accolades of
'Outstanding' from A British Audiophile, and 'Best of 2023' from The Ear.
Available in finished Baltic Birch, or black Valchromat.
AYAL at a glance..
- 2-way rear-ported enclosure
- H 326mm x W 170mm x D 242mm
- Weight (each): 6.3kg (dependent on material options)
- 4mm bare-wire/spade terminals
- SEAS Prestige 120mm treated paper mid-bass driver
- SEAS 27mm sonolex fabric dome tweeter
- Expotus pair-matched resistors
- Jantzen Superior Z-cap capacitor 2% tolerance
- Jantzen 3% tolerance air-core inductor
- Advise amplifier to be 40 – 150 W at 8 ohms
- Sensitivity 85dB 1w/1m
AYAL - The full story
For a long time now, we have wanted to fully explore the area of time coherence in our designs and the benefits it should bring to music listening. Work began on the Ayal in June 2017 and took 3 years to reach production due to our exacting design principles and extensive testing protocol.
We already knew the importance in using a 1st order crossover filter, as they establish time and phase coherence for each drive unit and for all frequencies. Our crossovers are also transient perfect in operation and this qualifies our loudspeakers as prime candidates for physical driver alignment on the baffle. Loudspeakers that use 2nd, 3rd or 4th order crossovers will have less benefit from moving the tweeter backwards, as the signal passing to them already has frequency dependent time errors.
Prior to moving the tweeters we needed every other element of the design to be in place and the Ayal performing to its absolute best. Having already prototyped and voiced our debut speaker (The Translator), using the excellent SEAS drive units we chose them again as they responded very well to our design principles previously. We chose:
the SEAS Prestige CA12RCY woofer and
The combination of these two components gives rise to the crossover, the design of which is explored in much greater depth and detail here. As mentioned above, the 1st order arrangement of crossover filter is the foundation of everything sonic here at 3 Square.
Having achieved this, it was time to start the process of aligning the tweeter. For prototyping purposes we seated the tweeter in a movable compartment positioned above the bass driver, allowing us to experiment with tweeter alignment. It was interesting that we heard no noticeable change when the tweeter was at the extreme front or moved too far rearwards, but eventually there became a distinct hot spot. A 10mm window, that narrowed to 5mm once the listener had acclimatised to the structure of improvements that were appearing.
It was very exciting to hear what at first seemed subtle and nuanced become magnified with extended listening. Initially we picked up an extra tight focus on percussion instruments, their energy concentrated within each sound and preceded by the smallest of details on the leading edge. Over extended listening there developed the feeling of people performing 'live' rather than being reproduced from a recording. Each part of the music became more distinct and separate yet it let the listener easily accept this separation and make it gel as a greater unified performance. A voice was often placed so vividly you could imagine seeing the singer at the microphone in front of you.
At the very end of optimising the tweeter position we began to wonder if the pitch of playback had been affected. The increased differentiation of instruments was due to the pitch of each now being resolved with greater accuracy. With no further improvements forthcoming, we finalised the measurements.
Once all the dimensions were established, the design process moved forward to the aesthetics stage. Our resident architect and designer Brian plays the pivotal role in this stage. Drawing inspiration from a lifetime of HiFi appreciation and architectural practice. Line drawings are produced and then 3-Dimensional models in order for us to appraise the basic principles.
The shape of the Ayal is very much dictated by a number of key features; the precise volume of the internal void, the exact relocation of the tweeter in the vertical plane, the dimensions of the Driver and tweeter themselves and the thicknesses of materials used in the cabinet.
After many design meetings a prototype was produced to the agreed specification which was then put through its paces and the crossover tweaked to allow the full potential of the speakers' performance to appear. When all team members were happy with the results the final production version was rubber stamped.
At this stage various audiophile friends, colleagues and industry figures were invited to listen and appraise them over the course of a few months. This confirmed what we already knew; which is that we had produced a loudspeaker of very high quality, presenting music as close to a 'private audience with the artist' as we can get.
From here, we reflected upon the feedback, implemented any recommendations we thought may enhance the overall appearance and end user experience, then went into production, using local suppliers and expertise wherever possible. Whilst this was happening, the packaging, promotional materials and pricing was agreed and the reviews booked in.
After that,You became part of the Ayal story; on social media, reading the reviews, visiting us at shows and of course, booking home trials.
We feel the Ayal is a very special loudspeaker and you the Audiophile public have received it as well as we could have possibly imagined. We are very passionate about what we do and hope that these speakers provide you with countless hours of pleasure in your listening environment recreating the ancient experience of bringing humans together through musical expression.
AYAL reviews and testimonials
"Incredible sound at great value for money. Surely, it doesn't get better than this?"
Tarun - A British Audiophile
"The Ayals deliver on sound quality with a clever and well thought out design."
Ian Ringstead - HiFi Pig Magazine
British-made 3 Square Audio Ayal loudspeakers are a compact two-way, rear-ported design making use of novel materials, physical time-alignment, first-order crossovers ... Ian Ringstead tries them out for HiFi Pig. Anyone having read my reviews before will know I am no stranger to 3 Square Audio’s loudspeakers as I tested their Translator model back in 2016. Six years ago, where did that time go? Stuart the designer has a similar background to me having spent many years in the HiFi retail business before moving on but never losing his passion for music and audio equipment. The Ayal is a compact bookshelf design for audiophiles who are spatially challenged at home (i.e. small listening room/space) and a very common problem not to be overlooked. My listening room is small, being approximately 4m x 3.5m x 2.3m, but it has solid walls and a concrete floor laid with solid oak satisfying my needs. I saw the prototype for the Ayal back in 2019 at the North West Audio Show and had Covid not got in the way for the last two years then this review may well have been sooner. 3 SQUARE AUDIO AYAL LOUDSPEAKER DESIGN AND BUILD First-order crossovers are still crucial to Stuart’s design, and we discussed this at length because my resident Jern 12WS speakers also use a first-order crossover. Phase alignment is key to a loudspeaker’s design and Stuart has physically time-aligned the tweeter to sit behind the bass/mid unit on the front baffle and directly above it. He states that had it been a 2nd, 3rd or 4th order crossover then the physical time alignment wouldn’t have been worthwhile. I am a great advocate of simplicity myself and using high-quality components in the crossover is vital for any design in my experience. The speaker is a 2 -way rear-ported cabinet using a SEAS 27mm Sonolex fabric dome tweeter and SEAS 120mm treated paper cone mid-bass driver. The first-order crossover filters for the HF and LF drive units use Jantzen 3% tolerance air-core inductors, Jantzen Superior Z-cap capacitors 2% and Mundorf M-Resist supreme resistors. The components are all hard-wired with silver solder. Good quality gold plated 4mm multi-way binding posts (x 4) are used on the rear panel to allow bi-wiring /bi-amping option and bespoke high-quality links are supplied with spades should single wire be the listeners choice – as it was mine. The cabinets are made from a material new to me called Valchromat. Valchromat is a panel made of wood fibres like MDF but is coloured in the production process. The fibres are impregnated with organic colouring agents and chemically bound to one another by a special resin that lends Valchromat unique physicochemical characteristics -this allows exploring the third dimension, the beauty of textures and the best of engineering. Valchromat is produced in different colours, sizes and thicknesses. The choices are light grey, grey, black, chocolate brown, yellow, orange, red, blue, green mint and khaki. It’s a highly flexible and easily engineered material perfect for making complex shapes and holding its physical structure. The Ayal’s don’t have a right-angled edge anywhere on the cabinet as they have all been machined at 45% to counteract edge diffraction. The shape is therefore unique and may not be to everyone’s taste. I remain neutral. No grilles are included. The company badge is located on a metal plate beneath the bass/mid unit. They feel very solid and weigh 6.3 Kg each. I placed them on my 24” oak speaker stands which had the rubber rings on top that I use with my Jern’s and are a safe effective way to assist supporting speakers. SOUND QUALITY Stuart assured me they had been run in, but I gave them a few days so I could acclimatise to their presentation. They took a while to grow on me, but once I had sussed them out they remained very stable and reliable in their overall character. I didn’t mollycoddle them and certainly played at loud levels when my mood felt the need. Power-wise the Ayals loved to be driven hard and didn’t baulk as the volume rose. I’m not a loudness freak per se, but if the music lends itself to cranking up the level, then I will. We all have different tolerance levels, but if the system can go loud without distorting then why not… occasionally. A case in point was the album ‘Close-up’ by David Sanborn. He is a phenomenal saxophone player, and this album really showcases his abilities and is superbly recorded. The Ayals handled the raw energy and reediness of his sax with aplomb and pushed the sound field out into my room with excellent spacing and instrument location. The sound engineer must have been working overtime to get the balance right because it’s a complex album. The percussion programming fits seamlessly with effects easily picked out by the Ayals making for a rollercoaster ride on some of the tracks. It’s an album I don’t listen to all the time, but when I do it never fails to impress. The musician list is very impressive and with people like Marcus Miller on bass and Nile Rodgers on rhythm guitar, to name just two, it’s a real tour-de-force of session men. The sax is an instrument I love when used in the right way and the Ayals never sounded harsh and tiring, instead, they had the right balance being faithful, but not smoothing the edges excessively. To contrast raw energy jazz, I played Rickie Lee Jones’ eponymous first album which I have on a supercut mastered by Nimbus records for Practical Hi-Fi and purchased in 1980. Nimbus were world-famous for its record mastering and although sadly long gone all their cuts are highly prized. My copy is still pristine and quite sublime. The album is an absolute joy from beginning to end and it won a Grammy Award for best new artist for Jones and sold several million copies over time. I’ve heard it many times and it was a show favourite and demo record in my retail days. A classic album 42 years on and it still thrills me. Chuck E’s In Love’s dynamics are brilliant with the brass and percussion weaving in harmony flawlessly. Played on a good system at a realistic volume level it is spot on. For a forty-two-year-old recording, it’s remarkable. Jones’ voice is so distinctive, and she manipulates it with such ease from track to track. My recently acquired Acoustic Signature Neo Double xx turntable lapped this album up and the Ayals portrayed detail like never before. This is credit indeed to the Ayals given their relatively modest price in my set-up. Proof that a good source with quality amplification doesn’t need expensive speakers to still shine. Peter Gabriel’s album ‘So’ also on vinyl is another treat I don’t listen to enough. ‘Sledgehammer is the track most people will remember from doing so well in the charts and that famous video. Tony Levin’s bass is thunderous and the Ayals did well to hang in and not disappear in a cloud of smoke. I put this down to the inherent quality of the crossover and careful design Stuart and his team put into the development, spending hundreds of hours experimenting and honing ideas to achieve their end-goal. When I received the Ayals for review my previous turntable was out of action, so I used my Gato CDD-1 for several weeks. Marillion is an old favourite who as a prog-rock band has evolved and nearly always makes highly enjoyable albums. As a group, they like to mix live album releases amidst their studio albums on a regular basis which I personally love because I hear their live interpretations as well as the studio efforts. Bands when they play live, of course, will use poetic licence to change things and relieve possible boredom night after night when on tour. It shows they’re not afraid to experiment. Their last live album ‘With Friends at St David’s was recorded in Cardiff it’s a two-hour concert showcasing classic music from the last 30 years accompanied by a small orchestra. Hardly a new idea, but it’s a formula I really like because when done well the mix of rock and classical is highly emotive. Old favourites such as Seasons End, Gaza and This Strange Engine touched me in a new way compared to the studio versions and the Ayals didn’t fail to impress, having space and a real feeling that a live performance conveys. When listening to any musical performance it’s the overall sound that’s so important, don’t get fooled into trying to analyse every minute detail and driving yourself mad becoming paranoid about apparent imperfections as you’ll never be satisfied. The Ayals’ portrayal is easy on the ear allowing long term aural satisfaction. CONCLUSION Small in stature but with a big heart the Ayals were always impressive and eager to please. They locked in the sound stage, and they confidently strutted their stuff without any fuss. It’s a crowded market now, so for any new models to impress they must go above and beyond the norm to have any chance of competing. I was mightily impressed and if you do attend the Northwest Audio Show this June go and have a listen. Like a Jack Russell dog, the Ayals are small but feisty, and when made a fuss of respond well, and by this i mean don’t let the price fool you into using cheaper electronics or sources because they respond to quality. AT A GLANCE Build Quality: They are unconventional in shape but expertly machined to produce the complex cabinet and with the time aligned tweeter offer an alternative aesthetic at odds with conventional approaches They are well finished and the choices of eight different colours should suit most people’s tastes Sound Quality: Solid and authoritative in nature they don’t shy away and are no shrinking violet Power is the Ayals’ friend, and they like to be driven hard, being dynamic and articulate A wide and deep soundstage due to the time and phase-coherent design – I know Stuart has modest electronics in his own system and realistically designs his speakers to work well with budget or higher-end electronics. I can confirm the Ayal’s responded well to more expensive electronics proving great pedigree Being rear-ported didn’t pose any problems in positioning in my room as long as 15 to 30cms was allowed to the back wall We Loved: The clever design and first-order crossover combined with the excellent SEAS drive units come up trumps The Ayal is not another “me-too” product and moves away from conventional thinking We Didn’t Love So Much: The aesthetics won’t appeal to everyone. The colour choice is reasonable but may limit appeal. I’m ambivalent, my wife certainly wasn’t a fan. Beauty is in the eye of the beholder, a phrase used thousands of times in HiFi designs over the decades, so like the sound it’s all down to personal taste. Elevator Pitch Review: Stuart has stuck to his design principles with his solid belief in first-order crossovers and the advantages they offer over more complex designs. I admire him for remaining loyal to his gut instincts. When many manufacturers decide to improve a loudspeaker model with a revamp invariably, they will play around with new drivers, cabinet designs and especially the crossover. Often simplifying the crossover and tweaking the component quality is the icing on the cake. To me, that seems obvious but not all designers/companies always adhere to this path. The Ayals deliver on sound quality with a clever and well thought out design.
"I could not believe what I was hearing; they performed far beyond what their size would suggest"
Chris Beeching - The Ear
These 3 Square Audio Ayal loudspeakers should not do what they do. There. I’ve said it. I first heard and saw these diminutive Darth Vader-esque speakers at a recent audio show. I kept looking for… a larger speaker, a subwoofer, anything, but all I could find was this small, beautifully-finished, slightly unconventional-looking loudspeaker on a fairly solid-looking stand. I sat. I listened. I listened some more. Then I went away, heard some other stuff, came back and sat and listened some more. It is very rare indeed that on a first hearing a new (to me) piece of kit has this kind of effect. Longer listening usually reveals something which gives the key to what caught my ear, but here, apparently, was the real deal, almost the audiophile’s dream of a fantastic-sounding speaker that doesn’t dominate the room. On the face of it the 3 Square Audio Ayal is a conventionally-designed ported two-way loudspeaker. The cabinet feels dense and inert, with a super-smooth low-gloss black finish. It has symmetrical angular facets on the front face, but is otherwise a regular box. On the back are two sets of speaker terminals together with a rear-firing port. They come with connecting links already fitted, so single-wiring works easily. If you want to bi-wire / bi-amp simply remove the links and connect as you please. Being something of a pragmatic luddite (I’ve been practising for many years) I simply connected up a single pair of cables, sat the Ayals on top of a fairly substantial pair of stands and tweaked their positioning for a while until it sounded pretty ok. Basic things were in order – tweeters were at ear-height, speaker axes crossed a couple of feet in front of me. There was about a foot of space between the rear of the speakers and the rear wall. Boy; these speakers sound good My listening tests always include something in a cavernous space – usually choral or a capella in a cathedral or similar. This gives a feel for the micro-details as the echo fades away, and also the level of low-frequency clarity and weight. Yes, there’s a lot of very low stuff going on in large spaces, and cathedrals in particular tend to be quiet so reveal this low-frequency artefact quite clearly. If a loudspeaker can do the same then we’re certainly heading in the right direction. The upper-end mustn’t be forgotten either: clarity at the top end is a prerequisite for giving that illusion of how big the space is, and ultimately allows the listener, to locate the performer(s) within that recording space. That holds good whether it’s a small studio, salon or huge auditorium. The first thing that struck me about the 3 Square Audio Ayals, on that fateful day at the Show was how deep, how low, and how authoritative they are at the bottom end. So back at home I thought I’d start to put that to the test. Despite the work it was being asked to do playing some nice organ music (Christopher Herrick Organ Fireworks CDA66121), the Whitlock Four Extemporisations and Brewer’s Marche Heroique totally failed to upset the applecart. The focus remained rock-solid. The depth and weight of the Westminster Abbey organ came across with rather alarming believability, and the soaring heights of the upper treble pipes was revealed in all their shrill (and softer) tones. The first-order crossover appeared to do nothing to upset the presentation; it really was seamless from top to bottom. But perhaps the nicest thing about this was that even though there was a lot going on in the performances, as a listener you could still see the organ in this huge space. You have more than just a blurred impression of how big the Abbey is, how powerful the organ is and how the one fares in the context of the other. This was a large instrument in its own special environment and the 3 Square Audio Ayals were totally able to present this to the listener as a fait accompli. There was no argument about it. Low end theory I suppose I should insert a caveat at this point. Many who have read my musings over the years will know that in some situations a subwoofer (ideally two for stereo) is a valuable addition to the replay armoury as long as it’s set up properly. On top of that, common sense and years of experience also confirm the need for a relatively large driver in order to reproduce very low frequencies at any sensible volume with any authority. Some manufacturers manage to fudge the low end by utilising carefully-chosen cabinet resonances. Somehow the 3 Square Audio Ayals manage to do the low bottom end with authority, and with a small five inch driver but without any obvious cabinet resonances at play. OK; so there must be some, but they’re not obvious, and the transition between the tweeter and the mid/bass driver is seamless. There’s also no hint of port chuffing – something I found surprising given the significant oomph the driver was able to give to the lower registers. Anyway, moving on; large scale complex music is always an interesting field for experimentation with a loudspeaker design. How well can it stay coherent with masses of stuff going on? How well will it maintain its focus and still reveal the inner workings of complex musical happenings? Delius’ Mass of Life (EMI SLS958) is a huge work, almost gargantuan. It’s scored for full orchestra and double choir. The range of dynamic contrasts is vast, and the antiphonal elements with Delius almost pitting one choir against the other make for a very complicated aural soundscape. If anything was going to make the Ayals flounder, surely this was it. Nope. Not on your nelly. The 3 Square Audio Ayals managed to maintain and present a remarkably coherent and focussed soundstage. The breadth and depth of the singers in the choirs was quite clearly laid bare and their relationship to the orchestra was also very sharply defined. Orchestral tutti and forte passages were extremely well handled, and the gentle and subtle nuances and colour changes in quieter passages were very easy to hear. Not only that, but there was no loss of perspective when the going got tough, and yet the whole remained together and within the ambience of the recording space. The four soloists were also very well placed in the aural picture, and they were clearly apart from the choral voices, set towards the centre and in front of the choirs just as you’d expect and with a believable perspective in terms of volume and presence when compared with the might of the choral forces Delius employed. Changing tack completely, Tanzmusik from the time of Praetorius (Archiv 198166) hit the player next. This is a relatively early recording of early music – and in this instance done exceptionally well. The recording quality is absolutely superb, and the orchestration and pressing are very fine indeed. Somehow Archiv has managed to capture all the very individual facets of these ancient instruments in a magical way. The recording places each instrument almost right in the room with you, and lays bare its capabilities in all their colour, grandeur, pathos and limitation. The recording itself is very immediate and there is a very real feeling of being in with the performers. Spaces in between Because everything is laid so bare there are some aspects which are a good test of a loudspeaker – and of a replay system as a whole. The first is the system’s ability to recreate the spaces between the instruments. At this 3 Square Audio Ayals excelled, giving very believable air and space to the sounds presented. It was not at all difficult to identify and locate each one within the context of the ensemble as a whole. Then there was the issue of the rawness of the presentation. This is a warts and all recording. No, there’s nothing bad about it, but some of the sounds of ancient and early instruments are very raw and earthy, and this recording shows these facets off to perfection. The rasp of a viol, the bleating shrillness of a piccolo or a soprano blockflöte (recorder) all contrast vividly with the softer sounds of a lute or a contrabassegambe (double bass). If you’ve never experienced early music, this disc is a real treat (I think it’s been reissued a few times, and maybe on CD too). However, sticking to classical music will never give a loudspeaker a chance to show off all its capabilities. So the next disc on the player was Philadelphia Jerry Ricks and his Empty Bottle Blues. Released in 1987 this is a surprisingly well recorded disc and captures Ricks’ voice in all its gravelly and gritty glory. The guitar playing is of a very high standard, but the recording manages to capture those intimate details which help to bring Ricks into your listening room, right there in front of you. The slight squeak of the finger on string, the occasional little buzz of string on fret, the creak of the neck against the body – all these details the 3 Square Audio Ayals portrayed with an ease which was frankly disarming. Close your eyes, and there, in front of you was an almost real spectre of Ricks, playing and singing (I think it was singing) just for you. Again the 3 Square Audio Ayals excelled at putting singer and instrument into a believable performance space. They provided a route to engagement which meant that the performance taking place meant something, and drew you in, captivated you and took you on a journey. Lastly, Kylie, whatever you think of her music, it’s mostly fun, boppy, makes you move and is quite catchy, sometimes annoyingly so. I didn’t let the 3 Square Audio Ayals know I was putting Kylie on (streamed in this instance) in case they took fright, but I needn’t have worried. The fast plunky bass of I Should Be So Lucky drove the Minogue-wagon along at a blistering pace, supporting all the bubblegum stuff going on atop, and providing enough support for her voice to shine through. Yes, I’m being slightly unkind in a tongue-in-cheek sort of way, but the reality was that Minogue’s material really let the 3 Square Audio Ayals shine too, or rather they let Minogue’s music shine through them. At the end of the day I have no idea what potential purchasers of a pair of Ayals will listen to, I can only guess. But for me to stick to what I love would not be giving them a fair crack of the whip. Dog day delusions The 3 Square Audio Ayals play pop. They play jazz too (the more-than-a-dozen discs that I tried). And bluegrass, and heavy metal etc. The reality – and here I end up where I began – is that these relatively diminutive speakers perform as if they are much larger, have much bigger drivers, have bigger cabinets. They’re a Chihuahua with delusions of being Rottweilers – except that they’re not delusions. When I first heard the 3 Square Audio Ayals I could not believe what I was hearing; they performed far beyond what their size would suggest. So the review pair arrived, and I prepared myself for disappointment. After all, small loudspeakers don’t do this. Except that I’ve now heard a pair that do. They are a large speaker hiding away in a very small package, and that package works. For those who need to know, a 50-watt solid state amp will drive these worryingly loud with consummate ease. A 15-watt valve amplifier will also go worryingly loud. A 2.5-watt amplifier will still go pretty damn loud, so they’re quite easy to drive. They’re not light, but they’re not overly heavy either. A good solid stand is a prerequisite. Perching them on opposite ends of the TV stand didn’t work well at all, and putting them on the floor, even angling the tweeter upwards towards the listener didn’t work much better. Get the 3 Square Audio Ayals at ear height and on good stands, though, and they really start to sing. In my listening room the optimum width apart was around the six to seven feet mark (listening at around seven feet away), and about a foot or so from the rear wall. Bottom-end performance was markedly better once the speaker was firmly mounted and stable – but that’s true of most bookshelf speaker. I did try adding a sub – or two – but apart from the little extra weight at the very bottom end, and perhaps a smidge of easing in the presentation stakes (relieving the mid/bass driver of some of the really low end stuff) the sub(s) really weren’t needed. The 3 Square Audio Ayals are perfectly capable on their own. 3 Square Audio Ayal verdict I’m sure you can guess that my conclusion is a hearty recommendation. They are open, articulate, seamless from top to bottom, image well, handle wide dynamic contrasts, are focussed, present musical material with a disarming ease and allow you, the listener to become totally immersed in the material being played. No, they don’t make everything sound good. Yes, they do show up difference between recordings very clearly. And that’s what it’s all about. Real life is full of differences. So is recorded music. As I said above, expect the unexpected’. Specifications: Type: reflex loaded 2-way standmount loudspeaker Crossover frequency: 1.3kHz Drive units: Mid/bass: SEAS 120mm hand-treated paper cone Tweeter: SEAS 26mm precoated fabric dome. Typical frequency response: in room 32Hz to 20,000Hz Nominal impedance: 8 Ohms, minimum 7.5 Ohms @160Hz Sensitivity: 86dB @ 1W/1m Connectors: bi-wire/bi-amp binding posts Dimensions HxWxD: 326 x 170 x 242mm Weight: 6.3kg Finishes: Valchromat in eleven colours and Baltic Birch ply Warranty: 5 year parts and labour Price when tested: £1,900 Manufacturer Details: 3 Square Audio T 01332 700701 https://www.3squareaudio.com Type: standmount loudspeaker Author: Chris Beeching TheEar.net
"the Ayal is the best ported speaker I've heard."
Paul Tiernan - NVA
"3 Square Audio had some truly beautiful loudspeakers, racks and stands all made from Baltic Birch plywood."
Hi Fi Plus magazine
Tarun, A British Audiophile, gave our Ayal loudspeakers a special mention in his round up of The North West Audio Show 2023, putting us in his top 3 rooms at the show.
Skip to 11:36 to hear what he has to say about the Ayals.