n 2011, on the occasion of the 30th anniversary of the High End exhibition, I asked a few producers what the dominant trend would be in the next few years. Almost all of them said that everything that is connected with transfer and reproduction of audio files (i.e. streaming, conversion and reproduction) would be most important. Even Heinz Rohrer, the CEO of Thorens Services AG, said:

I’ll be a little evasive again, but for a purpose: although digital media mean everything now, vinyl pressings have never been so good and there have never been so many turntables, cartridges, etc.

By saying this, he confirmed the opinions of my other interlocutors (more HERE). Apparently, they were right – we can see that the position of file players on the market is becoming stronger and stronger, whereas the market share of physical formats (with the exception of vinyl) is decreasing.

Last year, during the High End 2014 exhibition I talked to a lot of exhibitors and what they were saying was a little different. All of them are aware of the revolution that has actually already taken place, i.e. of the presence of files and streaming as the mainstream sound source. However, many of them are now starting to use Compact Discs and Super Audio CDs with relief again (while they have never forgotten about vinyl). In this way, they are suggesting that we are losing something important when we stop using these formats. Nevertheless, they think that for NOW the most important challenge facing the audio industry is to take control of the acoustics of listening rooms.

The problem is as old as the audio industry itself and, despite the fact that so many years have passed, acoustics still remains the least explored part of the audiophile universe. However, as digital signal transfer became widely used and a lot of money was invested in digital processing, new possibilities emerged. They were mainly used by manufacturers of sophisticated home theater systems – auto-calibration is now one of the basic sound improvement tools used in AV processors and AV receivers (and also subwoofers).

Similar systems, often more advanced ones, are offered by a few high-end stereo equipment manufacturers, including Accuphase. An account of a meeting connected with the Accuphase DG-58 Digital Voicing Equalizer was published in the November issue of “High Fidelity” (No. 127, November 2014, read HERE), whereas “Gazeta Wyborcza” (a Polish newspaper) published its own article related to the event (more HERE). The product performance was unambiguously effective and was accepted as a step forward by all the participants. Not that there were no “personal losses” – it is simply impossible, but the opinions were unanimously positive.

The correction of room influence on sound quality is one of a few ways of using the incredible computing power of DSP circuits that have never been so cheap before. Another possibility is processing signal in a way which makes it possible to minimize errors contributed by individual elements of the audio system, most often by converters and speakers. Thanks to proper processing of digital signal (“post-processing”) devices such as the all-in-one Naim Mu-so system sound so incredibly well. Its constructors tried to correct the imperfections of converters and their arrangement, as well as of amplifiers and files themselves by using digital signal processing.

Such a correction can also be made in the analogue domain. However, if it is to be really effective, it has to be dedicated to a specific product and it will have a limited range. It can have excellent effects, like in the case of the Studio Oslo and Master Oslo speakers. These tiny speakers sound simply fantastic, contrary to almost every component – the size, power and number of converters.

“P” PROJECT

However, active columns from the Oslo series were something more – they became the starting point for a project which was called “P” by Jarek Waszczyszyn, the owner of Ancient Audio. It is all about a digital processor, the function of which is to correct the imperfections of converters and speakers in the digital domain. Its third version, called the P-3, was presented during the Audio Show 2014 exhibition and it had just been a matter of time until we decided to have a look at it within the Krakow Sonic Society.

The meeting that we devoted to the P-3 was very interesting in the sense that it was held at exactly the same place at which we earlier tested the Accuphase DG-58. We also used the same system for testing. The device was also placed in an analogue path, between an Ayon Audio converter and preamplifier, exactly in the same way as the DG-58 before. Initially, I planned to insert the P-3 into a digital path, between the drive and converter, but the constructor had not anticipated such a possibility. At the moment, the processor has a few digital inputs, including USB, balanced and unbalanced analogue inputs, as well as balanced and unbalanced analogue outputs. It also has an adjustable output level, so it can function as a classic DAC. Actually, its arrangement is exactly the same as the one in my Lektor AIR, except for the fact that transistors are used here instead of tubes. However, the output coupling capacitors are the same fantastic V-Cap capacitors.

We have to remember that it is not the first product of this type. At the High End 2014 exhibition in Munich, the French company Devialet presented a new line of hybrid, analogue-digital amplifiers. One of their most important properties were the SAM Processing (Speaker Active Matching) algorithms that correct the imperfections of speakers. Initially, data on a few dozen speaker models was stored in the device memory. Now there is probably data on a few hundred models and the number is still growing (more information on the technology is available HERE). In the case of the P-3, general data is pre-programmed in the device memory, whereas final settings are adjusted in the client’s system. Jarek Waszczyszyn does it himself and calls the whole process “seasoning”. So, he is the best person to tell us what the P-3 is and what it is not, as well as to talk about the ideas behind it.

JAREK WASZCZYSZYN
Ancient Audio | owner

Jarek Waszczyszyn with the DSP P-3 in a box resembling a jewelry or a watch box. Later we had some fun and Justyna, the mistress of the house, presented it in a similar way.

Both audiophiles-beginners and those who have listened to music from numerous (tube) devices all agree that a speaker is something that determines the sound of the whole audio system. It is the speaker (or the speaker set, to be more precise) where the most complex phenomena occur.

A vast majority of speakers operate dynamically, based on the movement of a conductor in an electric field. The electrical aspect of their operation, i.e. the conversion of electric current into mechanical force has already been mastered and physical models are successfully used in the process of electric engines design. The second stage, i.e. the conversion of the conductor movement into a sound wave is definitely much more complicated. For low frequencies (when the dimensions are smaller than the length of the sound wave) it is fairly simple. The classic Thiele-Small (T-S) model is sufficient and it is successfully used by all speaker manufacturers and constructors.

It all becomes more difficult at higher frequencies, when the size of the speaker’s membrane and its casing are similar or larger than the sound wave length. In this case, unwanted mechanical phenomena occur, both in the speaker itself and in its casing. Even the most rigid membranes (ceramics, diamond) bend and the most robust casings resonate. As a result, artificial resonances, delays and sound wave distortions occur.

The processor is called the P-3 because it is its third version. The previous versions are shown in the photo.

Constructors have been trying to overcome these phenomena for many years. Those who design speakers, apply sophisticated mechanics – exotic materials and elaborate geometry. Speaker constructors use electrical correction with the use of complex crossovers. A good example of that are classic Thiel speakers: their first-order crossovers consisted of even a few dozen elements. These techniques only made it possible to partly solve the problem, causing new problems.

Digital technology has proved to be the solution to these problems. The correction of mechanics through digital signal processing has had excellent effects in industrial processes, motorization and aviation. It is so effective that a user most often does not realize it is being applied. Pressing the accelerator pedal used to open the throttle in a car’s carburetor. Today, air intake is controlled by a stepper motor, whereas fuel is supplied by computer-controlled injectors. The accelerator pedal only supplies information to the computer, while the user can enjoy the full comfort of driving. The basis is an appropriate engine model and the algorithm which controls it.

The beginnings of digital speaker correction date back to the 1980s and are connected with the emergence of DSP (Digital Signal Processor) circuits. Most of these devices, e.g. the Accuphase DG-58, operate on the basis of speaker characteristics measurement and then create reverse characteristics. This method is quite safe, but at the same time limited – it does not address the real sources of problems.

The inside of the P-3 has been prepared in such a way that it is possible to admire it without the upper panel, just like a tube device.

My device attempts to solve the problem differently. It all starts when a theoretical model of a speaker is created. It takes a lot of parameters into account, including the size of the speakers’ membranes, the material they are made of, dumping, the reflection of sound wave from the casing panels and casing resonances. These phenomena are modeled using a unique algorithm, which is performed in real time by the speaker processor. Everything is packed in a neat silicon dice – the digital P-3 MK I sound processor. Developing my own circuit was essential, as all available signal processors did not have all the necessary functions.

An important issue are the settings (parameters) of the algorithm. They have to be different for every speaker model. In the case of simple constructions, it is enough to conduct a series of measurements and take some simple steps according to the tuning procedure to set them. However, the best speakers require a “final cut” based on musical material. The base of ready-made settings is growing systematically: at the moment it includes Sonus Faber, Avantgarde Acoustic, JBL, Spendor, Raidho and Wilson Audio speakers.

The processor resembles a C/A converter a little. On the one hand, it is a tiny silicon plate which needs to be surrounded with a power supply, an analogue stage, an interface, clocks, etc. It is similar with the P-3. The processor itself operates on the basis of digital data only – that is why it is easiest to install it in a CD player between the transport and converter – all Lektor player owners can do that. However, it is not a universal solution. The external universal device which operates as a typical preamplifier, requires an A/C and a C/A converter, a power supply, a casing, control, etc. That comprised the whole system from which we listened to music during our meeting – preamplifier/the P-3 speaker processor.

I will also add that a P-3 D version is being prepared. It will be equipped with digital USB and S/PDIF inputs. However, such a product will largely limit functionality to S/PDIF – at the moment the processor operates in PCM only and does not accept DSD. Similarly, while working with digital signal only, it will not be possible to connect a cassette deck, a turntable or a tuner to it...

The P-3 can also be installed directly in Lektor players. The price of such a change is 8000 PLN. A Lektor player can also be equipped with a processor and an A/C converter – such an upgrade costs 10 000 PLN. In such a case, it is also possible to connect analogue sources (a cassette deck, a turntable, a tuner, etc.) to the player. The P-3 can also be installed in other players (e.g. Ayon).

The P-3 circuit installed in the Lektor Prime player. It can be installed in all Lektor and Ayon Audio players.

SOUND, part 1

To have a realistic picture of what the device brings into a system, it was installed in the system in a balanced path between the Ayon Audio Stratos DAC/preamplifier and the Accuphase A-70 power amplifier. The Ayon device has balanced and non-balanced outputs that are changed using a switch, and the Accuphase power amplifier has inputs of both the types, also changed using a switch. So, the system was as follows: we connected the Ayon output to the power amplifier using a single balanced interconnect (that was our point of reference – this is how the system normally works) and we set up a parallel connection between the unbalanced Ayon output and the P-3 input (using the same interconnect as in the case of a direct connection, but in the RCA version). We sent signal from the P-3 to the unbalanced Accuphase input using an additional interconnect. When making a comparison, it was enough to simultaneously switch the Ayon output and the power amplifier input. Levels were equalized thanks to analogue control in the P-3.

The listening session consisted of a few stages. During the first stage we compared the system with the P-3 switched on and without the P-3, using an A/B/A comparison, with unknown A and B (i.e. we did not know in which position the processor was in the path and in which it was not), using 2-minute long samples of musical works. After this stage participants voted for A or B, depending on which sound version they liked better, and I collected their opinions. During the second stage we listened to whole musical works (knowing A and B). Finally, we listened to many musical pieces, without any discipline, just as we wanted.

The influence of the processor on sound is dramatic – it is hard to find another word. However, it was also not unambiguously positive. What is more, opinions changed with time, i.e. the more we got used to the sound of the system with the processor, the more willingly we would give it the first prize. However, since it was not a sound test of the “everything is fantastic” type, I will begin with the last stage, i.e. with participants’ opinions collected a few days after the meeting.

Marcin

It is true that good devices seem average at first and only later, after we have been using them for a longer time, allow us to discover something that lies deeper in them. Is it the same in the case of the P-3? Time will show. The changes that I heard with the processor were undeniable – there was a change of tone, purification, smoothing, but at the cost of dynamics, focus and the so-called “claw”. That is why in the case of rock recordings in which the electric guitar was dominant, the processor had an overall negative effect on the whole. In my opinion, it literally shattered (destroyed) the piece. It was so both in the case of Queen and Perfekt.

However, when we listened to classical music or to calm California Dreamin’, things became more complicated. For me, the verdict was not so obvious anymore. Dynamics was not the most important thing here, so I spent a lot of time thinking whether the sound given by the processor was better for me or not. I was not sure about my verdict and perhaps the way I voted at the beginning of the listening session was influenced too much by what I heard when we listened to Queen? Anyway, the fact is that when I listened to a few other musical pieces with the processor, its sound was becoming more and more pleasant.

However, from my point of view, the processor is not suitable for every music genre. At the present stage, the processor has (quoting a classic author) positive and negative pluses. In my opinion, there are more of these negative ones. Perhaps Mr. Jarek Waszczyszyn has “overdone” the processor, “told it to correct” too many things and “seasoned” (this is the term that he actually uses) everything too much? I am not an electronic engineer and I do not know whether it is technically possible, but I missed an additional potentiometer that would make it possible to adjust the degree of the processor’s influence on signal. While listening to Diana Krall, I would set it on 100%, whereas in the case of Perfekt – on about 20-30%. The processor has potential, but it just has to be “polished”.

Bartosz

I had been looking forward to the new top Ancient Audio product. After a short introduction (which was not short at all) prepared by Mr. Waszczyszyn, I was ready to buy the P-3 sight unseen – the theoretical background was fantastic and well showed what does not work in any audio system already at the very beginning.

A “face-to-face” meeting with the P-3 was not so rose-colored anymore. There is no doubt that the processor does a good job. It eliminates annoying resonances and lets us play our favorite music really loud in such a way that it does not become tiring at any moment. However, this is done at the cost of sound quality itself. The sound of rock/metal/electronic music is greatly deprived of what is best in it. It lacks power, drive and might characteristic for these genres.

It is different in the case of music in which the main role is played by instruments that do not require any amplification. When it comes to jazz and (mainly!) classical music, the processor does a very good job – sound is much more natural with it. Although even here the P-3 reduces the dynamics and the “kick” a little, it is, paradoxically, beneficial in this case. Natural sound is beautiful sound – it is dynamic enough in itself, full of energy and exciting, and the P-3 definitely helps to show it.

At home I mainly listen to rock and metal. These are “my” genres that I know better than other music types. That is why, at the moment, here and now, I would not buy the P-3 processor. In cases when instruments, by definition, cannot sound “natural”, the P-3 will not prove useful – in rock music, for example, where “unnatural” fire and power are simply necessary. However, I also often listen to classical music, for which the P-3 would prove ideal. I believe that the processor will bring Mr. Waszczyszyn many more successes. It is already not bad, but if the latest Ancient Audio product was as beneficial for guitar music as it is for acoustic music, it would be a complete product.

Rysiek B.

I came to the meeting with great curiosity, having had my experiences with the Accuphase processor and the implementation of the AA processor in the system owned by Janusz, the host of the majority of our meetings. During the 96th meeting of the Krakow Sonic Society I heard what influence Jarek’s program had on Tomek’s equipment.
1. For me, the AA processor introduces live concert elements, mainly thickening of the soundstage, combined with partial masking of the sound of instruments. Only good studio recordings almost completely eliminate this phenomenon. So, I changed my mind, as presentation of “live-like” music with the processor in the system did not impress me.
2. I listened to vinyl and the tube radio all weekend. Their noble warmth and physiological calmness detached from the nervousness of a CD source made me realize that this type and these features of sound are brought to a system by the AA processor.
3. I know that the processor is programmable and I was brought to my knees by its operation in Janusz’s system.

So, to recap: the processor’s weakness is the software and it should be improved, but I see “a great potential” of the device. Today I would also add that in Tomek’s system the processor did not (sonically) help the best CD recordings, e.g. Platinum SHM-CDs, similarly to the Accuphase processor (a disadvantage). As regards poorly made CDs, I felt an improvement in musicality and reduced sharpness (an advantage). Since we all differ when it comes to our personal sensitivity and we have our own calques, the processor must be programmed adequately to a given room, system and the owner’s taste, which was demonstrated by Accuphase engineers. Finally, I will tell you that I look forward to repeating the listening session at a different place.

Wiciu

In my opinion, it would be necessary to carry out extensive research to determine to what extent this device helps the listener. For many years I have been dissatisfied (less and less with time) with how recordings reproduce real sound, especially sound from a concert hall, which is simply natural. It is produced using acoustic instruments, without any amplification and constitutes an excellent point of reference.
The participants in the meeting tried to avoid classical music like the devil avoids holy water, but it is exactly where we need to look for quality. On the way there is a whole group of other “record cutters” or technicians, etc. who create sound. In my opinion, classical music is the very domain in which it is easiest to determine if something resembles the original or not.

Jarek’s device “kills” what today’s sound engineers are working on, i.e. some kind of charm and articulation which is often not heard in nature, but attracts us like a mermaid’s song in a recording. When it comes to pop music, the P-3 does not prove useful. It is different in the case of classical music, but, apart from the organ, we did not have too many occasions to check how this works.
I am now sitting in front of my mediocre audio equipment and listening to Scheherazade with pleasure. In comparison to Tomek’s system, here the sound “takes off” the speakers much better. In the end, it is about the illusion which is supposed to give us a substitute of being where music is being played.

Tomek

I must admit that, at the beginning, my attitude to the P-3 Ancient Audio processor was skeptical. I had already come into contact with it during the previous edition of the Audio Show exhibition and I remember that I judged its presentation there as a speculation. Here is why: sound with equalization was really much better than sound without equalization, but the latter was, in my opinion, played too loud. Therefore, it was so importunate that turning equalization on could only bring some relief.

When Jarek came to me two days before the listening session to set equalization parameters for the Dynaudio C-4 Signature and my room, we skillfully set up all the “physical” connections and then the constructor started the procedure of, as he beautifully puts it, “seasoning” the preinstalled program in order to adjust it to my surroundings. As I had been warned that it could even take 4 hours, I only asked for permission to have some German wheat beer and listened to fragments of musical pieces (several seconds each) played one after another. During the procedure it was hard to notice any evident progress until, after about two hours, Jarek said that it was almost ready. Then I immediately decided to use the opportunity to play Daft Punk’s Random Access Memories on my turntable, and turned the volume up to the levels at which enormous floor speakers feel best.

That was my a-ha moment – I discovered that we could play really loud! The Accuphase A-70 display showed higher values of instantaneous power output (of about 150 W) than ever before in my system, and I still wanted to turn the volume up! For the first time I felt that it would be nice to have the A-200, the largest Accuphase monoblocks. I did not hear any (even slight) resonances of membranes, speaker casings, or of the room. The possibility to look into the structure of individual sounds in acoustic recordings was absolutely amazing. I do not think I have to add that switching equalization off caused immediate pain and the necessity to turn volume down.

However, to make a completely fair comparison of the sound of my system with and without the processor, I decided to borrow a few pairs of interconnects before the meeting of the KSS, to make it possible to listen to music directly from the Ayon Stratos DAC/preamplifier with a power amplifier and through the P-3 processor inserted between these devices using analogue interconnects. I felt that unnecessary analogue-digital and digital-analogue conversion, which is carried out by the P-3 even in the case of the “no equalization” option, may put my system at a disadvantage.

Since, as the host, I was responsible for changing the recordings and options (with/without the processor), I only observed listeners’ reactions when we first listened to five musical pieces, for two minutes to each, using an A/B/A comparison (A and B unknown). I did not want to spoil anybody’s fun, so I put on a stony face. I must admit that I was very surprised when it appeared that all the five participants said that my “raw” system was undoubtedly better. It was also worth noticing how consistently and correctly my guests (especially Rysiek) kept on recognizing sound with and without the processor later in the evening. It showed how much influence the P-3 has on sound.

As far as I am concerned, the phenomena observed two days before had not changed, i.e. equalization still made it possible to play very loud music with no special limitations. On the other hand, it was audible that equalization also “cuts out” a little too much from sound. In many musical works this resulted in flattening the depth of the stage and dynamics. For example, it was impossible to listen to Slaughter of the Soul by At The Gates through the processor, because it sounded as if it was played in a tunnel. By the way, I am glad that the time has come when we can listen to any kind of music during our KSS meetings. 10 years ago, when our meetings consisted of playing the first minute of The Girl from Ipanema a few dozen times, listening to death-metal was absolutely unthinkable…

Summing up, I think that the latest Ancient Audio product has a great potential, but it still requires some work on improving the equalization algorithms. Most probably, the processor would immediately prove effective in many systems that are less complicated than mine, faultlessly meeting all the purchaser’s requirements. I use as many as four signal sources and all of them are digitally connected. Right now, there are no plans to create a version of the P-3 that would be capable of operating in such a system. What I feel is that by supplying digital signal to the P-3 and using a digital output in it, it is possible to achieve excellent results (it is impossible for unnecessary A/C and C/A conversion not to influence quality).

SOUND, part 2

We started the listening session with the A/B/A comparison, in which we did not know which configuration we were listening to – with the processor in the path or without it. Jarek and Tomek (the host) took care of changing the configurations. We listened to five pieces of music in this way. After this part of the listening session, I ordered everyone to vote and all the participants, except for the two of our friends who were engaged in switching, voted for A version. It appeared it was the system WITHOUT the P-3, with signal sent directly from the converter to the power amplifier. Complete consternation!

Rysiek pointed out that in A version the tone, depth, clarity and separation of sounds were better. At the same time, however, he emphasized that in the case of B version vocals sounded more natural. As he said: “the better the recording, the lower rating I gave to B version, and vice versa: the worse the recording – the higher the rating”. To make things clear: A = direct connection, B = connection with the P-3 processor in the path. Not only Rysiek, but also Wiciu had such an opinion. Wiciu mainly listens to classical music, but not only – his latest purchase is a complete discography of The Beatles released on a Platinum SHM-CD. However, his impressions concerning individual musical pieces were different, i.e. the longer he listened, the less he liked B version. When asked whether he liked anything about this version at all, he enigmatically answered: “Nothing”.

Marcin, in turn, did not have such clear-cut opinions. He joined Rysiek to praise the way in which vocals were presented in B version, especially Diana Krall’s vocal from the Wallflower album released on a SHM-CD (we had a pre-release version!). Marcin highlighted slight withdrawal of vocals towards the back of the stage, which was evidently beneficial, as it was more natural. However, as he said, the disk with the new remaster of Unu – an album recorded by a Polish band called Perfect (an analogue Damiana Lipiński’s remaster), as well as Queen from a Platinum SHM-CD were clearly less convincing with the P-3 in the path: “guitars played the worst, they were calmed down too much”.

These observations were confirmed by Bartek for whom the sound and dynamics were also calmed down too much with the P-3. The sound without the processor was stronger, it had a better beat and scale. At the same time, however, as Bartek says: “the system without the P-3 distorts the sound a little, it is more swanky”. It is mostly because it “pushes everything to the front”. It was like this in the case of Queen, for example, where Freddie Mercury was moved to “stand” in front of the band, which should not happen. The P-3 calmed down the musical message, but also led to its better integration and moved everything behind the speakers, because of which the stage was much better – deeper and more coherent.

What Tomek talked about in the first part is important: the influence of the P-3 is very strong and it changes sound in all its aspects. It is like changing the whole audio system, not just one component. The changes, as I have already mentioned, became the more important, the longer we listened to music characterized by them. After some time, returning to the listening session was, in many cases, a step back. As Bartek says, the processor “purifies the musical message, which makes a lot of sense in the case of acoustic music, vocals, etc.” However, both he and other participants in the meeting pointed out that talking about “fidelity” in the case of rock music is very doubtful, as rock is about power, kick, beat, dynamics and energy. With the P-3, all these elements were missing. The processor equally “calmed” everything down.

With acoustic instruments, the musical message was much more interesting and detailed, while in the case of rock it was flattened to a degree which was unacceptable. Rysiek said that in the version with the P-3 jazz comes close to what we hear live and without the processor it is as if the instruments are listened to through microphones. The strengths of the processor were most audible in the case of classical music. It was possible to listen to it really loud without discomfort, in peace, like at a concert hall. Without the P-3, sound became tiring much faster.

SUMMARY

It is rare for us to be so unanimous with reference to a product (like at the beginning of this listening session) and have such different opinions afterwards. The Ancient Audio P-3 processor changes sound more than any other component that we have dealt with within the KSS. Looking at what is happening at the moment in the audio industry all over the world and listening to what the P-3 offers here and now, we can take the risk and say that this may be the most important product in Ancient Audio history, as well as in the Polish audio industry.

However, not yet, as it is just the beginning. I understand the P-3 as something that is constantly being improved and is now half way through. Fortunately, it is a fully programmable product. So, if we buy it, we can improve its sound by simply changing the software. It gives us security that we usually cannot enjoy in the case of audio products. The only thing that should absolutely be available in the end product are digital INPUTS and OUTPUTS that would make it possible to omit conversion. The whole converter section is then unnecessary. Perhaps it could be a separate product.

P.S.

During the meeting, two new “certified” members – Marcin and Bartek – joined the Krakow Sonic Society. Welcome to the KSS! We promise a lot of music, as well as a lot of good fun and equally good wine :)

SYSTEM USED DURING THE LISTENING SESSION

Compact Disc Transport: Ayon Audio CD-T
Audio files transport: Aurender X100L, test HERE
Preamplifier/DAC: Ayon Audio STRATOS
Power amplifier: Accuphase A-70
Speakers: Dynaudio C4 Signature
Speaker cables: Acrolink 7N-S8000 ANNIVERSARIO
Interconnects: Acrolink 7N-DA2090 SPECIALE, test HERE
Power distribution strip: Oyaide MTS-4e, test HERE

Wine served during our meeting was supplied by
LocusVini.pl
ul. Kobierzyńska 139a | Kraków

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