{"id":27957,"date":"2021-04-08T12:10:36","date_gmt":"2021-04-08T10:10:36","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=27957"},"modified":"2025-11-14T14:05:58","modified_gmt":"2025-11-14T12:05:58","slug":"aequo-audio-stilla-active","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/loudspeaker-reviews\/speakers-active-analog-reviews\/aequo-audio-stilla-active\/","title":{"rendered":"Aequo Audio Stilla Active"},"content":{"rendered":"

Review organized by Marc Loubeau \/ Prestige Audio Diffusion<\/a>
\nReview samples supplied by Aequoaudio.com<\/a> and Terrason Audio<\/a>
\n<\/a><\/h4>\n

Retail prices in the NL including 21% VAT:
\nAequo Stilla Fully Active: 19.998 euro (as reviewed)
\nAequo Stilla Base model: 17.999 euro
\nVermeer TWO: 24.990 euro
\nMola-Mola Tambaqui DAC: 10.000 euro
\nMola-Mola Makua preamp: 8.500 euro
\nMola-Mola DAC board: 6.500 euro<\/h4>\n

Aequo<\/h3>\n

Aequo Audio was founded in 2012 by a team of music and hi-fi enthusiasts. Situated in Eindhoven, the Netherlands, and with an emphasis on in-house R&D, the company seeks to manufacture smart, graceful, and uncompromised loudspeaker solutions for the audiophile market.<\/p>\n

The company’s first loudspeaker model, the Ensis, was launched in 2016 and those who have visited the XFi show in Veldhoven in 2019 will no doubt have seen and heard the Ensis loudspeakers in a great room and with great sound. As can be read in my show report<\/a>, I was impressed.<\/p>\n

After having reviewed the Hybrid (partially-active) Aequo Stilla<\/a> in October last year, the identical-looking model that is the subject of this new review concerns the Fully active version. Whereas the hybrid Stilla offered all the advantages of an ARPEC-controlled active bass section, it still requires the use of an external amplifier. The Fully-active Stilla, however, contains internal amplifiers for all of its drivers, thus eliminating the cost and worry of using an external amplifier while freeing up extra space in the listening environment.<\/p>\n

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Stilla Appearance<\/h3>\n

Behind the cloth covers are four drivers, each one optimized according to Aequo Audio specifications. From their sleek looks there’s nothing obvious to give away the depths of the technological advances that went into their design, much less the complex inner workings of the speakers. This, of course, can be a blessing or a curse. Based on the responses that I got during my time with the speakers, the Stillas clearly appeal to those who want superb, truly full-range sound without letting the speakers or system dominate the room. But for the more technical-minded or more dogmatic people, the Stillas’ small and elegant appearance may give the wrong impression, leading some people to underestimate them based on their looks.<\/p>\n

I have doven deeply into the plethora of technologies that went into the design of these speakers and I have described all this in great detail in the previous review. If you are interested in these technical aspects, I recommend also reading the initial Stilla review<\/a>. Below, I briefly touch on the highlights but will mostly focus on the differences between the two Stilla models and on how the Active Stillas respond to different front ends.<\/p>\n

Stilla Active<\/h3>\n

For both of the Stilla models, Aequo Audio has a big focus on the use of their proprietary “S-Stone” artificial stone material for the cabinet enclosures. This material is not dissimilar to materials such as Krion (a mixture of Minerals and Resin) or Corian (a mixture of polymer and natural minerals) but actually a uniquely developed composition based on a mixture of ceramic particles in an acrylic bonding material. Not only the cabinet construction and -shape but also the innovative resonance-decoupling pivoting foot are exactly the same for the two models. And so are the drivers and the ARPEC system. So, what’s the difference between the two models, precisely?<\/p>\n

In addition to the two 250-Watt Ncore amplifiers that power the bass drivers via the ARPEC system, the fully-active version includes another 100-Watt Ncore amplifier to power the midrange and tweeter section. The crossover between these two drivers is done using First-Order passive components because this has proven to lead to the best integration with the bass section.<\/p>\n

While this distinction may seem relatively insignificant at first glance, it is actually a very big deal. Think about it. The extra 2000 euro not only buys you two very high-quality built-in amplifiers, it also eradicates all worries about amplifier-matching, but it also creates extra space in your living room environment, and it will save you many multiples of the Active’s surplus charge that you would normally spend on a stand-alone amplifier.<\/p>\n

\"\"<\/p>\n

Above: Stilla. Below: Stilla Active<\/em><\/p>\n

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ARPEC<\/h3>\n

Housed in a separate aluminum surrounded, passively cooled space inside of the Stilla cabinet are the ARPEC electronics, the Ncore amplifiers, and the power supply. ARPEC (Analogue Room size and Placement Extention Control) enables very easy and intuitive room and placement adjustments, controlled by two rotary dials placed on top of each individual loudspeaker. One knob controls adjustment for the room size, varying from XXS to M to XXL, the other adjustment for the speaker placement, varying from a position in a corner to a position completely free of walls.<\/p>\n

\"\"<\/p>\n

Any conversion to digital and back normally incurs a delay and this can affect the bass section’s phase alignment to the midbass driver. By keeping the signal in the analog domain this issue is neatly avoided altogether. The two dials are not level controls nor a simple equalizer, but they control a complex network of passive filter components to control the amount of bass roll-off and a continually variable counter measurement for room-induced bass reinforcement or -suckout to achieve an ideal balance in just about any room.<\/p>\n

Thanks to the ARPEC system, the speakers are easy to place and get perfectly balanced. Thanks to the ability to make individual speaker adjustments one can also overcome any asymmetry of the listening room\u2019s layout relative to the left and right speaker, again, without any time delay or A\/D losses inflicted by DSP solutions.<\/p>\n

<\/p>\n

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Review Context<\/h3>\n

The Fully Active Stillas will be listened to primarily using the Antipodes K50<\/a> Music Server along with HQPlayer software to stream to the Aqua LinQ<\/a> that outputs via Jorma AES\/EBU<\/a> to a trio of DACs. There’s the resident CH Precision C1<\/a>, the Vermeer TWO<\/a>, and the Mola-Mola Tambaqui. For the Vermeer part, I also used the Origin Live Calypso mk4<\/a> turntable with ViRA Aidas<\/a> rainbow cartridge and the CH Precision P1<\/a> phono preamp. Speaker cables and power amplifiers are made redundant.<\/p>\n

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Cables<\/h3>\n

The Stillas are powered with an early model of the Aequo Exclusive Power Cable and connected with an early model Aequo XLR interlink cable. The company has developed a completely new cable portfolio which is coming soon. These cables are using a newly found technology called Ferroguard\u2122, which they claim will set new boundaries when it comes to shielding of audible interfering frequencies.<\/p>\n

These cables were used for all my testing during this review. I will write a dedicated review when the new cable portfolio is launched officially by Aequo Audio.<\/p>\n

Setting Up<\/h3>\n

To get me started, Ivo and Paul positioned the speakers in-between the Magicos, using an electronic angle detector, and a laser distance measuring device. And just like the last time, in no time, the speakers sounded great even though they could ideally be further apart. Whilst adjusting the ARPEC controls, Ivo noticed that he ended with each speaker’s two dials much more in their neutral positions than the last time. Moreover, while there was quite an offset in level between the left and right speaker the last time, now he was able to use the same level setting for both speakers. He wondered if he was right in concluding that my room now had more bass gain?<\/p>\n

\"\"<\/p>\n

Paul and Ivo made sure to set both speakers at the right rake angles as this greatly affects their focus and precision<\/em><\/p>\n

At the time of the initial review, my room acoustics were uneven in terms of bass response and while this was a source of annoyance for me, it created the perfect conditions to showcase the Stilla’s strengths. That is, to achieve a perfectly flat bass response from both speakers, even in a far from perfect room.<\/p>\n

In order to counteract the uneven acoustics in my room during the initial review, the bass level was reduced for the left speaker and increased for the right speaker. I already knew that the left wall and front corner contributed to a huge mid-bass spike, but as I learned only recently, the glass wall on the right side gobbled up a large amount of bass.<\/p>\n

As Ivo’s measurements and auditory memory so nicely confirmed, the extensive reinforcements that I installed on the glass wall and the strategic placement of diffusers and absorbers have worked out precisely the way that I intended them to.<\/p>\n

Simultaneously, the hitherto large discrepancies in my room acoustics did provide the perfect situation during the first review to use the Stillas’ ARPEC system in a real-world environment and, subsequently, prove the strengths of their design.<\/p>\n

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Listening<\/h3>\n

As mentioned, I will use three different DACs to illustrate the Stillas’ performance. I will start with the CH Precision C1<\/a> not only because it is my reference DAC but also because it is the one that I used with the Hybrid Stillas.<\/p>\n

In many ways, my experiences with the Active Stillas are carbon copies of those of the initial Hybrid Stilla review. Not only are the two models very nearly identical in build and looks, but they also sound<\/em> very nearly identical. Just like the Hybrid Stillas, the fully-active Stillas have room-filling soundstaging while simultaneously being capable of superb imaging and razor-sharp focus. The layering in the depth plane is absolutely fabulous and has to be heard to be understood. And just like with the Hybrids, the resolution is again first-rate.<\/p>\n

Where razor-sharp imaging and high resolution can lead to leanness with some speakers, this is far from the case with the Stillas for they sound remarkably full-bodied and with bass so deep and powerful that you can’t help but wonder where the subwoofer is hidden. I’m not kidding! From the Martin Logan ESL15A’s<\/a>, I am familiar with gut-stompingly loud yet wholly undistorted bass, but there, it is produced by cabinets that are close to being a cubic meter in size. The Stillas, by contrast, seem like two needles stuck into the floor!<\/p>\n

Actually, since I skipped much of the technical info that was in the first review, it’s worth reiterating here that the Stillas each use twin woofers that are actually larger in diameter than the speakers’ front baffle is wide. In order to fit the relatively large woofers in the slim enclosure, they are internally positioned at an angle, clever, no? Of course, the rules of physics can only be bent so far. The Stillas’s bass is admittedly not quite as clean or as transparent as that of the twin 12-inch-equipped Martin Logans but the Stillas comes close, much<\/em> closer than can reasonably be expected. Likewise, in spite of the absence of digital processing, depending on the music that is played, I become conscious of their actively controlled bass, as if a subwoofer has been added to the system. Mind you, it would be a truly superb subwoofer at that. The pairing of the speaker’s lower and upper parts is extremely well done but, ultimately, it’s not quite as coherent and seamless as a fully passive speaker. Of course, the rules of physics also go the other way around, mandating a passive loudspeaker to be absolutely gigantic in order to come anywhere near the extension that the Stillas are capable of.<\/p>\n

Bass depth and -heft aside (which can be adjusted entirely as per the user’s desire), the Stillas possess from bottom to top a full-blooded tonality that injects everything you play with a pleasant richness. Class-D sounds overly clean? Not the way that it is implemented here! In spite of their precision, the Stillas really are very far from being clinical. But neither are they polite- dynamically, they are absolutely stunning.<\/p>\n

Besides their superb imaging and unbelievably powerful bass, perhaps their most alluring aspect is their natural midrange and the seamlessness with which the midrange driver crosses over to the tweeter. The two drivers seemingly work as one, always delivering vocals, strings, and woodwinds with an alluring “singing” quality.<\/p>\n

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By now it’s quite clear that my impression of the two Stilla models is very nearly the same. This seems only logical since they are 95% identical but that leaves out the fact that I used the first pair with a 31.000-euro amplifier! In other words, replacing this amp with twin Ncore modules leads to the same results? Well, in this implementation in pretty much all aspects very nearly so, indeed.<\/p>\n

The CH Precision A1.5<\/a> is a highly resolving, very linear, and very transparent amplifier. In these regards, it is sonically akin to a well-executed class D design such as the Ncore amplifiers as used by the Stillas. That goes some way toward explaining the similarities in all the aspects discussed so far and it is difficult to point out where the Big Swiss amp’s extra talents paid off with the Hybrid Stillas.<\/p>\n

I certainly don’t feel that any sacrifices have been made in terms of spaciousness, focus, or dynamics. Likewise, in terms of resolution, openness, and overall transparency, I also don’t feel like the two diverge much if anything. Still, it’s not exactly<\/em> the same experience. So, where do<\/em> the differences lie? Well, because they are not quantifiable in terms of the usual technical aspects, I’m afraid that we now arrive in a bit of a grey, touchy-feely area. What I think<\/em> I am missing compared to the previous setup is a tiny bit of magic. Whatever it is that provides the indescribable fascination that I had with the Hybrid models is turned down a few notches. Ok, fair enough, that’s what more can be obtained by totally ignoring the cost versus performance ratio. Also, it is one reason why the Hybrid Stilla model exists in the Aequo catalog.<\/p>\n

Now that we have established a baseline performance using the C1 DAC, let’s see how the Stillas perform with two other DACs.<\/p>\n

<\/p>\n

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Stilla with Vermeer TWO<\/h3>\n

The Vermeer TWO<\/a> is a DAC, network player, and analog tube preamp all in one. Its fully analog volume control allows it to be connected directly to the Stilla Actives.<\/p>\n

\"\"<\/p>\n

The TWO offers extensive connectivity: Analog inputs on XLR and Cinch, AES\/EBU, S\/PDIF on Coax and BNC, RJ45 Ethernet, and USB <\/em>and comes with an absolutely beautiful remote control.<\/em><\/p>\n

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Starting with the AES\/EBU input (sourced from the Antipodes K50 and Aqua LinQ), the TWO provides a slightly sweeter tonality than with the C1, along with a more organic flow and an even greater sense of depth and 3D-substance. The Stillas are inherently masters of soundstaging and imaging, but with the TWO, these aspects become even more captivating. The C1 yields a slightly tighter bass but overall, in terms of resolution, I’d say that the TWO is on par with the C1.<\/p>\n

\"\"<\/p>\n

JRemote is a very comprehensive iPad remote control app for jRiver Media Center. It controls all the basic functions but also offers considerably more metadata and file info than any standard UPnP app.\u00a0<\/em><\/p>\n

\"\"<\/p>\n

Bubble UPnP is the best app I know for Android. It looks good and offers all the basic functionality.<\/em><\/p>\n

Switching to the Ethernet input and UPnP (RoonReady will follow later), sourcing music jRiver Media Center installed on a Windows PC controlled from an iPad using the JRemote app, the Stillas maintain all of the positive aforementioned aspects while the musical performance becomes even more free-flowing. To be fair, when the LinQ is fed the same UPnP source and its output is fed to the TWO’s AES\/EBU input, some additional precision can be obtained but at a considerable cost. And then, it still remains a matter of personal preference whether one chooses extra tightness and precision tightness over smoothness and flow. Of course, what makes the network connection especially interesting is that it minimizes the amount of external audio devices.<\/p>\n

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Since the TWO also contains an analog preamp I couldn’t resist trying to see what would happen when connecting my Origin Live + CH Precision analog front end. I was already aware that the Calypso mk4 and ViRA Aidas Rainbow cartridge combo sounds bolder and more physical than many other turntables. As part of the TWO’s review, I already commented on how much better its preamp is than the Ayon in all the usual audiophile aspects. All this was again evident here but, in addition, what I heard in combination with the Stillas also gave new meaning to the phrase “Big Bass”!<\/p>\n

Maybe I should nuance this a bit to avoid making it sound like it’s all slam and not so much, well, nuance. In fact, the Stillas’ bass is very even-handed, entirely linear and it reaches all the way down. Yes, the specs mention that they are a full-range design and you better believe it! The Stillas sure know how to party while their unequivocally full-range sound makes thin-sounding records a thing of the past.<\/p>\n

For people who listen only to digital sources, a similar setup is possible with the Vermeer THREE, a model that is currently still being developed. The THREE will have the same DAC and LAN boards as the model TWO but will have only digital inputs and a unique Leedh Processing digital volume control.<\/p>\n

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Stilla with Mola-Mola Tambaqui<\/h3>\n

The Mola-Mola Tambaqui is a DAC with a RoonReady streaming endpoint on board. Unlike the Vermeer, the Tambaqui does not contain an analog preamp but its digital volume control still allows it to be used directly with the Stilla Actives.<\/p>\n

\"\"<\/p>\n

The Tambaqui has more limited connectivity than the Vermeer but still offers all the essentials such as AES\/EBU, S\/PDIF Coax, I2S HDMI, RJ45 Ethernet, and USB.<\/em><\/p>\n

While the Vermeer TWO’s overall sonic delivery shares some similarities with the CH C1, the Tambaqui steers the sound in a different direction. One might think of the CH sound as being very neutral and this is indeed the case, but the C1 DAC, in particular, deviates from that preconception by sounding quite full-bodied and tonally well-developed. Contrary to that preconception, switching to the Tambaqui after the C1 and the Vermeer actually sounds more similar to what one might expect a typical Swiss product to sound like.<\/p>\n

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All of the Tambaqui’s functions can be controlled via the “Mola Mola Remote” phone- or tablet app for Android or iOS.<\/em><\/p>\n

Sticking with AES\/EBU derived from the LinQ, the Tambaqui sounds tight and concentrated, hi-res and precise, very linear, and indeed very neutral. Compared to the C1 and especially the TWO, it has a no-nonsense delivery that in terms of soundstaging tends to focus more within the speakers, rather than filling the room. Coming from the other two DACs and especially the Vermeer, the Tambaqui’s sonic delivery can appear a little dry but it is good to know that this can be altered by selecting a lower output level. Going from 6V to 2V made a big difference that was entirely beneficial while a further reduction from 2V to 0,6V added a further dose of fluidity but also reduced transient attack and the overall liveliness. With the Stillas, I preferred the 2V setting.<\/p>\n

In spite of the unexpected turn in presentation, I must say that I quite like the Tambaqui + Stilla active combo. As it happens, even though they are highly resolving, the Stillas have such an innate timbral richness that it entirely prevents the Tambaqui from sounding cold or overly clean. On the contrary, actually, I much liked the extra crispness that the DAC brings to the lower octaves and lower midrange while the DAC’s focused sound provided ideal ground for the Stillas’ natural-born razor-sharp imaging.<\/p>\n

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Setting Tambaqui output level via the “Mola Mola Remote” app. Note that not all pre-amplifier analog input stages can handle a 6V output and in some cases, the 2V setting might yield better results.<\/em><\/p>\n

\"\"<\/p>\n

Roon linked to the Tambaqui while showing all the other available streaming endpoints (renderers)<\/em><\/p>\n

Switching from the LinQ’s AES\/EBU output to RoonReady, straight from the K50, the Tambaqui responds entirely in line with other DACs that offer both inputs, by sounding a little rounder and more fluid, at the expense of a measure of bass incisiveness. Otherwise, like the Vermeer, it sacrifices very little compared to the LinQ’s output fed via AES\/EBU.<\/p>\n

However, since the Tambaqui is inherently quite strict-sounding, its RoonReady input might actually appeal more to those who value a touch of smoothness over the last bit of articulation. As with the Vermeer, the choice is up to the user and even if one input is preferred over the other, I always welcome the options as it gives the user freedom of choice.<\/p>\n

For those who are interested in obtaining the Tambaqui sound but also have analog sources, a similar setup is possible using the Mola Mola Makua analog preamp that can be outfitted with an optional DAC board derived from the Tambaqui that offers the exact same inputs and RoonReady streaming section. Additionally, the Makua can be completed with an optional Phono board.<\/p>\n

<\/p>\n

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Final late-night experiments<\/h3>\n

Although it falls entirely outside of the context for this review, it’s worth noting two things. First, the Vermeer has nothing to gain by using an external preamp. Second, the Tambaqui perform best when used with an analog preamp. With its volume control disabled and its output level set to 6V, and used with the Audio-GD Master 1<\/a>, the DAC gains fluidity and refinement while retaining all of its precision and transparency. I have no doubt that the Mola-Mola Makua preamp will do the same while further upping the performance. While I don’t feel that the match with the Stillas mandates this, it does work much better with the Magico S1 mk2’s. In fact, when compared under identical circumstances using my regular setup, the Tambaqui shares a lot of similarities with the considerably more expensive Aqua Formula xHD<\/a> while seriously challenging it in certain aspects.<\/p>\n

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In Closing<\/h3>\n

As mentioned in the initial Stilla review, Aequo Audio is working on a visually striking new speaker, the fully passive Adamantis. Positioned neither below nor above the Ensis or Stilla, it is in a different category altogether. Without the ARPEC system and associated onboard amplification, these speakers will require more care in positioning and a serious external amplifier. But implementing all of the knowledge gained in the acoustic field and being cast from a new and proprietary Nano-Tech-based material called Diluvite, the Adamantis promises unprecedented low resonances and a level of sound quality that belies their price tag. Alas, the pandemic has caused a big delay but the development is ongoing. Ivo and Paul can’t make any hard promises but as things are progressing now, they have high hopes of being able to present a functioning model in the course of this year.<\/p>\n

The quest for creating the ideal cabinet- and driver material is also ongoing at the company’s Diluvite Nanotech Composites branch that focuses solely on developing and marketing the Diluvite material to serve numerous applications, among which the fabrication of proprietary tweeter diaphragms.<\/p>\n

\"\"<\/p>\n

The Aequo Audio Auditorium<\/a> in Eindhoven is open by appointment for prospective buyers who are interested in hearing a pair of Aequo Audio loudspeakers in an inspiring environment.<\/p>\n

Conclusion<\/h2>\n

In many ways, this review is a carbon copy of the initial Stilla review. Not only are the two models very nearly identical in build and looks, but they also sound<\/em> very nearly identical. Just like the Hybrid Stillas, the fully-active Stillas have staggeringly deep, solid, and linear bass, with room-filling soundstaging and absolutely superb focus and imaging.<\/p>\n

While the distinction between the Hybrid and Fully-active Stilla models may seem relatively insignificant at first glance, it is actually a very big deal. The extra 2000 euro not only buys you two very high-quality built-in amplifiers, but it also eradicates all worries about amplifier-matching, while creating extra space in your living room environment, and saving you many multiples of the Active’s surplus charge that you would normally spend on a stand-alone amplifier.<\/p>\n

\"\"<\/p>\n

Associated Equipment<\/a><\/p>\n

Try out Roon for yourself<\/h3>\n

Get Roon 1 month for free<\/a><\/p>\n

External Links<\/h3>\n

Aequo Audio: Aequoaudio.com<\/a>
\nMola-Mola: MolaMola.nl<\/a>
\nVermeer Audio: Vermeer.com<\/a>
\nAequo Auditorium: Auditorium-Eindhoven<\/a>
\nDiluvite Nanotech Composites website: Diluvite.com<\/a><\/p>\n

PRESTIGE AUDIO DIFFUSION
\nAequo Audio: Distributor for France & Monaco \/ French part of Belgium \/ French part of Switzerland
\nMola-Mola: Distributor for France & Monaco \/ French part of Switzerland
\nVermeer Audio : Distributor for France & Monaco \/ Belgium \/ Luxembourg \/ French part of Switzerland<\/p>\n

Contact : Marc Loubeau
\nTel\u00a0: +33(0)6 49 89 68 88
\nEmail\u00a0:\u00a0contact@prestigeaudio-diffusion.fr<\/a>
\nWebsite: www.prestigeaudio-diffusion.fr<\/a><\/p>\n

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