Part II: 3e Audio - A5 Stereo and A7 Mono Class D + PFFB, TI TPA3251/3255 Amplifiers - power, distortion, and the subjective. (And a few photos for Swifties.)

Let's continue with Part II of the evaluation of 3e Audio's A5 and A7 Mono amplifiers. See Part I last time for the initial discussions, features, pictures and measurements around output impedance, frequency response and stereo crosstalk.

This time, we'll finish up with further measurements of output power, distortions, subjective discussions, and summary.

Unless a product can be purchased, there's probably no point publishing the results! So I timed this post to correlate with the opening of the 3e Audio AliExpress store for these products.

I. Power

Class D amplifiers are known to provide good amounts of power with high efficiency in small boxes. Let's see what the A5 (Stereo) is able to do into my standard 4Ω resistive load - both channels driven, for best quality, I'll use the XLR input from the Sabaj A20d 2022 DAC (ESS ES9038PRO converter), and volume control was bypassed:

That's a great start with 121W into 4Ω up to 0.1% THD+N. For context, this is a little more power than the Topping PA5 Mk II+ previously measured at 102W with same load and threshold.

And here's the same 4Ω THD vs. Power graph for the A7 Mono:

We're seeing good amounts of power from both amps correlating with the capabilities of the respective TI TPA components they're based on. The A5 Stereo achieves around 120W and A7 Mono just over 200W of "hi-fi" power defined as <0.1% THD+N as per my usual convention. Notice for both amps, we can see the THD+N curves dip below -100dB, suggesting very low distortions that we can examine in greater detail later.

Let's have a look at the output power with higher 8Ω load(s) as seen in some higher efficiency speakers out there:

As expected, we have halved the wattage into a doubled resistive load. Around 60W, 0.1% for the 3e A5 (Stereo), and just over 100W, 0.1% for the A7 Mono.

Both amplifiers are running in parallel bridge-tied load (PBTL) configuration, capable of handling 2Ω loads. Since I only had one 2Ω power resistor that can tolerate higher wattage, I tested this on the 3e Audio A7 Mono:

The amp was able to produce 330Wrms continuously into 2Ω, 0.1% distortion (not "instantaneous", "peak", or "transient" power as one might see in advertising material). Looks like there wasn't enough current for a clean doubling from the previous 200W into 4Ω. Good to see that the amp was able to push >25.5Vrms into such a low resistance without complaint for over 30 seconds. And if you're willing to really stretch it to 10% distortion (commonly reported in specs to impress general consumers, not audiophiles 🤨), I measured 450W continuous. Not quite the 600W in 3e's manual but still a big number for these little Class D chip amps with the switching power supplies!

I don't see anything unusual in the harmonic structure in that odd harmonics, especially the 3rd, tend to predominate at higher output like with other TI TPA amps I've evaluated.

I captured the THD vs. Output Level down to -110dBFS. So if we look at the output level linearity:

Almost perfect linearity down to -110dBFS with less than +/-0.5dB using the A7 Mono amp, even at such low levels. We can see the clipping up around -2dBFS which correlates with >1% distortion. While not shown, the A5 likewise is just as "perfect" down to -110dBFS. These are DAC-like results.

II. Single-Tone Distortion

Let's now drill down to the typical 1kHz THD+N (reciprocal of SINAD) FFT's starting with the A5 Stereo amp:

These are seriously clean results of around -100dB at just 1W into 4Ω and -104dB at 5W which speaks to a high level of engineering precision. These imply that the amp is capable of reproducing hi-res content beyond 16-bit CD resolution (notice ENOB results all >16-bits). Harmonics are all below -110dB from the 1kHz fundamental.

And in the same way, the A7 Mono:

TI TPA3255 amps like the A7 Mono can obviously provide significantly more power as we saw above, but with slightly higher distortion and noise than well-executed TPA3251 designs (like the A5).

I see the differences are basically academic though. Any amp that performs with better than -90dB THD+N at 1W I think deserves respect especially at affordable price points! Regarding the A7 Mono, achieving better than THD+N -95dB, 1W into 4Ω, is simply excellent and this is the first time I've seen a TPA3255 amplifier achieve THD+N better than -100dB on my testbench into 5W.

These THD+N/SINAD results are a few dBs better than the Fosi Audio V3 Mono measured previously. I must continue to stress that when better than -90dB, distortion down here is more or less a mere 0.003%.

Make sure to appreciate this as an engineering design and manufacturing triumph rather than a reflection of a meaningful, audible difference!

Switching over to the RCA input, the graphs above are the THD+N FFTs for the A5 and A7 Mono at the two gain settings. As expected, there is an increase in noise and distortion when using single-ended compared to balanced (almost always see the 60Hz powerline hum). Again, we see just a slight edge with the A5 (TPA3251) compared to A7 Mono (TPA3255).

If we focus on the A7 Mono, while there is a drop from THD+N of -101dB using XLR down to around -97dB, this is clearly still excellent. The RCA input performed very well and does not significantly give up much resolution.

It's all well and good to look at 1kHz test tones, but let's examine distortion across the audible frequencies 20-20kHz - here's the 3e Audio A7 Mono THD vs. frequency step data at 2V (1W), 4.5V (5W) and 10V (25W) into 4Ω:

Nothing scary here across the frequencies. It's typical to see that rise in distortion >2kHz primarily due to increasing 3rd harmonic in these TI TPA amps. Regardless, above 2kHz and as we get beyond optimal hearing acuity (>5kHz), the amp still maintains -80dB/0.01% THD+N. It's also normal that the graph collapses above 6.6kHz because beyond that, the 3rd harmonic surpasses 20kHz and gets filtered out. Beyond 10kHz, even the 2nd harmonic goes above 20kHz and all we're measuring is the noise component.

Although there's nothing scary happening here, perhaps the next generation of Class D chip amps might be able to control that odd harmonic rise into higher frequencies better.

Let's mix it up a little, here's the A5 graph at 6.3Vrms into 8Ω (5W) across 20-20kHz:

Again, all looks good. Notice I've put the cursor at 1kHz; we can see that the THD+N is better than -106dB, excellent low distortion into 8Ω with the A5 at 5W.

You might be wondering, so what if I have volume control active and use RCA High Gain, both of which are expected to add a bit of distortion and noise? Does that deteriorate performance badly?

Let's compare using a THD vs. Level sweep on the A5 Stereo into 4Ω, both channels driven, RCA input set at +26dB Hi-Gain but we'll turn the volume control down by -3dB so the expected peak output will be equivalent to 100% level with the Low-Gain RCA and XLR input settings.

In so doing, we can overlay XLR+Bypassed, RCA-Low+Bypassed, and RCA-High+Volume Control 1kHz THD+N level step graphs:

As expected, the Hi-Gain RCA setting with volume control combination increases THD+N (magenta). For best quality (lowest noise and distortion), logically, stick with XLR input and volume bypassed. RCA Lo-Gain with volume bypass is also excellent as you can see (green).

IMO, there is no need to get concerned even if you have to use RCA Hi-Gain + volume control. At it's worst on that graph at higher volume levels, we're still looking at better than -80dB/0.01% distortion plus noise at continuous 26Wrms where I have the cursor! It's doubtful that this would be audibly problematic even though easily measurable.

I wanted to hone in on the effect of the volume control a bit more. Let's compare the FFTs between digital volume control (32-bits, amp volume knob bypassed) vs. the amp volume knob (DAC fixed at 0dBFS) with equivalent -10/-15/-20dB attenuations:

As you can see, the 32-bit digital volume attenuation at the same amplifier output levels resulted in lower distortion than controlling with the front volume knob. The differences are small though, indicating that 3e Audio has done a very good job with implementing the feature while minimizing fidelity impact. With -20dB attenuation, the 3.4dB difference is really quite a minimal change considering the amp is still achieving around -90dB/0.003% THD+N. Notice also the added higher frequency noise when the volume knob is activated; a detail we would not be aware of with just a single THD+N number.

[A number of years ago, we discussed the superiority of digital/software volume control on this blog. Don't be afraid of well-implemented 32/64-bit digital volume control.]

III. Multi-Tone Distortion

Alright, let's go multi-tone now and see how these amps perform with intermodulation distortion signals. Let's put my usual dual-tone IMD tests together in one large graph, at 2V into 4Ω, ~1W for both the A5 and A7 Mono:

Consistent with the previous discussions, while the A7 Mono can provide more power, if you're looking for lower distortion into normal loads, listening to music with typical power demands (most audiophiles seem to need <25W into 8Ω), then the A5 Stereo will already be more than enough!

As a marker of how well the amplifier handles transients, let's have a look at the TIM ("Transient InterModulation") test signal (96kHz bandwidth), here's the A7 Mono running the test tone at 2Vrms and 10Vrms into 4Ω (can compare with the Fosi Audio V3 Mono):

For this test, we're most interested in the distortions that pop up between the test signal peaks caused by intermodulation distortions between square-wave transients and the 12kHz tone. As you can see, it's very low. Even with an average 10Vrms signal (~25W), it's down below -110dB peak. No concerns about the amplifier's ability to handle rapid transients cleanly.

Next, let's examine the complex 1/10 Decade Multitone 32 at 2V into 4Ω (we'll look at both the XLR and RCA Low-Gain inputs, volume control bypassed):

Nice looking complex multitone FFTs for the 3e Audio A5. Good to see that the RCA input looks clean and comparable to the XLR balanced input other than a little bit of excess noise, not unexpected especially at 60Hz. I've turned on the peak tracing (magenta) which represents the highest level detected over the 3 minutes or so as the software collects the 32-sample average. Notice nothing wild happening over those 3 minutes to create unusual peak noise or other distortions.

Overall, noise and distortions are low, better than 105dB distortion-free range with XLR, and better than 95dB with RCA Low-Gain input.

The A7 Mono is similar to the A5, but a few dB lower distortion-free range. Compare this A7 Mono graph with the Fosi Audio V3 Mono one to see the very significant improvement when using RCA input. This improvement with the A7 Mono's RCA input is to me really nice to see over the Fosi V3 Mono for audiophiles aiming for higher fidelity who prefer/need the single-ended input.

Finally, let's have a look at the Triple-Tone TD+N which I've been using as my main measurement of distortion when I summarize amplifier performance. The lower the TD+N, the better - here's the A5 Stereo 2V into 4Ω (~1W):

And the A7 Mono:

Again, the results are better than -90dB/0.003% - simply excellent and as far as I can tell, "transparent". As we have seen already, the lower-power 3e A5 (TPA3251) is capable of putting up some excellent results at this 2V/1W level into 4Ω, typically better than TI TPA3522 amps.

Casual listening in the living room with my Tannoy bookshelves. I had Roon streaming to the old Chromecast Audio into the amp's RCA inputs.

IV. Subjective

For most of my listening, I used the 3e A5 (Stereo) mainly because I only have one A7 Mono for the evaluation. You'll see below albums where I incorporated the A7 Mono for listening as part of my multichannel system.

For best resolution then, the most basic stereo signal chain with the A5 was:

Roon Server computer → Ethernet → Fanless MiniPC → USB → Sabaj A20d 2022 DAC (ES9038PRO) → XLR → 3e A5 amp → RED DRAGON speaker cables → Paradigm Signature S8v3 floorstanders

'Tis the season, so let's start off with some Christmas music! I was recently introduced to Johnny Reid's My Kind of Christmas (DR7, 2019) by a friend. I had heard his song "Fa La La La La" on the radio which was the only track on this album I was already familiar with (love the kid's choir echo on that track).

The deluxe edition album has a short commentary before each song which is fine the first couple times, after that I was just more interested in skipping to the music. Reid is Scottish-Canadian and until I heard his commentaries, I was unaware of how strong of a Scottish accent he had! Could not have guessed based on his typical country songs and the singing voice.

There are some standards like the rock-country "Let It Snow", and "Jingle Bells". His vocal style reminds me of Springsteen back in the day. DR7 isn't dynamic for a hi-fi system and the 3e 5A amp had no problems conveying the rockin' good seasonal tracks here with nice stereo separation, well-anchored phantom center, speakers "disappeared", and realistic tonality. [Most of this is really secondary to speakers and room set-up, but the amp still has to pull its weight.]

Next, again in keeping with the season, let's have a listen to Hervé Niquet & Le Concert Spirituel's rendition of Vivaldi's Gloria & Magnificat (DR12, 2015, available hi-res 24/88.2). I was inspired to have a listen to Gloria (RV589) after attending a local live performance. This is a 12-movement work sung in Latin, based on the traditional Catholic mass, known for its uplifting operatic style.

This is a good sounding recording. Spacious, multilayered with the instruments and female multi-part chorus. I know there's some controversy for this recording in that the solo parts like the lovely soprano duet "III. Laudamus Te" is sung by the choir. While I enjoy the solos, this choral version also works for me. This piece was dedicated to the Venice Ospedale della Pietà girl's orphanage so the idea of using women choruses probably would not have been inauthentic to how these pieces were practiced and performed back in the early 1700's when Vivaldi taught violin there.

The A5 amplifiers did a great job with the rendering of the voices. Track "VI. Domine Deus" starts with beautifully gentle, flowing instrumentation (violins, viola, cello carrying main melodic line) that nicely transitions into the 4-part choir and then ends back with the instruments.

If you're into choral music, have a listen! For me, it's nice to celebrate the holidays with a time of serenity and reflection using music like this, set apart from the jingoistic commercialized Christmas songs.

Alright, let's go modern pop/rock/electronic/eclectic!

My son is into this animated series on Netflix and ranks it high on his list for the genre (he tells me some of the fight scenes are "the best" he has ever witnessed) and was told the music and soundtrack score is well regarded as it uses the songs to drive the narrative. The first season came out in 2021 and I believe it ends with Season 2 so this newly released Arcane: League of Legends Season 2 Original Soundtrack (2024, DR5 stereo, DR11 multichannel/Atmos) album will be the last.

Artist-wise, this is a compilation of a number of collaborations with poppish tracks ranging from the ballad "I Can't Hear It Now" to rap "Renegade (We Never Run)" to the Mandarin pop "这样很好 [This Is Good] (Isha's Song)" sung by Eason Chan (陳奕迅), to the hard rock "The Beast", to the folk/country "Spin The Wheel", to the French electropop "Ma Meilleure Ennemie" [My Best Enemy]. There's a bit here for anyone with an eclectic taste, and I'm sure these songs will have deeper meaning for those who watch the series or appreciate the multiplayer online battle arena (MOBA) game it was derived from.

"The Beast" rocks hard so pump up the volume! The 3e A5 had no problem pushing my speakers to ear-splitting levels with modern compressed (DR5 stereo mix) recordings like these yet sounding reasonably clean. The Imagine Dragons song "Enemy" is probably the most popular of the tracks (which was also featured on Season 1) you might have heard on radio.

The multichannel version of this album is quite enjoyable as well. As usual, the wider mix opens up congested tracks like "Heavy Is The Crown" with more dynamic range and breathing room between the speakers. Also, make sure you have a good sub for "Ma Meilleure Ennemie"!

I first watched the Broadway run of "Wicked" way back in 2004 and I admit that I was quite impressed by Kristin Chenoweth and Idina Menzel's performances! Not surprised then that after 20 years, it's making its way to the cinemas as a 2-parter with the younger generation of Ariana Grande and Cynthia Erivo taking on the lead roles. While I haven't seen the movie yet, the whole family knows these songs intimately and I'm looking forward to checking this out at the local theater this holiday season.

Overall, Wicked: The Soundtrack (2024, DR9 Stereo, DR12 Multichannel/Atmos) I thought was quite well done. With the big budget Hollywood production, we have lush expanded orchestral accompaniment (here's a picture) instead of the typical "pit orchestra" on stage. I thought Grande and Erivo did a great job with the source material. Even Michelle Yeoh and Jeff Goldblum's performances were reasonable 🙂 - psychologically it's hard for me to not think about other roles when I hear their voices. As a comparison, this Hollywood musical adaptation sounds leagues better than Russell Crowe/Hugh Jackman's vocal work on Les Misérables (2012) - the last musical with huge box office sales numbers.

Needless to say, with the objective transparency of the 3e A5, I didn't feel that anything was lacking at all when listening to this album. Clean, crisp vocals with good soundstage positioning especially for the duets like "What Is This Feeling?". Excellent transient impact and dynamics from the orchestra especially on the faster tracks like "Dancing Through Life". "Defying Gravity" remains my favorite in this first half and I am looking forward to Wicked Part Two next year when I'll get to hear the new rendition of my favorite song "For Good" from this musical. Supposedly there will also be 2 new songs added.

For comparison, make sure to check out the Wicked Original Cast Recording (2003, DR9, there's also a multichannel/Atmos of this version out there). Fantastic original, a tough act to beat for any remake!

Lastly, let's have a listen to the classic Carpenters: Singles 1969-1981 (2000, DR10 stereo, DR13 SACD 5.1 mix from 2004) compilation.

By this point in my amp evaluation, I had already started to listen with the A7 Mono powering my center channel with the Wicked soundtrack and parts of the Arcane soundtrack in multichannel (using my Integra DRX-8.4 with XLR pre-outs as surround processor). This multichannel SACD remix by Richard Carpenter and Al Schmitt from 2004 presents Karen Carpenter's vocals through that center speaker unlike many multichannel recordings that unfortunately ignore putting content up front which I think is a shame.

While I'm sure many listeners would consider much of the Carpenter's songs a bit too "sappy" for their taste, to me as a pop music lover, Karen Carpenter had one of the most beautiful voices to ever grace analogue tape, and these are simply joyful tunes from the '70s given a new perspective through a tastefully done multichannel mix. They envelope the listener without blatantly drawing attention or screaming "Hey, this is SURROUND!". Wisely, most of the sonic action is up front with Karen anchored to the center channel, discrete effects including some percussion and guitars showing up in the rear on tracks like "I Won't Last A Day Without You" or the alien voice at the start of "Calling Occupants of Interplanetary Craft". This is the kind of surround mix I enjoy most with older music not originally envisioned as some kind of progressive sonic extravaganza (unlike say Dark Side of the Moon).

The clarity of the vocals reproduced with the A7 Mono was stunning, and closing my eyes, I had no trouble imagining Ms. Carpenter standing front-and-center in the room on well-known tracks like "Superstar", "Top Of The World", "(They Long To Be) Close To You", etc. If you're a Carpenters fan, I would strongly suggest you have a listen to the multichannel mix as an example of the importance of the "Source Recording Quality" among the determinants of sound quality.

To end off this subjective portion, I thought the A5 (front stereo) and A7 Mono (center channel) sounded "sweet" and neutral, basically showing off the qualities of the source content, presented to your speakers+room (as an acoustic system). I know some people have an impression about Class D sounding "synthetic".

Modern Class D like the Hypex amps, and even these relatively inexpensive newer TI TPAs sound way better than the first generation Tripath T-Amp for example (alas, I wanted to measure one of these a few years back but it was old and died). In my room, I've heard Class A (like this), A/B (including my current Integra, and Emotiva monoblocks), and various Class D amps. I certainly would not be bold enough to walk into a room and declare what kind of amp class I'm listening to with confidence! A good amp is a "transparent" amp and the inability to tell the difference is exactly what I would expect when any of these are engineered well.

Even at 100% gain, both the A5 and A7 Mono were silent - no hiss through my speakers. Sound quality remained clean, well defined, whether at low or louder levels. There is a slight "click" through the speakers when turning on and off/sleep mode which I thought was OK although I would prefer silence of course. 

Using the 3e A5 stereo, and A7 Mono as front L/C/R amps in multichannel/Atmos set-up, off the Integra DRX-8.4 XLR pre-outs.

V. Summary

Okay, the summary score sheets please (see this for more info):

TI TPA325X designs continue to evolve in these latest models from 3e Audio with optimized PFFB, more power using the supplied GaN power supplies that I was sent, low Class D switching noise, a full set of features including reliable auto signal detect, balanced and unbalanced inputs, clipping indicator, bypassable volume control, and adjustable RCA gain (A5 Stereo: +23/+26dB, A7 Mono: +26/+29dB).

As you can see in the 3e A5 (Stereo) and 3e A7 Mono summaries above, the damping factor in these amps are now in the hundreds to the point where I might as well just say ">300x" with 4Ω load to indicate highly load-invariant behavior which is further demonstrated in the well-controlled frequency response graphs.

Notice that the A5 has slightly lower distortion than the A7 Mono. I think it's reasonable to say that in most domestic listening rooms with efficient loudspeakers where you likely need less than 50W into 8Ω or 100W into 4Ω, the A5 will likely be all that is needed. You can keep an eye on the clipping indicators on the amp to see if you ever push beyond what the amplifier can provide. If so, you might need to upgrade to something more powerful.

For those who have the need for more power, or just want to look cool with monoblocks 😉, the A7 Mono might be for you. Plenty of clean power - ~100W into 8Ω, ~200W into 4Ω, ~300W into 2Ω at ≤0.1% THD+N. This should satisfy all but the most extreme of "power users" with demanding speakers and/or larger rooms.

The volume control is convenient to have especially with the A7 Mono to adjust relative levels manually in a multichannel system or maybe relative stereo balance between 2 channels. As expected, you will see a slight deterioration in resolution when using the physical volume control. As shown in the THD vs. output level graph in Part II where I used Hi-Gain RCA in and activated the volume control in the A5, the degradation isn't severe (a 10dB worsening of THD+N from -95 to -85dB isn't audibly an issue, right!?). As audiophiles, we always have to be mindful of the gain applied through our systems. For best resolution on these amps, use XLR input, bypass the volume control, and use 32/64-bit digital volume control when you can.

Even with prolonged use over hours, both the A5 and A7 Mono were just moderately warm with these pre-release units suggesting good heatsink design (said to be equivalent to the final release). The auto-sleep mode was predictable and would kick in at 5 minutes without an input signal. When the input signal is active, it takes a couple of seconds for the amplifier to wake up. Basically it works like many subwoofers where you just leave it plugged in and it'll kick it whenever you play something. I did not notice any strange noises but turning on and off did result in a soft click through my speakers.

On the test bench, the amps performed very well. When pushed to extremes, I've triggered protection mode a few times without incident. They seem to be quite robust little boxes. Unlike some amps where as a reviewer/tester I might feel a bit anxious about possibly damaging them when pushed hard, I'm actually feeling quite confident that these guys seem to do a good job protecting themselves.

Compared to other devices I have reviewed, the 3e A5 is similar to the Topping PA5 Mk II+ but offers a little bit more power and about equivalent resolution. The Topping offers a 12V trigger and TRS balanced jacks whereas the 3e A5 goes into auto-power-saving after 5 minutes of silence and has a convenient combination XLR/TRS balanced inputs. They are both based on the the TI TPA3251.

The A7 Mono is similar to the Fosi Audio V3 Mono but again with more power, slightly better resolution as reflected in the THD+N, and triple-tone TD+N. What I found more significant is that the A7 Mono performs significantly better with RCA input than the Fosi Audio V3 Mono with less distortion and lower noise, plus the availability of the volume control adds convenience.

As discussed in the Subjective section, I found that these 3e Audio amps sounded very neutral and simply conveyed the contents of the recordings without editorialization. They consistently sounded "clean", nuanced, projected authoritative dynamic transients, and rendered wide and deep sound stages. Within the power envelope of each amplifier, I'm not sure I can ask for more sound-quality-wise regardless of MSRP as a hi-fi enthusiast.

I see that 3e has opened their "Buy Now" page on AliExpress. With the A5 + 38V/5A power supply going for US$240 and A7 Mono + 48V/5A at US$180, the prices seem very reasonable for the quality and would be competitive with products from other manufacturers.

I see the AliExpress listings have multiple entries for EU and US plugs as well as the different models. Make sure you select the right one!

For the A7 Mono, I tested using a more powerful 52V/9A power supply. If you're intent on driving 2Ω loads, maybe consider something like this 48V/10A GaN unit for the extra current. Otherwise, the included 48V/5A should be very adequate for most users.

With these new amps, 3e Audio pushes affordable TI TPA325X Class D chip designs forward and I don't see anything here objectionable. I don't know if this is the pinnacle of TI TPA325X performance but I bet it's at least very close!

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Let's end off with something for pop culture fans.

Taylor Swift's The Eras Tour just ended and here are a few pictures from the last concert of the tour in Vancouver on Sunday December 8, 2024. Highest grossing tour of all time (thus far). Alas, only so much quality from a little cell phone. Packed stadium, lots of loud singing and laughter. Kids of all ages dressed up.

There were many official video cameras at BC Place for these shows so I assume there will be a documentary or concert video of the performances down the road.

Thankfully I got tickets a year ago when they went on sale. Insane scalper prices near the end! Heck, hocking off a couple of tickets could have easily netted some pretty decent "high-end" gear. Maybe even better, if I rented out my house for a few days plus tickets for the show, went down to Hawaii for those days, I'd still have more than enough for some 5-figure audiophile loudspeakers. 🤣

Of course, as any logical guy would, I did contemplate the options... Ultimately, we live subjective lives and there are things we pay for to capture memories, I suppose. Certainly fun to see the girls in the family turned into 'Swifties'. 🥰

Cheers everyone. Hope you're enjoying your music, hi-fi, and year-end activities!