According to H. Richard Weiner in “Bound For Sound”, 9/98,p8: (Reporting about REDGUM and its co-exhibitor, Ambience at the 1999 Las Vegas Winter Consumer Electronics Show)“.... They did not claim to have repealed, set aside, or received exemption from the laws of physics as some visitors from Western Europe asserted......they played - no, not stale jazz classics- Waltzing Matilda on a banjo. Again, an amusing change of pace. Then I realized that the banjo sounded as though it were in the room. Realistic reproduction of a string’s attack and overtones can defeat a lot of equipment. In the REDGUM/Ambience display I forgot that I was listening to equipment, and concentrated on the music. This year, their gear did justice to The Goldberg Variations. “ .... I don’t know about you, but I’ve had enough metal in my listening room, be it black matte, champagne finish, or machine turned. Redgum products are finished in a wood indigenous to Australia: a colour something like maple. I’m sure there’s an electrical justification for wrapping components in wood, but there’s also a strong aesthetic argument to be made: this is handsome stuff. Redgum has a new CD Player/DAC, which sounded relaxed, articulate and musical.....“.... I asked how the fellows could manage to ship stuff across the Pacific, allow the dealers to make money, and still stay in business. They explained that this was the result of the Asian economic crisis, which was pretty plausible until I remembered that their prices were attractive in January 1998, six months before several currencies collapsed. My own feeling is somewhat less geopolitical: these guys, like Greg Osborn, are very serious about engineering in the service of music, but not obsessed with making a fortune. Does such a philosophy translate into good equipment? Put another way: Do other high end manufacturers’ obsessions with exotic materials and proprietary technology distort their perception or skew their priorities? I can tell you that there were whole wings of the hotel full of people far more serious than Tony and Ian, but there were only a few where I had as much fun with the music.”

K.K.Chew writing about the 60 W REDGUM amplifier in “Perfect Sound Vision” (Malaysia), Aug-Sept 1998 (translated from the original Chinese):“The external appearance of the equipment is elegant. The simplicity contains poise........The design of REDGUM is one of soft and transparent dynamics and ‘feet on the ground’ musical flavour. ........Listening to “Paganini For Two” (PGD/DGG), played on the violin by Gil Shaham, the sound was natural and elegant........the guitar played by Goran Sollscher showed that the degree of separation of the two instruments was presented accurately........And all those instruments accompanying them, such as the aeolian bells, harp and piano were able to individually express their beauty. ........When you listen to a sensational symphony recorded in a concert hall that was full of people and the sound source was a little bit distant, the presentation of depth of sound was better than its width........REDGUM can handle the situation with ease...”as easily as eating beancurd”. Then I played a saxophone CD “Antiphone Blues” (FIM). Arne Domnerus’s saxophone was on the left, giving people the feeling of “the wind is mild and the sun is bright”. Gustav Slokivist’s pipe organ even gave a “shaking” performance........ (After the reviewer changed his speaker leads) Arne’s saxophone sounded as if “the red sun is rising over the eastern horizon”. The feeling of air and smoothness had been increased. ........Finally, if you want to challenge (a 60W) REDGUM,....it can also work well. ........The mid-bass of ‘Uakti Mapa’ (PGD/Verve) is sweet and mellow........When a banquet of sound is played on it, its rhythmical performance may surprise you and make you drop your spectacles. Low frequencies sound deep and strong and the feeling of quality is homogeneous. Though (a 60W) REDGUM produces a smooth sound, it is undeniable that if you want ultimate grunt you won’t be satisfied unless you buy a Mark Levinson 33.” (Ed.- costing over $AUS100,000!) [A full translation is available on request].

According to Martin DeWulf in "Bound for Sound", 11/97:“A speaker that was sounding very good was the Ambience ribbon hybrid ($US4,575). Fired up by Redgum electronics, this combination from Australia was resolute enough to keep Rich Weiner and me in the room for about twice as long as the customary stay. What struck me about this combo was the natural ebb and flow of the music, all without an unnatural electronic edge. The sound just kind of flowed, and I could see Rich making mental comparisons to his stacked Quads. I didn't need to know which he preferred, The Quads or the Ambience, the mere fact that the comparison was being made was enough.

The US importer is Universal Sinema Systems at 312.669.1949.