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Cool Kids Audio

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France
Grenoble
Cool Kids Audio

La boutique idéale de Boring Vic. Le meilleur de l'audio Studio & Hi-Fi sélectionné avec soin.

12/09/2026

The wait is over. The first European batch of the Aude Maurens Maxwell 2 ANC has officially landed in our stock and is ready to ship.

Building on the legendary performance of its predecessor, the Maxwell 2 ANC takes planar magnetic gaming audio to the next level:

▪️ 80mm Planar Magnetic Drivers: Delivering ultra-low distortion, pinpoint spatial accuracy, and rich, audiophile-grade detail.
▪️ Advanced Active Noise Cancellation: Blocks out background distractions so you can stay fully immersed, whether gaming or listening on the go.
▪️ Broadcast-Grade Mic Filtering: Powered by AI for crystal-clear team communication in any environment.
▪️ Ultra-Low Latency Wireless: Seamless connection across your setup with extended battery life.

Units are in stock and shipping immediately across all of Europe, including the UK.

Head to coolkidsaudio.com to get yours before this first run sells out.

11/09/2026

Most people choose between open and closed backs on how they sound. That's the last thing that should decide it.

Start with what's around you.

Do you record in the same room you monitor in? Then you need closed, and it isn't a preference. An open headphone leaks enough for a click track to end up on a vocal take. No amount of gating fixes bleed that's baked into the recording.

Does anyone else share the space? Open backs leak both ways. You'll hear the room, the room will hear you. Fine alone at 2am, useless in a shared studio or a flat with thin walls.

Is your room treated? If it isn't, headphones stop being a second opinion and become your main reference. That argues for open — the wider, less pressurised presentation is easier to work on for hours — but only if the leak isn't a problem.

Now the sound, which is simpler than people make it. Open backs generally give you a more spacious image and less low-end pressure build-up. Closed backs give you isolation and, in the good ones, a low end that's more consistent because it isn't fighting the room. Both can be accurate. Neither is inherently better.

The mistake we see most: someone buys an open flagship for a shared room, can't use it at normal levels, and concludes the headphone is disappointing. It isn't. It's the wrong tool for where they sit.

Answer the room questions first. They'll usually leave you with one option, and then you only have to choose between two or three headphones instead of thirty.

10/09/2026

The two microphones that turn guesswork into data are back in stock.

The miniDSP UMIK-1 and UMIK-2 are on the shelves — and honestly, they never stay there long. The UMIK-1 has quietly become one of our best sellers since day one.

Both are USB measurement microphones, omnidirectional, plug-and-play, and each one ships with its own individual calibration file tied to its serial number. No interface, no phantom power, no excuses: plug it into a laptop, open REW or Dirac Live, and you finally see what your room is doing to your speakers.

The UMIK-1 is the reference everyone starts with — the standard for room correction, subwoofer integration and speaker setup.

The UMIK-2 goes further: higher resolution, lower self-noise and a cleaner measurement chain when you want your data to be as precise as the system you're tuning.

If you've ever moved a sub around the room hoping for the best, this is the €100-ish purchase that changes everything.

We ship across the EU, to the UK, and beyond — customs paperwork handled on our side.

Available on coolkidsaudio.com

09/09/2026

A planar magnetic driver works nothing like a conventional dome or cone. Instead of a rigid diaphragm pushed from one point, you get a thin membrane driven evenly across its whole surface. Two consequences that matter: distortion stays low because nothing flexes unevenly, and transients start and stop cleanly.

In practice that means you hear where a reverb tail actually ends. On a lot of dynamic headphones you're guessing.

The honest trade-off: planars are inefficient. Plugging one into a laptop headphone jack wastes it entirely — you'll get volume and none of the control. Budget for amplification, or don't buy the headphone.

They're also not a mix-anywhere tool. They tell you the truth, which is exactly what you want when checking a master and exactly what you don't want when you're trying to enjoy an album.

Available at coolkidsaudio.com

09/09/2026

PSI Audio just built an AVAA that takes 135 dB SPL.

The new AVAA C225 is the most powerful active bass trap the Swiss brand has made. Where the C20 and the C214 start limiting around 115 dB SPL, this one keeps absorbing up to 135 dB — with two 10-inch drivers, a brand new pressure sensor and a 300 W class G/H amplifier behind them. It took more than two years to develop.

It also digs deeper: active absorption from 12 Hz to 130 Hz, against 15–160 Hz on the C214. Same working principle though — no phase cancellation, no signal sent into the room. The AVAA changes the acoustic impedance of the air in front of it and swallows the energy of a room mode before a standing wave can build. Put it in a rigid corner, switch it on, done. No measurement mic, no calibration, no target frequency. PSI Audio rates it as efficient as a porous absorber forty times its volume.

The target this time is high-SPL rooms: home cinema, small clubs, demo spaces and studios that work loud — the places where the low end carries serious energy below 50 Hz and the room turns impact into lingering hum.

78 × 57 × 57 cm, 33 kg, black, app controlled. Price and availability haven't been announced yet.

The AVAA C214 is available on coolkidsaudio.com.

09/09/2026

Fourteen consoles. That's all Sound Techniques ever built between 1964 and 1971 — and they ended up under a startling number of the records you know by heart.

has just unveiled JUDE, an official collaboration with Sound Techniques and a faithful reproduction of the mic preamp from Geoff Frost's A-Range desks. The ones at Trident, De Lane Lea, Sunset Sound and Elektra.

"Hey Jude" was cut at Trident in 1968 on the studio's first eight-track A-Range. So were the White Album sessions, Bowie's Hunky Dory and Ziggy era, Elton John's earliest records and Queen's "Keep Yourself Alive".

Inside: the original dual-discrete 3035 Class-A gain stage, 65–76 dB of gain, 10 Hz–25 kHz. Plus Frost's Z-Match impedance circuit — nine positions crossing three input impedances (60 Ω, 200 Ω, 1.5 kΩ) with three input gain settings (−15, −7, 0 dB).

That last part matters more than it sounds. Change the impedance a microphone sees and you change its frequency response, its transient attack and its harmonic character. Nine genuinely different voices out of a single mic. A preamp you tune to the source rather than one with a fixed colour.

Custom CineMag USA and nickel transformers, Wima and Nichicon caps, carbon resistors, hand-wired throughout. Hand-tested in Austin, five-year warranty.

JUDE-MP (single channel) $749. JUDE-MP2 (stereo) $1,399. Available now — euro pricing to follow.

07/09/2026

Your speaker doesn't only play for you. It plays for your walls.

And that's where it gets complicated.

What reaches you at the listening position isn't the speaker's sound. It's the direct sound plus everything that bounced off the walls, the ceiling, the desk. In an untreated room, that reflected share can be most of the energy arriving at your ears.

Most speakers radiate very differently depending on frequency: fairly directive up top, close to omnidirectional down low. So the bass goes everywhere, excites the room's modes, and comes back to you late. That's what produces low end that smears — the kind you cannot judge no matter how long you listen.

This is the real story with , far more than the DSP. Their design makes them cardioid in the low mid : significantly less energy sent backwards, toward the wall that causes the problem. You reduce the problem at the source instead of correcting it after the fact.

It doesn't replace acoustic treatment. But it changes what you can get out of an imperfect room — and just about every room is imperfect.

Available at coolkidsaudio.com

05/09/2026

New in the catalogue: the Noble Audio FoKus Artemis.

Three driver types in one wireless over-ear — dynamic, balanced armature and planar magnetic. ANC, LDAC, USB audio, up to 50 hours of playtime, and a battery you can swap yourself.

Box just landed. Available on coolkidsaudio.com.

04/09/2026

Before you get back to work, spend twenty minutes on this. It's worth more than a new plugin.

1. Equilateral triangle. The distance between your speakers should match the distance from each speaker to your head. Get this wrong and the stereo image collapses or smears — no amount of correction fixes it.

2. Tweeters at ear height. Not close. At ear height, when you're sitting the way you actually sit. Vertical off-axis response falls apart faster than horizontal on most monitors.

3. Distance from the rear wall. Anything between roughly 20 cm and 1 m is the worst case: the reflection comes back late enough to cancel part of your low end. Either go close to the wall, or well away from it.

4. Match your levels. A 1 dB imbalance between channels pulls the whole image sideways and you will mix against it all day without noticing.

None of this costs anything. And if you're deciding where to spend next: stands and acoustic treatment will change more than swapping electronics. That's not what a shop is supposed to say, but it's true.

Drawing by U-Turn Audio

02/09/2026

Your NOVA can do 7.1.4 now. Same box. 🎚️

has just released software 2.1.3 for the NOVA, and it's the biggest thing to happen to the platform since launch: a new Immersive mode that optimises up to twelve discrete channels — a full 7.1.4 layout — fed over Dante at 48 kHz, with one speaker set at a time.

Worth being clear about: the NOVA doesn't decode Atmos. It takes the discrete channels out of your renderer or DAW and puts the Optimizer on them. That's exactly how a monitoring tool should behave.

And what you pay for is channels, not the mode. Optimizer licences work the way they always have — but a unit with eight licensed channels automatically unlocks up to twelve in Immersive mode, so the fourth licence throws in the next four. In practice, an installed NOVA 6 needs one more 2-channel Optimizer licence (€720 incl. VAT) to land in 7.1.4. No hardware swap, no trade-in, and it applies to units already in the field.

2.1.3 also pushes standard monitoring from six to eight optimised channels, adds calibration graphs in the setup wizard, automatic bass management recompute, target curves editable in 0.1 dB steps, and reboot straight from the interface.

NOVA from €3,588 incl. VAT. Available on coolkidsaudio.com

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