Are you looking for a statement piece that stands apart from the crowd —something akin to a work of art, designed to enhance your quality of life? Then you have come to the right place. Each product is individually handcrafted according to proven artisanal traditions. No two pieces are ever identical, giving every turntable and loudspeaker its own unique visual character. This is more than an investment in a hi-fi system —it is an investment in craftsmanship, in contemporary expression, and in a vision that resonates with both the present and the future.
Oops Audio — Expect the Unexpected
At Oops Audio, we chase emotion — because the magic in music isn’t always clean. It lives in the texture, in the subtle imperfections, in those “oops” moments that make something feel real. We are part of a trend that advocates a more contemporary view of music technology — where great sound is more than numbers. We do not contradict traditional HiFi, which often focuses on measurements and technical perfection; instead, we take a more balanced path — one that values both precision and how music is actually experienced. Each Oops Audio product is engineered for accuracy, though with a more pronounced emphasis — crafted to preserve the nuance, warmth, and natural dynamics of a sonic performance. Through careful engineering, thoughtfully selected components, and a listening-led approach to tuning, we aim to create a sound that feels engaging, expressive, and true to musical preferences.
Oops Audio is starting a different conversation: what if the best sound isn’t the most clear — but the most felt? A complementary perspective — sound that connects, surprises, and resonates on a deeper level, where you rediscover why you fell in love with music in the first place.
Our Products
The turntable’s internal components—and their carefully engineered relationships—are inherently resistant to vibration. Punch and Wallop are fast, rhythmically engaging, and dynamically expressive, delivering a wide, immersive soundstage. They’re built to surprise you, draw you in, and surround you with a fuller, longer-lasting musical experience. To complete this musical evolution, we created Oomph—a loudspeaker that serves as the icing on the cake.
VINYL OF THE WEEK
Gene Clark - No Other
I may once again be stating the obvious: “In 1974, Gene Clark released an album that almost nobody wanted to hear. Today, many regard it as a masterpiece.” Clark had made exactly the record he wanted to make, but the record label simply didn’t know what to do with it. My way into the album came many years after its release, of course, as I was born in the mid-’60s. Around 2013, I had been given a commission to sketch out the interior for a new retail concept. The CEO of the company at the time was a very open-minded and exuberant American called James. Robban suggested to James that I put together an inspiration trip – to check out trends and feel the groove of what was bubbling away and the directions that looked set to grow strong in the years ahead. So we did. Robban, my colleague and close friend, photographer, 100% entrepreneur and, above all, my partner in crime when it comes to creativity and general mischief, and I travelled to London with James. A destination chosen partly because of my never-ending Anglophilia and my younger years of repeated visits and getting down and dirty in the streets: Brick Lane, Portobello Road, Shoreditch, the East End, Bethnal Green, to name but a few. Late ’80s and early ’90s. Filterless and with plenty of self-confidence, we visited haute couture shops, the Sonos headquarters and smaller, newly established bazaars at the embryonic edge of the vintage trend. We looked, listened, talked, drank. Took it all in. And then, one night, we ended up on Carnaby Street in Soho. As if by chance, Liam Gallagher, founder of Pretty Green and, of course, frontman of Oasis, was launching a new collection in his shop at 57 Carnaby Street – Pretty Green’s first shop. ’60s-inspired, packed with Mods artefacts, a Lambretta Li 150 Series 3, two floors, whitewashed brickwork, black industrial windows. Music roaring from the speakers, invited guests, curious faces and security guards in black hoodies, arms folded and wearing hard stares. But, as you know, serendipity only exists if you seize the moment and keep an open mind. Somehow, we talked our way in. Perhaps it was the American accent, perhaps the eccentric, slightly authoritative confidence, or simply being the right people in the right place at the right time. Whatever it was, we were invited to the party. Free beer and a bloody lot of high-profile celebrities. And now comes the arc in my story. Gene Clark suddenly came pouring out of the speakers. In my state of looking straight into the kaleidoscope, beer splashed across my chest, swaying away in a red, grey and blue striped padded jacket, green army trousers and the obligatory boots, I felt on top of the world on the dance floor, right in front of the DJ’s Technics 1200s. So I walked over and asked him: “What are you playing now?” Given my interest in music, we quickly found common ground, and the record changed hands right there and then. No Other. I had absolutely no idea that this record had been waiting for me for almost forty years. Or that I would have to travel all the way to Carnaby Street and drink beer with Liam Gallagher’s guests to find it.
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Thin Lizzy - Thin Lizzy
The Friendly Ranger At Clontarf Castle streams out of the speakers and flows seamlessly into Honesty Is No Excuse, and I am completely stunned. I am sitting there, wedged into an Eighties sofa, surrounded by cushions, cheap wine, Marinella and fingers sticky with cheese puffs.“Can you play that again?” I say to Tommy. Tommy was from the small town of Habo, just outside Jönköping, and was into tennis, Thin Lizzy and Van Halen. We had met earlier that same year in Kristianstad, where we were doing our military service. The year was 1984. It was Friday night and we were excited after a long train journey back from our posting. Herreys were at the top of the Swedish charts, grating on our eardrums like a Eurovision-winning Swedish entry – three brothers dressed in dance-band outfits with brightly coloured tops. It definitely wasn't our thing. Our world wasn't filled with the gossip press's front pages or the covers of OKEJ magazine. I knew Thin Lizzy well enough, but I had never heard this first LP in its entirety before. The few songs and fragments I had picked up were minimal, mostly overheard on the radio. My focus was more towards post-punk, Pink Floyd and my musical god David Bowie. By then, my LP collection had already grown to a half-metre-high stack of records in this genre. I met Tommy again several years later. We talked about music, and he told me that he had developed an allergy to hops. A fate worse than death, he said – he loved beer... The LP is a blend of Irish folk rock with clear Celtic influences. Here you can hear Lynott's early songwriting, extraordinarily poetic and musically outstanding. Lynott also wrote poetry, which he published in book form alongside his music. Eric Bell was the band's sole guitarist, bringing his own tone and colours to the music. The absence of simple power chords is striking. Instead, it is all about creating atmosphere and nuance around Bell and Lynott's lyrics. I know I've said this before and taken some wallops for it, but I consider the first three LPs to be the most interesting. Precisely because of this combination, where the vocals almost seem to converse with the drums and guitar, in something akin to call and response. In my subjective opinion, there isn't a single second of a dip in this LP. Everything grabs your attention. Five out of five all the way through is my verdict. Perhaps that is precisely why it has now, these days, been reissued as a 50th Anniversary Edition. Share the music!
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Svart Ridå – APONIA
When the Curtain Goes Up, Svart Ridå, this three-stage rocket. Dressed like old men in white shirts, black trousers and shoes, and black ties, like The Blues Brothers. Perhaps completely off the wall to some people, but I think I get it. They are absolutely taking the piss out of patriarchy, touché and they do it so bloody well. “Take me seriously, for fuck’s sake, look how I conform,” while in reality it is one big: “Fuck you, I’ll do whatever I want.” On the outside, they stand there at Way Out West in their uniform, almost rigid appearance in stark contrast to their explosive and physical performance on stage. Svart Ridå absolutely stand out, and they have more than deserved all the positive attention they have received recently. And the way they play. Only three of them in the band, yet they sound like many more. They wear out the skins on the drum kit and shred the strings on bass and guitar, without it ever feeling forced or contrived. This is pure, unadulterated rock: guitar noise, improvisation, swinging arms, headbanging and powerful emotional outbursts delivered straight from the spine. I realise I’m stating the obvious when I say that this is a band who own the stage. The music is raw and played with incredible authority and confidence, on a level with the biggest bands of the 1990s. Like a reincarnation from a bygone era, they suddenly appear. The openings are heavy as lead, dystopian, frightening, direct, fearless, full of bloody-minded determination only to unfold into beautiful melancholy and deeply emotional storytelling the very next moment. There is Nirvana’s fragility, distortion and sudden explosion, attitude and attack, only to land moments later in that distinctly Swedish melancholy and emotional depth. We are thrown from the extremes of punk, down into dreamy Slowdive, through The Hives and Jeff Beck, before finally being lulled to sleep by Kent. Their performance and expression are so strong that they never need to shout for your attention. Instead, you suddenly find yourself standing there, swaying in a trance, mouth open and eyes fixed. They clang, they wail, they roar in unison, just like the very best. So come on, lads, come and have a look. All you bands full of blokes trying so bloody hard. Svart Ridå have already cracked it long before their death and before the curtain has even come down. And as for why I skipped half of my Way Out West headliner, Gorillaz: the LP APONIA is 100 per cent brilliant, just buy it. But as a live act, Svart Ridå make you tremble.
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News & Events
That is why we actively present our products at selected exhibitions and audio shows across Europe, where visitors can encounter our systems in carefully prepared listening environments. In addition to exhibitions, our products are also displayed through a curated network of selected retail partners. These locations are chosen not only for their knowledge, but for their ability to present sound properly — in spaces where music is listened to with attention and respect. Whether at an international show or in a local store, every encounter is designed to offer a true understanding of how our products sound — and feel.
THE TRUTH ABOUT SOUND
-Why does my Hi-Fi system lack feeling?
Hi-fi systems are ecosystems, not just collections of components. Different designers voice their gear in different ways: some aim for neutrality, others for warmth or maximum detail. When components are mixed, the result can be a system that works against itself. The real issue isn’t variety—it’s the lack of synergy.
Avoid the mistakes of...
Nothing gets better than the source. “Garbage in, garbage out” is broadly true—but incomplete. A mediocre recording on a well-tuned system will often sound more engaging than the same recording on a poorly matched high-end setup. The source sets the ceiling, but the system determines how close you get—and how pleasant the flaws sounds.
Hi-Fi Gains without spending money
Most systems don’t fail from lack of upgrades—they fail from ignored fundamentals. Fix the basics before you buy anything.
The Connoisseur
Overall, a longing for analog is increasingly linked to both taste and status in our highly technical age. What was once considered essential for progress is now often questioned. Among more conscious audiences, elements once dismissed as “retrogressive” are now valued for their balance of reason and emotion.
Read more about our philosophy about sound
The Story behind Oops Audio
Oops Audio is unique. It is both a statement and a testament to the value of resources, with the craft process at its heart. The type of wood used in each plinth varies according to availability, and production begins only when the material is ready and has reached us.
Every Wallop and Punch turntable is individually named, highlighting its one-of-a-kind nature and honoring the tree from which it came—its origin is geotagged. Because of this meticulous and deliberate process, production is never rushed. Owning a Wallop or a Punch may require patience, but that patience is part of the privilege of possessing something truly exceptional.
The same philosophy extends to our Oomph speakers in oak.
The oopsizzle crew
The Oopsizzle Crew is made up of the people who use, listen to, and live with Oops Audio products every day. It’s a growing community of listeners, creators, and enthusiasts connected by a shared appreciation for music and rhythm.
What brings us together is simple — a love for music and a respect for the rhythm that runs through everything we build. From the workshop to the listening room, the connection between maker and listener becomes part of the same experience.
If music matters to you, you're already part of the Crew.
