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
Imperiet - Blå himlen blues
The year was 1985, and I had moved to Lund, very much against my will. My girlfriend at the time had left me after two years together, and my studies were limping along like a shopping trolley with wonky wheels. Most of what I actually did during my few years at university in this particular university town was partying and getting involved in student union activities. Despite this rather unpromising introduction, and the shackles of academia, I was fundamentally quite a positive person – and definitely tireless. Anyone who knows how cramped a student room can be will also understand why my place became particularly attractive towards Friday afternoons, when everyone wanted to make up for lost time and live out their dream of being a newly liberated student. You see, I lived right in the centre, in a flat that was about five times the size of an ordinary student room. It also had two entrances – one proper front door and one for making a getaway – and, as the icing on the cake, a balcony. I was, as it happened, "looking after" a relative's flat before it was eventually put up for sale. Blå himlen blues was released that very year, in March, and I absolutely loved the LP. It had such a strong sense of "to hell with it" and freedom about it that you simply wanted to bellow along to the songs, sober or pissed. I had brought the LP with me from Gothenburg, along with my Lenco L75 and the rest of my stereo equipment, intending only to blow the speaker cones out of their boxes whenever I got the chance. I'd painted those speaker cabinets myself, red and gold, and I exercised them like an unemployed man with nothing better to do. Yes, I hear you thinking: so what? Well, this particular evening, one that remains especially deeply etched in the memory lane, came about when my temporarily live-in mate Jakob had brought six or seven friends over from his home town. Jakob's dad was a fish farmer – salmon, to be precise – and his mum was forever sending him salmon pies to improve his otherwise rather disastrous diet of instant macaroni and ketchup. As a result, I was eating salmon for breakfast and dinner. The mixture of old and new friends, tequila slammers, the stereo at full volume, a fall, and one of Jakob's old homeboys planting his face straight into a pizza-wrapped wall, bleeding down into the gap between "wall and bowl," created an evening that, by today's standards, might not seem entirely well thought through. The atmosphere itself wasn't particularly unusual. It was more the natural consequence of underdeveloped frontal lobes, generally poor judgement, and an enormous amount of flight instinct thrown into the mix. Escape. That was the key. When C.C. Cowboys, the first track on side one, was playing at full volume for the third or fourth time. When "We are the great..." kicked in, the chaos became so uncontrollable that I escaped through the other "entrance" and disappeared into the night, just before the Old Bill turned up.
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Pink Floyd - Zabriskie Point
I can’t remember when I bought my first Pink Floyd album. Pink Floyd is a band that has somehow got under my skin gradually over a very long period of time and completely coloured my soul. I have always regarded this band as one of those that has influenced me the most, especially their early work. So when my Brother in Arms, Clifford, sent me a little message from the UK and asked if I wanted to go to the Pink Floyd exhibition Their Mortal Remains at the Victoria and Albert Museum in London in 2017, I was quick to take him up on it. A perfectly valid excuse for me, and an opportunity to secure an exception permit for a pub or two. And this brings me to Zabriskie Point, a soundtrack that really puts my love of Pink Floyd to the test. At the exhibition there was a section dedicated to the band’s film music. More, Zabriskie Point and several others were presented there. But right where the LP of Zabriskie Point should have been, there was simply an empty space. They had simply been unable to get hold of a copy. This surprised me a little. I have had at least three copies in my hands over the years. I can admit that I bought my first copy partly because of the cover – a rather wonderful hippie 60s artefact. The album really is a case of the good, the bad and everything in between, and a complete mishmash of different artists, to such an extent that one of my friends actually tried to physically carve his own track into the record with a knife, just so he wouldn’t have to listen to one of the other artists involved. Yes, you can imagine how well that went down!? The Pink Floyd music on the album, however, is very special and, in my opinion, fascinating; experimental, atmospheric and psychedelic, with plenty of sound collages, echoes, floating guitars, tape loops and long atmospheric passages. The material dates from 1969, the period between Ummagumma and Atom Heart Mother, which gives you some idea of what we are talking about. And the three tracks – “Heart Beat, Pig Meat”, “Crumbling Land” and “Come in Number 51, Your Time Is Up” – are recordings from the Zabriskie Point sessions and really belong to this very particular phase of Pink Floyd. The whole collection of tracks and the way everything is thrown together probably isn’t really meant to be understood. I’ve given up. I probably ought to watch the film, which I actually haven’t done. There are certain pieces you find yourself hoping will come to an end quickly. Perhaps that is why my current copy sounds like frying bacon – previous owners have simply given up and jumped around among the tracks.
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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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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.
