CES 2011

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Jason Victor Serinus Posted: Jan 15, 2011 0 comments
Veteran electronics and speaker designer Walter Lindemann decided to expand Lindemann’s line to include cabling after he discovered he was never quite satisfied with cables and didn’t want to resort to cables that cost $50,000. Instead, he decided to enlist a German company to help him roll his own Kind of Blue Cable Series. The cables are said to be a “perfect complement” to the company’s 800 series of electronics.

Soon to be distributed by Jonathan Josephs of One World Audio (smilingly showing off his babies), and so new that the US price has not been set, Lindemann’s Kind of Blue cable line includes power cables, speaker cable, and interconnects. All are cryo-treated.

Power cables, which come either shielded or unshielded, contain up to 14 separate “twisted pair” conductors composed of high-purity copper. Insulation is “Teflon-like,” there are neither ferromagnetic materials nor magnetic screws, shielding (when used) is a conductive Gore-Tex coasted with carbon. Interconnects come single-ended or balanced, the latter with a special XLR connector that is completely free of steel and includes gold-plated contacts.

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Robert Deutsch Posted: Jan 15, 2011 1 comments
Have you ever had the nagging feeling that there was something that you were going to do- but you don’t remember what it was? I got that feeling when I was finishing my blog entries. There was one more such entry that I remember thinking that I must do, but what was it? There was nothing to jog my memory in the little notebook where I scribble information, and I couldn’t find any product literature that would remind me of it.

It was when I was going through the CES photo files on my computer that I ran across the photo that served as a reminder. Of course—Anthony Gallo! I visited his room in the Venetian briefly on the Press Day, when the exhibitors were still in the process of setting up. What drew me into the room was that, unlike other exhibitors that still had all their equipment in boxes, there was some music playing in Gallo’s room—and it sounded pretty nice. Anthony was hard at work, preparing loudspeaker cables for his speakers. I took his picture and promised to return later.

And I did, too, on the last day of the Show. The speakers that made their debut at the 2011 CES represent a significant change for Anthony Gallo’s approach to speaker design: instead of the spherical enclosures, the new Classico line uses traditional wooden boxes enclosures. The speakers (there are five in the line, plus a subwoofer) combine a cone midrange/bass driver with Gallo’s own Cylindrical Diaphragm Transducer (CDT). (That is, except the lowest-priced Series I, which has a dome tweeter.) The speakers also feature something called BLAST, which “reveals the true potential of the box.” (Yes, I found the product literature, which was hiding in one of the compartments in my luggage. It mentions BLAST, but doesn’t have any information on it.) The speaker that I heard initially, and that I had a chance to listen to again, was the Classico Series II ($1195/pair), the smallest speaker to use the CDT tweeter. And it still sounded pretty nice.

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Jason Victor Serinus Posted: Jan 15, 2011 2 comments
A sister company of Argento Audio of Denmark, Organic Audio now launched a complete line of copper cables. These include Organic Audio interconnects ($995/1m pair RCA, $1075/1m pair XLR), speaker cable ($1950/2m pair), and power cords ($995/2m). By contrast, interconnects in the all-silver Argento range from $2000–$9500/1m pair. All products are distributed by Ricardo Reyes (left) of Musical Artisans in Skokie, IL.

Ulrik Madsen (right), who designs the cables and owns the company, was on hand to discuss his products. All Organic Audio cables are derived from Argento Audio’s entry-level Argento Serenity. “I wanted to take advantage of the connectors I developed for Argento,” Madsen explain. “We make all our Organic Audio connectors ourselves from the same metal as the conductors in the cables, which is OFC 99.997% copper. (The more expensive Argento cabling uses silver). There are no solder points; all attachments are made by applying set-screws to accomplish compression.

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Jason Victor Serinus Posted: Jan 15, 2011 0 comments
Steve Holt, global sales manager for MIT, proudly introduced me to the company’s brand new Matrix line of cables. Designed by Bruce Brisson, the cables retail between $9999 and $21,999, and are part of the company’s reference line.

The new speaker cable comes in three flavors: Oracle Matrix HD 90 ($9999/8ft pair), Oracle Matrix HD 100 ($14,999/8ft pair), and Oracle Matrix HD 120 ($21,999/8 ft pair). There is one interconnect, Matrix 50 ($4999/1m pair, $5999/1m balanced pair). For digital cabling, one needs to go up one step in the reference line to Oracle MA-X digital ($3495/1m RCA or BNC, $3995/1m AES/EBU)

These new cables use MIT’s multi-pole technology. “We talk about poles of articulation,” said Holt. “There are electronics inside our boxes on the cables to provide wider bandwith coverage to power, so that sounds at either end of the spectrum won’t be rolled off as quickly.” The Matrix cables also employ a new technology called F.A.T. (Fractional Articulation Technology) that helps maintain the harmonic structure of audio signals.

In the Magico room where they were displayed, the new Magico Q3, Soulution amplifiers, and files from Paul Stubblebine’s Tape Project made wonderful music through Oracle Matrix HD 120 speaker cable and the Oracle MA-X interconnects (start at $8495/1m pair). You can see the Oracle Matrix HD 120 boxes in the above photo, which was taken behind one of the Magico speakers. If other rooms hadn’t called, I would have dropped everything then and there and stayed for hours.

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Jason Victor Serinus Posted: Jan 15, 2011 0 comments
Stage III Concepts, a Pasadena-based company whose products are distributed by Brian Ackerman of AAudio Imports, has released four newly re-engineered, top-of-the-line cables. All are part of the A.S.P. Reference series (Absolute Signal Purity), and are entirely handmade (including connectors) by Luis de la Fuente. Connectors are made of ceramic with a mixture of special resins to minimize crosstalk between pins, and the entire housing composed of carbon-fiber and epoxy resin. The wire itself is silver-palladium alloy. The A.S.P. Reference interconnect and speaker cable also sport a vacuum dielectric.

On display were the Zyklop power cord ($6000/1.5m), Gryphon interconnect ($5800/1m pair RCA, $6300/1m pair XLR), and Mantikor speaker cable ($13,200/2m pair). Besides digital and phono cables and speaker jumpers, the company sells hook-up wire for components in a variety of gauges. The least expensive, 22 AWG ($66/1.5m) is followed by 17 and 15 AWG ($280/1.5m).

Asked about the cable’s sonic properties, Ackerman replied, “It has no sound at all. It’s probably the closest thing I’ve heard to having no wire. It’s virtually invisible, like a direct connection.”

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Jon Iverson Posted: Jan 14, 2011 0 comments
It is a truism worth repeating: you can't really draw any conclusions about the sound of a component from an audition at an audio show.

Then there are those exceptions that prompt you to drop your neutrality and reach for the superlatives. The Vienna Acoustics room was like that for me last year. But this year, I've got to hand it to Philip O'Hanlon for creating a sound and scripting a demo that I would rate as extraordinary no matter what the circumstances.

Vivid's G2 Giya loudspeakers and the large room at the top of the Mirage didn't hurt. But I was here for the digital front end, and in this case, the Audio Aero La Source, which was functioning both as a disc player and preamp, connected to a Luxman M-800A Amplifier.

O'Hanlon describes the La Source as "an all-out attempt to put an analog preamp into the same box with the SACD/CD player." The La Source was also hooked up to a computer and streaming files via its USB input. On the back is a set of balanced and unbalanced analog inputs, BNC, SPDIF coax and optical, USB, and AES/EBU digital inputs along with a BNC digital and balanced and unbalanced analog outputs.

You can order the La Source with an Esoteric VMK5 Neo VRDS transport for $44,000 or without the transport for $35,000 and there is a trade-up program for Prestige owners. Also in the box is an Anagram digital clock along with S.T.A.R.S. 32bit/384kHz DSP, dual mono Burr Brown 1792 DAC, and vacuum tube output stage.

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Jon Iverson Posted: Jan 14, 2011 0 comments
Consider this the baby brother to the La Source. Same overall functionality but with the lower priced Esoteric UMK5 transport, a stereo Burr Brown 1792 DAC and an OEM clock directing the digital. Still, it has the S.T.A.R.S. 32bit/384kHz DSP and vacuum tube output stage as well as the preamp features.

The La Fontaine will be available sometime in February with transport for $25,000 and without for $19,000. O'Hanlon adds that by the end of the year, there should be five Music Centers products without disc ranging in price from $3,000 to $35,000.

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Jon Iverson Posted: Jan 14, 2011 0 comments
mbl products always make you wonder, is it technology I'm looking at or art? Their new Corona Line continues this tradition with, depending on your taste preferences, some of the most drop-dead gorgeous casework you'll see in the audio world, or some of the most over-the-top gratuitous metal (choose between gold or palladium alloy palinux), paint (white or black) and gloss this side of a Kustom Kar show.

Nonetheless, you can't argue with how carefully these products are made. The C31 wil be available sometime this summer for around $8,000 (depending on exchange rate at the time) and has coax, toslink and USB inputs in addition to its disc playing function. The C31 can also communicate with the other products in the Corona line via the SmartLink ethernet connector on the back

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Jon Iverson Posted: Jan 14, 2011 0 comments
Hiding in the back room of their palatial suite in the Mirage, Musical Fidelity was running a demo of their M1CL:C Universal Music Controller which is now being finalized. MF says they are shooting for somewhere under $2,000 for the product which operates as a DAC and preamp and includes USB, SPDIF and analog inputs. I noted a USB input on the front and a beautiful color display as well.
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Jon Iverson Posted: Jan 14, 2011 2 comments
Musical Fidelity also displayed their V-Link which can take USB from your computer and convert it to S/PDIF for use with your non-USB DAC. Priced at $169, John Atkinson mentioned to me that "it measures really good" and found it did indeed operate in the better-sounding asynchronous mode.
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Robert Deutsch Posted: Jan 14, 2011 2 comments
“Trickle-down effect” is an expression manufacturers often use to describe the application of lessons learned in developing a flagship model to the development of lower-priced products. However, according to Wendell Diller of Magnepan, in developing the new Magneplanar MG 3.7, what has taken place is a trickle-up effect. (Wendell celebrates 36 years marketing Magnepan this year!) The lessons learned in going from the MG 1.6 to the MG 1.7 were applied to the more expensive flagship MG 3.6, with what he says are results that represent at least as much of an improvement as the change from the MG 1.6 to the MG 1.7. I’ve been quite impressed with the MG 1.7 on previous occasions, and listening to the MG 3.7, driven by Bryston electronics at T.H.E. Show, made me think of the MG 1.7, except for greater bass extension and dynamics. Magnepan has kept the price at $5495—$5895/pair, which must represent a bargain for a planar speaker of this performance and pedigree. Standing proudly next to the MG3.7 in JA's photo is Mark Winey, son of founder Jim, who now runs the Minnesotan company.
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John Atkinson Posted: Jan 14, 2011 1 comments
Previewed by Michael Fremer in the October 2010 issue of Stereophile (pp.13–16), where he goes in depth into its technology, Sonus Faber's flagship loudspeaker, The Sonus Faber, will only be produced in a limited edition of 30 pairs. Apparently, all 30 pairs have been spoken for by distributors and dealers.

This is a big speaker—it stands 67" tall and weighs 672 lbs—and was being demmed in an appropriately large room with the large Audio Research Reference 610T tubed monoblocks. Or it would have been demmed, as on both my visits to the room, the electricity supply to the room had failed. (If you look closely, you can see the electrician's red toolbox to the left of my photo.)

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John Atkinson Posted: Jan 14, 2011 0 comments
The first trickle-down from The Sonus Faber project is a revised Amati model, the Amati Futura ($34,000/pair). Beautifully finished in a mirror-gloss lacquer, as you can see, it was also almost unphotographable. It was also only on passive display in the Sumiko penthouse suite at the Venetian.
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John Atkinson Posted: Jan 14, 2011 3 comments
If you look closely at the easel to the right of the photo of the YG room at the Sands/Venetian Convention Center, you can see the text "with drivers machined in-house." Usually, this means that the manufacturer has machined the baskets and polepieces, but in the case of YG, they are also talking about the cones!

Called "BilletCore" by the Colorado company, the aluminum cone for the midrange and low-frequency drive-units used in the top-of-the-line Anat III Reference ($111,000/system) and the smaller three-way Kipod is milled from a solid block of aluminum. In the case of the Anat subwoofer, the starting point is a billet of aluminum 2.5" thick weighing 16 lbs, compared with the finished cone after a day of work, which is 0.008" thick and weighs less than 1 ounce. Stiffening ribs are left on the rear of the cone and the final step is to black-anodize the aluminum. The benefit of machining the cone is said to be improved unit-unit consistency and rigidity compared with a conventional spun, cast, or pressed metal diaphragm, which pushes break-up modes even farther out-of-band.

Though YG was in the same room as in previous CESes, they had taken heroic measures this year to tame its acoustics, as can be seen from the photo. The result was worth the effort. In a system that included dCS Scarlatti digital front-end, a Veloce battery-powered preamp, Tenor 350M monoblocks, and Kubala-Sosna Master Reference cables, the Anat II Reference produced a warm, detailed, full-range sound. Particularly impressive was a version of Sting's "Roxanne" from Italian singer Petra Magoni of Musica Nuda. Both the voice and the solo double bass accompaniment had a palpable presence but without sounding forced or exaggerated.

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John Atkinson Posted: Jan 14, 2011 1 comments
"$175,000/pair?" I gulped. I know my beat at the 2011 CES was expensive loudspeakers, but the price of the Trenner & Friedl Duke took my breath away. Yes, the sound in the large room the new Austrian company shared with Cardas, Profundo, and the Jeff Rowland Design Group was superb, but that's a lot of change, even if the manufacturer will fly anywhere in the world to set the speakers up in the customer's home. (The rest of the system comprised a dCS Puccini used as a transport to feed JRDG's new Aeris DAC (the Colorado company's first digital product), $9800; a JRDG Criterion line stage, $18,500; and two JRDG 625 stereo power amplifiers, $13,500; with Cardas Clear cabling.

Each 12" woofer uses a fiber-glass–reinforced paper cone and is loaded by what is referred to as "a hybrid form of horn-resonator and bass reflex design." The mid/HF module is coupled to the woofer modules with spheres of varying hardness, to drain vibrations optimally, and can be adjusted to bring the drivers into proper time alignment at the listening position. The midrange unit features a papyrus cone with an elmwood phase plug and an alnico magnet, while the enclosure is filled with wool from "locally raised sheep" to reduce internal reflections being retransmitted through the drive-unit cone. The tweeter uses a titanium nitride dome loaded with a Tractrix-flare horn, while the supertweeter is a diamond-diaphragm type. The upper-range crossover is passive; the woofers are fed via a line-level crossover, and internal wiring is all Cardas Clear.

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