While being PC is always a bone of contention in the audiophile community, sonic correctness goes without question. In a nice-sized room in the Marriott Tower, Lyngdorf’s Steve Colburn held a series of extremely convincing demonstrations of the complete Lyngdorf room perfect correction system. Using Triad speakers, Colburn’s before and after treatment samples of a percussion CD with lots of low bass were eye-opening. Quelle difference! If only Steve could have corrected for the people in the far corner who insisted on blabbing through the entire demo as if no one else mattered.
In Hebrew, the number 18 is called "chai," which also means "life." As my final (and 18th) blog entry from Day One at RMAF, I was happy to report how thrilled Jeff Wilson and I were with the sound in the Gill/Art Audio/Daedalus room.
After several years of collaboration with Lew Johnson and Bill Conrad with McCormack Audio, Steve McCormack went it alone a year or so back with SMc Audio. He was demming SMc's first product at RMAF, the $6800 VRE-1 line preamplifier ("VRE" stands for "Virtual Reality Engine"). The solid-state design uses Lundahl and Jensen coupling transformers and uses J-FETs in a zero-feedback circuit. Unusually, it dispenses with the otherwise ubiquitous solid-state voltage regulators in its power supply. Instead, it uses a choke-smoothed voltage rails, which Steve feels eliminates any trace of "transistor" sound. Next to come will be a matching phono stage.
One of my fondest experiences at previous Home Entertainment shows involved listening to a recording of violinist Hilary Hahn play Brahms on Tenor Electronics. The way those electronics captured the sweetness of her tone was unforgettable. So I'm happy to report that Francois' and Robert's Montréal-based company is back, this time with Ontario's Jim Fairhead as President.
Roy Gregory, that is, editor of HiFi+ magazine from the UK, who had chosen and set-up the system I was using for my high-resolution demonstrations. And my thanks also to Roy's wife Louise, who was signing up attendees for my dems at the Show's front desk.
The fourth annual Rocky Mountain Audio Fest is taking place this weekend at the Denver Tech Center Marriott. Registration was up 15% this year; snapped in the line in front of the registration desk at 9am was erstwhile Stereophile staffer Jonathan Scull (sensible suit, smart tie, and flashy glasses), these days a successful PR and marketing consultant.
Mark Schifter is well on his way to becoming a legendary figure in high-end audio. From his small-box, low–price-point Audio Alchemy and Perpetual Technology components, Mark has gone on to found one of the first genuine bargain high-end websites, AV123, and build speaker cabinets for many major players. Here he stands next to one of his extremely fine-sounding, amazingly low-priced speakers and subs, all sourced from renewable forests and finished with eco-friendly veneers.
Ayre and Vandersteen are two companies whose products have achieved an enviable reputation for excellence. I was, in fact, blown away by my listening experience in the Ayre room at RMAF 2006, and looked forward to an equally enveloping experience this year.
Perhaps you've experienced something similar. I recently invited members of the Bay Area Audiophile Society to hear my system. Many of them had visited our house before, but only to attend demos of other equipment that had been brought in specifically for the event. Now I finally had the chance to let BAAS members hear my system whole and complete.
Audio Federation doesn't play around. Its top-of-the-line, no-holds-barred system centers around the Marten Coltrane Supreme loudspeaker ($250,000/pair), Audio Note UK Ongaku amplifier ($85,000), EMM Labs/Meitner Design CDSD SE transport ($8400) and DCC2 SE DAC ($13,500), Brinkmann Balance turntable ($29,900), Lamm LP2 Deluxe phono preamp ($6990), and, for this system, modestly priced Lyra Titan cartridge ($5000). Cabling is no less than Nordost Valhalla, Stealth Indra, Jorma Design No.1 and PRIME, while power cords and distributors include Nordost Valhalla, Elrod Statement II and Signature III, and Acrolink Mexcel 7N-7100.
Aerospace engineer James M. Harrell, Jr. debuted his Jumping Cactus Loudspeakers at RMAF 2007. Only available from jumpingcactusloudspeakers.com, these tri-amped, 120lb loudspeakers are housed in sealed aluminum cabinets that feature a Bubinga wood front panel. The speakers are said to have a high measured sensitivity of 94dB. With a frequency range of 65Hz–20kHz., a subwoofer is recommended. The speakers also come with an active XM44 4-way crossover by Marchand Electronics.
The penultimate room I went into on the RMAF's final day was being shared by SMc Audio and Audience. I was assuming the latter company was demonstrating its well-reviewed AC conditioner and cables, which indeed it was. But I was not expecting to see and hear loudspeakers from the Californian company. The ClairAudient LSA 16 (LSA for "Line Source Array) was designed by the late Richard Smith, cofounder of Audience, and features 4, 8, 16, 24, or 32 50mm drive-units, used full-range, with no tweeters or crossover (something I have not seen since the Ted Jordan designs of the late 1970s). A separate subwoofer handles the low bass and with a very high claimed sensitivity, the ClairAudient design will produce very high spls in-room, but with great clarity. The sound of the 16-driver version in the RMAF room was a little lacking in top-octave air, but was otherwise very detailed. The rest of the system comprised a McCormack Audio UDP-1 universal player, McCormack monoblock power amps, and a preproduction example of Steve McCormack's new SMc VRE-1 line preamp.
After a hard day's morning presenting my hi-rez digital audio dems, I wandered into the Marriott's Atrium to sip on a Starbucks Grande Cafe Mocha. There I enjoyed some fine singing and guitar picking from Dan Weldon on the Zu Audio stand. The Utah cable'n'speaker company, whose modification of the classic Denon DL103D cartridge will be reviewed in the December issue of Stereophile, was presenting live music throughout the Show, with their high-sensitivity speakers used as the PA. Nice one, guys.
As well as the excellent-sounding Avalon NP2 speakers, the system I used to play back 24-bit AIF files from my laptop consisted of (from top to bottom): Metric Halo ULN-2 to convert the Firewire output of my Apple PowerBook to AES/EBU; Bel Canto DAC 3 (which I enthusiastically review in the forthcoming November issue), sitting on cylindrical wooden footers from a new company Waipuna Sound and connected to the Metric Halo box via a DH Labs AES/EBU link; Conrad-Johnson CT5 preamp and ET250S hybrid power amplifier; and Nordost Thor AC conditioner. Nordost Valhalla interconnects and speaker cables were used throughout. Equipment rack was the attractive and effective Stillpoints, which suspends the acrylic shelves from four steel cables.