CES 2009

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Wes Phillips Posted: Jan 13, 2009 3 comments
While I was cruising NAD's booth, I noticed the M2 Direct Digital amplifier—obviously part of NAD's Masters Series. I asked one Nad rep to tell me about it. "Oh, we didn't bring it—it's not going to be released until spring."
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Jason Victor Serinus Posted: Jan 13, 2009 10 comments
All the wire used in DH Labs's products is manufactured in the USA; cables are manufactured in the same facility that manufactures for NASA. At least 11 major recording studios use the company's cables, and others will soon join the list. This, along with the nice sound albeit not ultimately detailed sound they were getting from their modest display system certainly suggests that they're doing something right.
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John Atkinson Posted: Jan 13, 2009 0 comments
Relatively affordable at $30,000/pair, that is, given the cost-no-object construction featured by TAD's new CR-1 "Compact Reference Monitor," seen here with its designer Andrew Jones and compared with the company's original floorstanding and superb-sounding Reference One from 2006. (Across the corridor from TAD, Ray Kimber was using four Reference Ones to demo his new IsoMike recordings in surround.)
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Jon Iverson Posted: Jan 13, 2009 3 comments
Not an audiophile product per se, SE2 Labs ITC One "Integrated Theater Console" takes all the components typical in a high-end audio/video rack, and strips away everything but the circuit boards and transports and puts them all in a single climate-controlled chassis.
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John Atkinson Posted: Jan 13, 2009 6 comments
The speakers from Colorado-based Avalon Acoustics have either featured conventional, rectangular boxes (in the less-expensive NP series, like the Evolution 2.0 I reviewed last July) or the unique, multifaceted enclosures that I first saw in 1990's Eclipse, which are used in the cost-no-object designs like the Indra.
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John Atkinson Posted: Jan 13, 2009 3 comments
To judge by some of the comments that have been posted to this Show report, some American audiophiles resent the fact that so much audio manufacturing has been outsourced to China. But the fact remains that if you wish to be able to purchase high-end quality at rock-bottom pricing, manufacturers have little choice but to turn to China. The irony is that even when price is taken into account, the quality of Chinese manufacture is very often superb.
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John Atkinson Posted: Jan 13, 2009 5 comments
"It's like the Pearl but in a more easily digestible form," explained Jeff Joseph, as he demmed the Long Island's company's new Pulsar speaker for me. The stand-mounted speaker keeps as much as possible of the cost-no-object Pearl's qualities, but uses a new magnesium-cone woofer from SEAS with the same throw as the Pearl's 7" unit.
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John Atkinson Posted: Jan 13, 2009 1 comments
Loudspeaker manufacturer VMPS ran a series of live-vsrecorded dems throughout the four days of CES, at the Zeus Ballroom in T.H.E. Show's Alexis Park venue. In dems organized by VMPS's Brian Cheney, groups of musicians and singers first performed live while being recorded by some of Ray Kimber's staff in DSD, using crossed figure-8 mikes, Millennia Media mike preamps, and Meitner converters. The recording was then played back on VMPS speakers and subwoofers, driven by Ampzilla amplification, with Audience Adept Response power conditioning and Audience Au24 e cables. The playback level was matched to that of the original, allowing legitimate comparisons. (The mikes were close enough in the solo singer dem I witnessed to minimize the double contribution of the room acoustic.)
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Jon Iverson Posted: Jan 13, 2009 2 comments
We all have different digital needs, and companies like Bel Canto are trying different combinations of features to find customers.
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John Atkinson Posted: Jan 13, 2009 0 comments
The omnidirectional MBL speakers, which use a unique pulsating quasi-spherical array of ribbons, make a strong argument for the benefits of this design approach. Featured in their room when I visited was the new 111F ($35,000/pair), which uses the "Radialstrahler" drivers for the treble and upper midrange, with conventional drive-units used for the lower frequencies. A big change from the earlier version I reviewed in 2002 was the use of side-firing direct radiators for the bass rather than the 111B's coupled-cavity LF enclosure. These are mechanically coupled to eliminate vibrational excitation of the enclosure.
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Jason Victor Serinus Posted: Jan 13, 2009 3 comments
Directly across the hall from the PrimaLuna exhibit, I discovered its somewhat more expensive big brother line, Mystère. While PrimaLuna amps operate in triode mode, Mystère gives you the sound of tetrode. These aren't high power babies—the ia11 integrated amp ($1995) puts out 40Wpc watts and the ia21 integrated amp ($2995) gives you 50Wpc. The electronics are manufactured with a different partner in China, and are the dream project of their designer.
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John Atkinson Posted: Jan 13, 2009 10 comments
When I went into the Magnepan room at T.H.E. Show, the speakers were hidden behind a curtain. Magnepan's Wendell Diller ushered me into the sweet spot and started playing some sounds on the all-Bryston front-end: BCD-1 CD player (which LKG raves about in our February 2009 issue), BP-26 preamp, and a pair of 7B-SST monoblocks.
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John Atkinson Posted: Jan 13, 2009 1 comments
I can't believe that it's been 21 years since Thiel founders Jim Thiel and Kathy Gornik and I emptied the first of many bottles of fine wine talking about music and loudspeakers. But here they are, snapped outside the dem room they were sharing with Bryston and Wireworld, as passionate about audio, music, and the high-end audio industry as ever. And in the case of Kathy, looking even better than ever!
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Wes Phillips Posted: Jan 12, 2009 1 comments
This is what the Lamm ML3 Signature looks like under the hood. Clean layout and P2P wiring throughout.
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Jason Victor Serinus Posted: Jan 12, 2009 3 comments
As I was heading out dazed from the Sennheiser headphone experience, Dynaudio’s Mike Manousselis invited me to briefly listen to their demo. In the middle of the Convention Center’s huge South Hall, and at a reasonable volume level that did not attempt to drown out the ubiquitous din, a very cool Patricia Barber had claimed the space as her own. Abetted by a Wadia player and Simaudio amplification, speakers that I think were the Focus 360—Mike, help me out here; I hadn’t yet come down to earth from the Sennheisers—were doing a marvelous job of filling the space with inviting sound. If anything could entice me to transition from Richard Strauss’ Alpine heights to Patricia Barber’s sensual coolness, it was this speaker/electronics combo.

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