SSI 2009

Sort By: Post Date | Title | Publish Date
Filed under
John Atkinson Posted: Apr 06, 2009 2 comments
SSI seems to feature a higher proportion than usual of rooms sponsored by high-end dealers, and one of the best sounds I experienced was in the room from Montreal dealer Son-Or Filtronique. The top-line, multi-box dCS Scarlatti SACD front-end (soon to be reviewed for Stereophile by Mikey Fremer) drove Audio Research electronics (Reference 3 preamp and Reference 110 amplifier) with speakers the impressive Kliimt from Vienna Acoustics. Cabling was all Shunyata. Corinne Bailey Rae's perfomance of Joni Mitchell's "River," from the Herbie Hancock CD of the same name, was reproduced with midrange to die for, though the low frequencies were a touch over-ripe, I thought.
Filed under
Stephen Mejias Posted: Apr 06, 2009 1 comments
The Sashas of Obad Imports suggested that I check out the Gemme Audio room, where a Neodio amplifier had been replaced by a prototype KingRex 50W Tripath amplifier. Gemme Audio's Robert Gaboury had his special Phenix Green Gem system ($37,000 CAN) on display, along with a Neodio CD player, and Blueberry Hill Audio cables.
Filed under
John Atkinson Posted: Apr 06, 2009 0 comments
An Audio Show wouldn't be an Audio Show without live music, to allow Showgoers to recalibrate their ears. The 2009 SSI featured two concerts, one by jazz pianist and singer Anne Bisson, the other by the Michel Donato Trio, seen here, with Donato on double bass, Jon Gearey on guitar, and Marin Nasturica on accordion. Both acts have audiophile sound-quality CDs available from Montreal's Fidelio Audio, and other news from SSI was that these recordings are now available as 24-bit, 96kHz files.
Filed under
Robert Deutsch Posted: Apr 06, 2009 1 comments
Like many Stereophile readers, I read with great interest, and a certain amount of incredulity, Jason Victor Serinus's rather gushing CES report on the Sennheiser HD800 headphones. Now, I have a lot of respect for JVS's opinions—we share an appreciation of opera and other vocal music, and we're both great fans of Fritz Wunderlich—but, reading his report, part of me was intrigued and another part was thinking "Come on, Jason, these are just headphones, what's the big deal?"
Filed under
Robert Deutsch Posted: Apr 06, 2009 8 comments
It did not require great perspicacity to predict that SSI2009 would not be as well attended as last year's show. Things are tough all over. In any case, as I write this, on Saturday evening on a train en route to Toronto—yes, I manage to catch the train this time!—the show still has another day to go, and, as Michel Plante, with Sarah Tremblay the SSI's organizers, admitted, what often makes or breaks a show like this is the Sunday attendance.
Filed under
John Atkinson Posted: Apr 06, 2009 2 comments
I first heard the prototypes of the almost-all-glass Arabesque from Dutch wire manufacturer Crystal Cable at the 2009 CES, where they produced sound in the Audio Basics room that belied my negative expectations. Demmed at SSI with Simaudio 5.3 series CD player and amplification, the Arabesques, now in full production, again produced a promising sound. With my my recording of "The Mooche," from Editor's Choice, the Arabesques put me squarely in the church acoustic of Chad Kassem's Blue Heaven Studio in Kansas, where the recording was made.
Filed under
John Atkinson Posted: Apr 06, 2009 5 comments
René Laflamme's recordings on the Fidelio label have always been favorites of mine, though his choice of repertoire—like the new "It's a Small World" project—sometimes cause my eyebrows to raise. SSI was my first chance to hear high-resolution versions of some Fidelio recordings, played back from René's laptop feeding data via asynchronous USB to the dCS Scarlatti upsampler set to do nothing other than translate the USB datastream to AES/EBU at 96kHz to drive the dCS Elgar Plus D/A. As this has a volume control it was connected direcrtly to a pair of Nagra VPA tube monoblocks which in turn drove the Verity Sarastro 2 speakers that Fred Kaplan reviewed for Stereophile in April. Cabling was all-Shunyata. René uses all-tube microphones and records directly to a Pyramix digital audio workstation. The sound of a transcription for brass and organ of "Mars" from Holst's The Planets was to die for on this system, one of my "best of shows."
Filed under
Stephen Mejias Posted: Apr 06, 2009 0 comments
Robert Gaboury stands with his little Gemme Audio Soprano.
Filed under
John Atkinson Posted: Apr 06, 2009 1 comments
Stereophile's star blogger Stephen Mejias hold forth at the debate on why he is in love with vinyl, while Robert Deutsch (center) and Art Dudley (right) wait to chime in with their opinions.
Filed under
John Atkinson Posted: Apr 06, 2009 0 comments
i saw a familiar face when I went into the Veloce room, as Mark Conti, who designed the unusual Impact speakers from a few years back, is now involved in this line of battery-powered amplification. My eyes were attracted by the Veloce Platino LFT-1 linestage in the photo ($12,500), which will run for 70 hours before needing recharging, but driving the Marten speakers in the room via Purist cables was a pair of battery-power monoblocks ($12,000/pair). Battery power? Yes, the input stage, based on a 6922 tube, is transformer-coupled to a high-efficiency class-D output stage based on the Hypex module designed by famed Dutch engineer Bruno Putzys. A charge will last 40–80 hours depending on the speaker's load impedance, Mark told me.
Filed under
Robert Deutsch Posted: Apr 06, 2009 2 comments
Component supports take a variety of forms: squishy, rubbery things; hard, pointed things; ball bearings (loose or constrained); air or liquid bladders, etc. The Spike component supports, imported by Divergent Technologies, were a new one for me: they use magnetic levitation. Now, I'm familiar with platforms using this principle, but these are individual component feet, each with opposed magnetic components. A box of these "Spikes" contains four such feet, and the price for the total is CN$200. I was surprised that magnets could be made strong enough in this small size to be able to support equipment of substantial weight—hich they apparently can.
Filed under
Stephen Mejias Posted: Apr 06, 2009 0 comments
Wilson Audio Specialties' Peter McGrath (second from left) is embraced by the crew of Coup de Foudre (l–r): Jennifer ("Just Jennifer. No surname. You may have heard of me."), Graeme Humfrey, and Erik Fortier.
Filed under
Robert Deutsch Posted: Apr 06, 2009 1 comments
Asked to name the top three drawbacks of electrostatic loudspeakers, the knowledgeable audiophile will list—not necessarily in this order—restricted listening area, inability to play loud, and limited bass extension. Although the last criticism can still be applied to the new MartinLogan CLX (its claimed bass –3dB point is 56Hz), the speaker's design has gone a major way toward addressing the other two criticisms.
Filed under
John Atkinson Posted: Apr 06, 2009 1 comments
Lafleur's X-1 bookshelf ($14,000/pair) was one of the hits of last year's Montreal Show despite the poor acoustics of the room they were being shown in, so I was looking forward to taking a further listen this year in a better room. Driven by an all-Simaudio Evolution series rig—Andromeda CD player and i-7 integrated amplifier—the X1s did indeed produce a superby detailed, natural-sounding midrange and treble, but the low frequencies seemed a little shelved down in absolute terms, I thought.
Filed under
John Atkinson Posted: Apr 06, 2009 1 comments
...was how SSI organizer Michel Plante had billed our "Ask the Editors" session, and (from left to right), Stephen Mejias, Robert Deutsch, and Art Dudley joined me in an animated discussion. Topics covered included the vinyl revivial, whether there is still a role for paper magazines in an Internet world, how does someone become a reviewer, and will Blu-ray be a viable medium for high-quality music.

Pages

X
Enter your Stereophile.com username.
Enter the password that accompanies your username.
Loading