"So what you think our new AT1 loudspeaker will cost?" Atlantic Technology's Peter Tribeman had just finished his dem of a fairly small two-way tower that, driven by Parasound Halo JC 2 preamplifier and Halo A21 power amplifier, was producing prodigious amounts of low frequencies in a fairly large room.
The outboarding THE Show, run by the affable Richard Beers, was held for the first time at the Flamingo Hotel on the Strip, two Las Vegas blocks from CES’s “High-Performance” venue, the Venetian. In previous years, THE Show had been held at the St. Tropez Resort, then the Alexis Park, but Richard now has a multi-year contract with the Flamingo. I estimated THE Show had representation from a good 110 manufacturers. One of the big draws was actually outside the Flamingo's back door, where Panasonic was demming HD-3D TV in a huge trailer. It's rumored that some die-hard two-channel audiophiles snuck into the trailer trying to mask the same guilty expressions that they carried to the porno exhibit in the Sands Convention Center.
Stereophile editor John Atkinson served as the opening act for the Grand Giveaway on the final day of THE Show 2010. In his short talk, John reflected on the losses of the past year. He first honored two of his departed mentors, John Crabbe and J. Gordon Holt, both of whom were central to the development of high-end audio. He also honored the memory of Al Stiefel, who co-founded the Rocky Mountain Audio Fest with his wife, Marjorie Baumert.
The Rockport Alya's 1.25"-thick front baffle is cast from aluminum, then machined to accommodate the drive-units. The tweeter's usual front-plate is discarded and replaced by the baffle, which has the necessary opening and locating pins. This gives a very clean acoustic environment for the dome. Andy Payor's hand is shown here locking the tweeter into place with a ring that screws into a thread tapped into the rear of the baffle.
I spent much of my time at CES roaming around with Stereophile's self-proclaimed Web Monkey, Jon Iverson. I'd never met Jon before I came to the 2010 CES but he was a wonderful guide both to Las Vegas and to CES, as well as a smart and kind person to get to know. On Saturday morning he suggested we head on over the THE Show located at the Flamingo Hotel, right on the strip. One of the first rooms we happened upon was the Edge Electronics room. Jon said, "We've got to go in here."
Some products at CESall-black products, with black highlights, and with the lettering tastefully done in black, in a darkened roomdefeat all but the most-determined photographers. So my thanks to Larry Greenhill for managing to photograph the new Classé CTM600 600W monoblock amplifier ($6500 each).
One of my last stops at THE Show at the Flamingo was the Teresonic room, where Mike Zivkovic demmed his 6'-tall single-driver Ingenium Silver Edition speaker using his own single-ended 2A3 tube amplifier. According to Mike, the amp uses interstage and output transformers from Lundahl and "there is not a capacitor in the circuit."
Friday was the busiest day I and other Stereophile writers found at the CES venues. Pictured here is a lull in the traffic taken from a window at the Las Vegas Convention Center (LVCC) near the press room, where the line for the free press lunch stretched hundreds of feet. Later that day, the bus and cab lines at the LVCC stretched half a mile as evening approached and the temperature outside dropped from mid 60s to temperatures in the 40s (Fahrenheit). Little evidence of a recession was visible in pure crowd count, but I ran into many more Asian and European attendees, while missing some friends in the audio high end community who skipped CES this year.
I have come to expect innovative engineering from Rockport's Andy Payor, and was not disappointed by his new Alya loudspeaker. The two-way Alya costs $29,500/pair and marries Scanspeak's new beryllium-dome tweeter with a custom Audio-Technology woofer with a 6.5" carbon-fiber cone and a 2" voice-coil. The front baffle is aluminum and internal horizontal rods connect it to the rear of the cabinet, holding the HDF enclosure in a rigid grip. A rear port is tuned to a respectable 35Hz.
I had gone into the Koetsu USA room at the Venetian to catch up on the latest developments to the Italian Blacknote DSS30 media server, which I hope to be reviewing later in the year. But I was very taken by the sound of the three-way Odeon Elektra loudspeakers ($19,100/pair), which, driven either by the DSS30,a Goldennote Stibbert CD player, or a Montegiro LP player, via a Goldennote 75Wpc, solid-state integrated amplifier, didn't sound at all like what I expect from horn speakers. Strings had a natural sheen, brass winds a natural "blattiness." Whether solo voice, classical orchestral, or solo piano (a high-rez Beethoven Sonata from 2L), the sound was uncolored, unstrained, and enjoyable.
San-Diego-based PBN is best-known for its heroically proportioned loudspeakers, but PBN's Peter Noerbaek introduced his new Sammy loudspeaker at THE Show, which, as you can see from the photo, is a little more manageable in size. The 55"-tall Sammy uses premium Scanspeak drive-units in an unusually constructed cabinet (see next photo): a new, long-travel 10” Revelator woofer, a wide-range, 4” Illuminator midrange unit, and the Danish company's new pressure-formed beryllium-dome tweeter. Price will be $29,500/pair.
There were a few companies showing products on the 2nd floor of the Venetian, adjacent to the Sands Convention Center, where the Adult Show was being held. After John Atkinson and I grabbed a well-needed afternoon cup of coffee we checked out a few of the spaces on these lower floors. JA and I quickly found the Parasound/Atlantic Technology rooma pairing of companies I would not have come up with myself. On silent display was the brand new JC3 phono preamplifier ($2000). Those who know about Parasound equipment will already know that the JC moniker for this phono stage indicates that it was designed by John Curl, an engineer that many audiophiles (and reviewers) speak of only in hushed tones. As you can see from JA's photo, the preamp is divided up into shielded sections within the chassis to keep the dirty signals dirty and the clean signals clean. Each channel's circuitry is encased in a metal sub-enclosure, that also shields the input and output jacks, and is supplied super-regulated DC from the power supply.