AXPONA 2010

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John Atkinson Posted: Mar 10, 2010 1 comments
In addition to his enormously impressive hi-rez surround-sound dem mentioned earlier in this report, Mark Waldrep of AIX Records and iTrax.com gave a well-attended seminar on all three Show days explaining how a computer can be used as a valid source in a high-end audio system and demystifying HD music.
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Jason Victor Serinus Posted: Mar 10, 2010 1 comments
I almost missed the Nightingale display. The first time I tried to enter the room, there were so many people involved in post-listening conversation that I skipped it. Happily, the Axpona organizers alerted me to my omission, enabling me to leave the show on a high note. And once I took a listen, I understood why people were spending so much time discussing what they heard.
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John Atkinson Posted: Mar 10, 2010 4 comments
"That's a familiar sound," I thought as I entered the 5th-floor suite shared by YG Acoustics and Krell. It was the classic Show dem record from the early 1980s, James Newton Howard & Friends on Sheffield Lab. The speakers were the YG Anat Reference II Studios ($70,000/system), which differ from the Anat Reference II Professional reviewed by Wes Phillips a year ago in not having the powered subwoofer modules. The room was problematic at low frequencies—either there was an upper-bass suckout or there was too much upper bass—and YG's Dick Diamond had spent long hours optimizing the sound on set-up day, but the effort was obviously worth it.
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John Atkinson Posted: Mar 10, 2010 8 comments
Speaker designer Bill Roberts talks so fast, I could only write down every third word as he explained the design principles behind the Advanced Transduction Directorate loudspeaker. A four-piece, three-way system with an outboard crossover and line-loaded woofers, the 600lb Directorate has a very high claimed sensitivity of 96dB/W/m and bass extension of –3dB at 14Hz. Price is $30,000/system in light-oak veneer, or $25,000/system unfinished, as shown in the photo. With left and right speakers each driven by a 125Wpc Power Modules Belles 150A Reference stereo power amplifier ($2300), and a front end of CD files played with Sony Sound Forge running on a PC sent as digital audio to a Belles DAC and the new tubed Belles 22A preamplifier ($2500), the sound, even in an acoustically challenged room, had superb balance, dynamics, and transparency.
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John Atkinson Posted: Mar 10, 2010 0 comments
I was familiar with the $4000/pair Penaudio Charisma speakers in the May Audio room, but the well-finished and equally well-sounding electronics driving them were from an English company I had never heard of, Chapter Electronics. Making its US debut at Axpona, Chapter, I was told, features designs from Duncan Shrimpton, an engineer who used to work for Chord. The Sonnet S CD player ($9000) is a top-loading design with a volume control to allow direct connection to an amplifier and both S/PDIF and USB inputs for streaming audio from other sources. The matching Précis 250S integrated amplifier ($11,995) offers 250Wpc into 8 ohms from a class-D output stage. The illuminated knobs on both products can be dimmed or even have their colors changed.
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John Atkinson Posted: Mar 10, 2010 0 comments
Since the first Show in which I was involved in the organization (the 1981 Hi-Fi News Show at London's Heathrow Airport), I have arranged a program of seminars where Showgoers can be entertained and also learn more about the theoretical aspects of audio. Axpona was no exception, and for the very first seminar after the Show opened on Friday afternoon, my guests were Mark Waldrep of AIX and iTrax.com (left) and legendary mastering engineer Bob Katz, of Chesky fame and many others (right). We spent 75 minutes talking about the advent of the computer as a high-end audio source, the sonic advantages of high-resolution audio, and the sonic limitations of lossy compression. My thanks to Mark and Bob for taking part, and also to Michael Fremer, Jason Serinus, Jim Smith, John MacDonald, Dick Diamond, and Bill Dudleston for giving up some of their time at Axpona to talk to Showgoers at these seminars.
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Jason Victor Serinus Posted: Mar 10, 2010 4 comments
At last, after 16 years, the South East has again hosted an audio show of considerable merit. Even more significant than the number of attendees, which according to many seasoned observers exceeded attendees at the first Rocky Mountain Audio Fest six years ago, the first of what will hopefully be many Axponas connected dealers, distributors, and manufacturers with music lovers in deep and satisfying ways.
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John Atkinson Posted: Mar 10, 2010 0 comments
Stereophile senior editor Michael Fremer hosted two turntable set-up seminars at Axpona, explaining how to optimally install and set-up a phono cartridge and tonearm for lowest distortion and best sound. He did a great job of demystifying an arcane subject; for those who couldn't attend Axpona, you can see an expanded version of the seminar on his DVD 21st Century Vinyl, available from this website.
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Jason Victor Serinus Posted: Mar 10, 2010 9 comments
Did Koetsu USA's room have the best sound at the show? It's hard to tell. Since my goal was to cover every single room at Axpona without playing slam, bam, thank you ma'am, I intentionally skipped set-ups John intended to cover. Those included some of the big players: YG Acoustics/Krell, Acapella/Einstein, the huge Legacy speakers, Belles/Advanced, and Mark Waldrep's huge, powerful AIX surround set-up with its five Thiel CS3.7s, two Thiel subs, four or more Boulder amps, DH Labs cabling, and Oppo player. Unfortunately, I also skipped the Ayon Audio exhibit, which I thought John was covering because it shared a room with Legacy.
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John Atkinson Posted: Mar 10, 2010 0 comments
Stereophile Shows in the past always had full programs of live music, to allow Showgoers to recalibrate their ears. While Axpona had a live concert Friday night featuring Steve Davies on guitar and vocals and John Yurick on keyboards, with me guesting on bass, this was for exhibitors and press only. Fortunately, John Yurick performed live on piano in the hotel's lobby during Show hours, offering up some excellent jazz standards.
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John Atkinson Posted: Mar 10, 2010 1 comments
At the other end of the large room shared by Definitive Electronics and Michael Chafee Enterprises from the Genelec-based surround system that Jason blogged about, renowned mastering engineer Bob Katz was playing 24-bit/96kHz files handpicked from his portfolio. Speakers were the superb Revel Ultima Salon2s driven by a solid-state Balanced Audio Technology power amp, hooked up with Nordost cabling.
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Jason Victor Serinus Posted: Mar 10, 2010 0 comments
In the aptly titled Navigator Room, Fernando Cruze of cruzeFIRST Audio of Miami had quite a stunning display of gear imported by Chris Sommovigo of Atlanta. At its head was the fabled Continuum Audio Labs Caliburn LP system ($150,000), equipped with a Lyra Titian I cartridge ($5800) and Chris' own tonearm cable. Sending its signal via the two-chassis Audio Premier Quattro preamp ($15,000) and Belles SA-500 stereo amplifier ($9000) to the Lansche 4.1 loudspeakers ($55,595/pair) with their plasma tweeter, 25Hzצ150kHz capability and extreme 99dB sensitivity, the system also benefited from two Tri-Point power conditioners, the Troy ($12,000) and Spartan ($35,000) and a full complement of Stereolab cables (loudspeaker, $3750/2.5m, interconnect, $3500/1m). If you can say that all in one breath, and pay for it without blinking your eyes, more power to you.
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Jason Victor Serinus Posted: Mar 10, 2010 0 comments
Mistral, a registered trademark in the UK and China, is a Chinese company, based near Canton, that began marketing its audio products overseas in 2002. According to their PR, they are recognized "all over the world for creativity, reliability and credibility." Judging from the rest of their written copy, they must believe that their credibility is so strong that they can dispense with the services of a bilingual writer with a firm command of English grammar.
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Jason Victor Serinus Posted: Mar 10, 2010 2 comments
Jim Smith, author of Get Better Sound, spent a full hour discussing a host of topics from his book. Among the subjects he was prepared to cover were optimal use of subwoofers, loudspeaker set-up, multi-channel system requirements, room acoustics and treatments, system enhancements, bi-amping, and analog vs digital. In the brief time I spent in the room, questions were lively and plentiful. One in particular, on compression in modern pop recordings, harked back to John Atkinson's recent "As We See It" and his Rocky Mountain Audio Fest presentations on the subject.
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John Atkinson Posted: Mar 10, 2010 6 comments
I had respected more than loved the Legacy speakers I have heard in the past, but without a doubt one of the best two-channel sounds I heard at Axpona was provided by the giant Helix loudspeaker, shown here with Legacy founder/designer Bill Dudleston. Front-end at the Show was an Ayon CD player, and the speaker's crossover is implemented in the digital domain using FIR filters and 24-bit DACs and the six channels of amplification were provided by two three-channel McIntosh MC303 amplifiers. The speaker is actually a four-way; there is a rear-facing 15" subwoofer driven by twin ICE-Power class-D modules. The front-facing, open-baffle–loaded upper woofers are actually backed up by second units, which, as with a twin-diaphragm microphone, gives a cardioid directional pattern, allowing a more optimal match with the room's acoustics than with a conventional omnidirectional bass unit. Completing the drive-unit complement, twin silk-dome tweeters are arranged side-by-side and are flanked by four midrange units. Considering what you get, the price of the Helix is a not-unreasonable $46,000/system, including the DSP/DAC crossover unit.

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