AXPONA 2010

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Jason Victor Serinus Posted: Mar 10, 2010 17 comments
"Reference Audio on a Budget" was the tagline for the exhibit from Darren and Bonnie Censullo's Avatar Acoustics of Fayetteville, GA. Most important, the room featured two world premieres. First was a product you're sure to hear more about, the Axis Voicebox S loudspeaker ($3000/pair). A 5 ohm, 83dB sensitive model with a frequency response of 45Hz–20kHz ±3dB, this little baby was paired with Abbingdon Music Research's AMR AM 777 60Wpc hybrid integrated amplifier ($4500), AMR CD-777 player ($4500), Dr. Feickert Analogue Woodpecker turntable ($4995) with DFA 10.5 tonearm ($1000), AMR PH-77 phono preamp ($11,995, and soon to be reviewed by Michael Fremer)), and DFA premium tonearm cable ($600). Throw in $11,265 worth of cabling and power distribution from Acoustic System International and Avatar Acoustics, including the world premier of the Avatar Acoustics Mach 4 Power Distributor ($1800 with power cable), and $10,240 worth of Acoustic System International Resonators, and your hypothetical budget would top $50,000.
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John Atkinson Posted: Mar 10, 2010 3 comments
Jason already blogged about the sound from the big rig in the Cary Audio room, which was being run by Florida retailer Let There Be Sound. I had enjoyed the sound of Ry Cooder's classic Jazz from LP in that room Saturday night after the Show closed, as well as a CD-R of songs from the Who's Tommy, burned from an acetate of the master by Mikey Fremer using his awesome Continuum record player. But Sunday morning, LTBS's Oswaldo Martinez was playing Rebecca Pidgeon's classic "Spanish Harlem" from CD on a system featuring the 5Wpc Cary Exciter integrated amplifier driving these beautifully finished single-driver bookshelf speakers, the Sur. Pidgeon's voice sounded smooth and natural, the double-bass accompaniment evenly balanced and more extended in the lows than I was anticipating, though when a Showgoer asked for The Doors' "Waiting for the Sun" to be played, the electric guitar sounded a little peaky in the mid-treble. To be priced at $2000/pair, the Sur features a port-loaded, full-range Fostex drive-unit and will only be available from LTBS.
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John Atkinson Posted: Mar 10, 2010 0 comments
My loudspeaker seminar on Saturday featured Dick Diamond of YG Acoustics (to the left in Jason's photo), John MacDonald of Audience (far right) and Bill Dudleston of Legacy (immediate right with hand raised). The first half of the session featured each panelist discussing what his goals were as a loudspeaker manufacturer, what technical parameters he felt most correlates with good sound, how he balanced all the various aspects of performance to get a good balance at a specific price, and where he felt there was the greatest room for continued improvement in speaker performance. The second half of the seminar consisted of a Q&A session and there was a lively discussion, including mention of the fact that all three companies featured on the panel continue to manufacture their speakers in the US.
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John Atkinson Posted: Mar 10, 2010 5 comments
"If you've ever wondered what the future of recorded music is going to sound (and look) like, you should be sure to check out the AIX Records demonstration in the Port Ballroom," said the AIX/iTrax.com ad in the Axpona show guide. I started my Show itinerary by visiting this room, and in some ways, nothing I subsequently heard at Axpona matched it. Mark Waldrep was demonstrating his surround recordings in full 24/96 resolution from Blu-ray, played on an Oppo player, with five Thiel CS3.7 speakers and two Thiel subs driven by Boulder preamps and amps via DH Labs cabling. The AIX recordings I auditioned ranged from solo guitar and piano to full big band, and all were enveloping in a manner I have never experienced on even the best two-channel system. Adding to the experience was true High-Definition (1080p) video projection using a very bright, sharp projector from Wolf (distributed in the US by Sumiko). Mark always shoots HD video at his sessions, and he also provides a unique choice in that the listener can choose between audience and stage perpectives. I had assumed that most people would prefer the audience perspective, with the ambience at the rear as at a concert hall, rather than the stage perspective, where the listener is surrounded by the musicians. Mark corrected me: the feedback he gets back from AIX customers indicates that the full immersive experience is what people prefer.
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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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Jason Victor Serinus Posted: Mar 09, 2010 14 comments
Midway through Axpona, Norbert Mundorf, maker of the fabled Mundorf capacitors, flew in from Germany to bring the Steinmusic Harmonizer H2a and H2b to the Jaton room. Although I had already blogged the room, I happened to be in the right place to learn what was going on.
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Jason Victor Serinus Posted: Mar 09, 2010 0 comments
Roy Hall's Music Hall was showing several nifty little systems. Making its official debut as well as show debut, the Creek Audio Evolution 5350 Integrated amplifier ($1795), which has been around for perhaps a decade in various proven incarnations, was sending its 120Wpcs into 8 ohms signal from the Creek Destiny CD player ($2495) into the handsomely slim (were we all only as. . .) Epos M22i loudspeakers ($2599/pair). This system was uncompromising in its portrayal of brash rock as exactly that. No euphonic roll-off or soft-pedaling allowed! Switch to the Oscar Peterson Trio, and you'll hear a very different, sweet sound on piano and bass.
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Jason Victor Serinus Posted: Mar 09, 2010 1 comments
To anyone who has committed my blogs to memory, or treated them with the same reverence as passages from the Bible, my love for mbl speakers and electronics will come as no surprise. Listens at CES 2010, RMAF 2009, and CES 2009 left me in awe. If only the newest mbl speakers on the market had been on active rather than static display, I expect I'd be waxing ecstatic once again.
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Jason Victor Serinus Posted: Mar 09, 2010 1 comments
One of several low-cost, high quality exhibits at Axpona came from Jaton. Based in Fremont, CA, Jaton sources its speaker components from Germany and other parts of Europe, but assembles them in China. It amps, which include 14 Mundorf caps in the amp proper and four more in the power sector, are assembled in Fremont. Everything is designed by the company's unnamed and extremely secretive CEO, who only began to enter the high-end market a few years ago.
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Jason Victor Serinus Posted: Mar 09, 2010 0 comments
In the Audiowood/Glow room, I again made the acquaintance of the diminutive, low-priced amps that were playing across the hall with Sonist speakers. This time, I had the opportunity to hear the story behind them.
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Jason Victor Serinus Posted: Mar 09, 2010 1 comments
If the Soundsmith exhibit invariably brings a light show, the EgglestonWorks/Arte Forma Audio room created the opposite effect. All of the horrible energy-saving fluorescents were turned off, leaving the room lit only by what came through the window.
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John Atkinson Posted: Mar 09, 2010 0 comments
One of the things I love about Shows like Axpona is the chance to hang out with Stereophile's readers, like Ed Lippman and his son Ross. "Can you publish our photo in the magazine?” asked Ed. So here they are. Ed’s on the right and Ross (who wrote an Axpona report for Audio Asylum) is on the left.
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Jason Victor Serinus Posted: Mar 09, 2010 25 comments
As I walked into the Emotiva room, a blast from the distant past greeted me with a smile. It was the Eagles, live, welcoming me to Hotel California. Resisting the temptation to declare, "But I've just come from there," I instead noted the solidity of the bass line, the powerful slam, and the sonic warmth that really did feel like a welcome. "Welcome to Emotiva land," the system seemed to sing.
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Jason Victor Serinus Posted: Mar 09, 2010 0 comments
As I entered Jeffrey Catalano's High Water Sound exhibit, I was immediately taken by the beauty of Herbie Hancock's Watermelon Man (Cisco LP re-issue). Listening to a recording of the music of Heinrich Biber further underscored the beauty of this system's midrange. Heard were the turntable owned by the First Chair violinist of the Vienna Philharmonic, the TW Acustic BlackNight ($40,000) with TW 10.5 tonearm ($5500) and Dynavector XV1T cartridge ($9000), TW Acustic Raven phonostage ($9000), Thöress linestage ($8000), Thöress 300B 6W monoblocks ($10,000), Horning Aristotle 98dB-sensitive loudspeakers ($15,000) with Zigma Ultimate Plus Lowther DX65 drive-units, Stealth cables, and Silent Running Audio Equipment rack ($12,000).

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