RMAF 2010

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Stephen Mejias Posted: Oct 19, 2010 0 comments
I wonder if our expectations drop somewhat when walking into a room occupied by small, inexpensive, neatly organized gear. The contrast from the massive, overwrought, wildly expensive components found in some rooms is undeniably refreshing, and might allow the music to take center stage. Such is always the case with Audioengine, makers of adorable loudspeakers whose quality belies their small size. The more I learn about the company and the more time I spend with their speakers, the more it seems that they’re here to stay. In fact, I expect great sound from Audioengine. The company simply continues to surpass my expectations.
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Jason Victor Serinus Posted: Oct 19, 2010 0 comments
I'm afraid the companies exhibiting in this room will not be adequately served by this blog entry. David Salz of Wireworld was not available, and I never got details on his cabling other than word that his new, top-of-the-line USB cable got caught up in FedEx drama and didn't make it to the show on time. All I know is that the big speaker was the eye-catching, glass-enclosured Waterfall Niagara from France ($54,000/pair), which has 89dB sensitivity and a frequency response of 36Hz–28kHz ±3dB, and a Cary 300T SACD player ($6500) and Cary monoblocks ($10,000) were called into action. Power was conditioned by the APC units that Kal Rubinson recommends. I don't know much more, unfortunately. As I just explained to the man who just answered the phone at Waterfall Audio USA, I owe them and Wireworld one.
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Jason Victor Serinus Posted: Oct 19, 2010 0 comments
What has become a familiar site at shows, Acoustic Zen loudspeakers and cabling mated with Triode electronics, has also become a welcome sound. Here, I experienced a beautiful airiness around female vocalists. "Just gorgeous," I wrote in my notes. The bass, however, was challenged, perhaps because of the room.
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Stephen Mejias Posted: Oct 19, 2010 3 comments
Dynaudio’s Mike Manousselis pulled me into his room with the familiar sounds of the XX. On display here were T+A’s more affordable R-Series components, less flashy than the V-Series, but no less elegant: G1260 R turntable ($3250 with tonearm; $3600 with arm and cartridge; $4300 with built-in phono), PA1260 R integrated amplifier ($5000), CD1260 R CD player ($3800), and MP1260 R DAC streaming client ($4200, providing internet radio, two USB inputs, and wired or wireless streaming abilities).
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Jason Victor Serinus Posted: Oct 19, 2010 3 comments
I first heard the Eficion F300 loudspeaker at RMAF or some other show perhaps two years ago. Bob Walters of the Bay Area Audiophile Society, who urged me to audition it, raved about the Eficion F300 and bought a pair. Two years later, the Eficion F-300 and Stillpoints amplifier stands and stainless steel supports have transformed my system.
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Stephen Mejias Posted: Oct 19, 2010 0 comments
If the Soundsmith room had been a van, it would have been rocking. (Hee-haw.) Seriously, there was a party going on in here and Peter Ledermann was the master of ceremonies, cueing up one record while a second was playing. But before I could take a seat, I was mesmerized by this awesome-looking device, the Soundsmith Cartright ($899.95, due early 2011), which resembles some sort of old-school, psychedelic Electro-Harmonix stomp box, but promises to simplify cartridge setup.
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Stephen Mejias Posted: Oct 19, 2010 0 comments
Kosmic’s Joe Pittman stands beside a Sota Millenia turntable equipped with a Kosmic tonearm and Magic Diamond cartridge, sitting atop a Kosmic equipment rack. Kosmic, a company that was new to me, manufacturers a tonearm, a music server, and equipment racks, which seemed like a strange product line. When I asked Pittman about it, he simply replied that all three areas are integral to the overall performance of any system. The Kosmic Server ($2295 with 500GB hybrid drive) stores approximately 1600 CDs in FLAC format, and provides FireWire and USB 2.0 output up to 32-bit/384kHz sampling rates and TosLink up to 24/96. Kosmic is located in Seattle, WA, and is also a dealer for Genesis loudspeakers.
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Stephen Mejias Posted: Oct 19, 2010 2 comments
Clean and refreshing music and sound in the Audioengine room, from left: A5 active loudspeaker ($349/pair), P4 passive loudspeaker ($249/pair), N22 desktop amplifier ($199), and A2 active loudspeaker ($199; reviewed by Bob Reina).
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Jason Victor Serinus Posted: Oct 19, 2010 1 comments
One of the many graphs Nordost and Vertex displayed at their research presentation was of time-domain error in a CD player, ie, the difference between the data on a disc and the output of the CD player. It ain't pretty. Other graphs showed reduction in error with the addition of cables, supports, and power products (specifically, Nordost's Quantum). All these graphs will be downloadable from the websites of Nordost and Vertex EQ within a matter of weeks.
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Jason Victor Serinus Posted: Oct 19, 2010 2 comments
Ray Lombardi's international set-up was getting much better sound from JBL's 1400 Array ($11,500/pair) than at the first California Audio Show (CAS) a few months back. In fact, Diana Krall's semi-lethargic rendition of "Let's Face the Music and Dance" sounded much less doped-up than it did when I last heard it at the Aurum Cantus factory in China. The presentation featured crisp and sweet highs, and a natural midrange. Neither Sound Applications power treatment (model not specified) nor ASC Tube Traps could totally tighten up the speaker's soft bottom, but I don't recall it sounding very tight at CAS either.
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Stephen Mejias Posted: Oct 19, 2010 14 comments
Acoustic Sounds’ Chad Kassem provided a wonderful demo of some of his fine Analogue Productions releases, including Jimmy Lee Robinson’s All My Life and Elvis’ 24 Karat Hits—all sounding absolutely seductive and enveloping with an extremely liquid and relaxed sound—through a system featuring a Clearaudio Concept turntable ($1400), which Kassem was particularly fond of—“for the price, this ‘table is hard to beat”—and Sony’s SS-AR1 loudspeakers, seen here.
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Jason Victor Serinus Posted: Oct 19, 2010 3 comments
RM Loudspeakers of Fort Smith, Arkansas were showing the CH-11R "True Exponential Folded Horn" ($17,500–$20,000/pair) and RM-105 ported four-way ($9900–$12,400/pair). I love the old school / new school look of these contrasting speakers. Playing the latter with unspecified components and cabling, I especially enjoyed the nice warmth in the bass voices of While You Are Alive, John Atkinson's 2007 recording of Cantus.
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Stephen Mejias Posted: Oct 19, 2010 0 comments
In addition to the Cartright cartridge setup tool, Soundsmith was showing the new EZ-Mount cartridge screws ($29.99, review to come from Michael Fremer), which allow for easy cartridge installation; Soundsmith’s new top-of-the-line Sussurro Paua moving-iron cartridge ($3499), inspired by Frank Schroder; the special edition, VPI-branded Zephyr high-output cartridge ($999), designed for use with VPI and other unipivot tonearms; and the neat, little “Intuitive” tool ($49.99), designed to make simple, precise adjustments of tracking force and azimuth to VPI tonearms!
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Jason Victor Serinus Posted: Oct 19, 2010 1 comments
As I learned when he did a demo for members of the Bay Area Audiophile Society in my home some years back, Duke LeJeune is one of the sweetest people in an industry that has its share of sweet people. When I walked into his room, his 95dB-sensitivity, 16-ohm AudioKinesis Strato Prism loudspeakers ($4400/pair) were playing some New Age music of dubious worth. The sound through an Oppo BDP-83 used as a transport, Neko D100 Mk2 DAC ($1395), and Atma-sphere's MP-1 linestage ($4850) and S-30 amplifier ($3950) was enveloping, with particularly warmth in the midrange.
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Stephen Mejias Posted: Oct 19, 2010 3 comments
It was a pleasure to meet with Genesis Advanced Technologies’ Carolyn Koh and Kosmic’s Joe Pittman in “one of the few rooms where everything is made in the USA.”

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