CES 2011

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John Atkinson Posted: Jan 15, 2011 0 comments

The Devialet D-Premier directly converts the wall current to DC, then uses a high-efficiency switch-mode power supply running at a very high frequency to power the audio circuitry. I asked Matthias Moronvalle if this meant that the power transformer could be much smaller than usual? His response was to show me the two small wafers sitting on his laptop. "That's the transformer," he told me, "with a continuous rating of 600VA." Ulp!

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John Atkinson Posted: Jan 15, 2011 1 comments

Richard Vandersteen doesn't rush to release new loudspeakers, so given that the top-of-the-line Vandersteen 7 was a hot product at the 2010 CES, I wasn't expecting anything new at the 2011 Show. Talking to Richard in the company's Venetian suite, where they were featuring the Model 7, he casually mentioned that the new Tréo ($5990/pair) was at the Show, just not in his room. So I hustled me along to the Musical Surroundings room, where the Tréos were being demmed with a Clearaudio turntable and Aesthetix electronics.

Basically, the Tréo is similar to the $10k/pair Quatro Wood that Wes Phillips reviewed in December 2007, but replaces that speaker's active, equalized bass unit, with a conventional passive 6.5" woofer and an 8" flat-cone "acoustic coupler." Good sound at an equally good price.

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Jason Victor Serinus Posted: Jan 15, 2011 0 comments
Steve Holt, global sales manager for MIT, proudly introduced me to the company’s brand new Matrix line of cables. Designed by Bruce Brisson, the cables retail between $9999 and $21,999, and are part of the company’s reference line.

The new speaker cable comes in three flavors: Oracle Matrix HD 90 ($9999/8ft pair), Oracle Matrix HD 100 ($14,999/8ft pair), and Oracle Matrix HD 120 ($21,999/8 ft pair). There is one interconnect, Matrix 50 ($4999/1m pair, $5999/1m balanced pair). For digital cabling, one needs to go up one step in the reference line to Oracle MA-X digital ($3495/1m RCA or BNC, $3995/1m AES/EBU)

These new cables use MIT’s multi-pole technology. “We talk about poles of articulation,” said Holt. “There are electronics inside our boxes on the cables to provide wider bandwith coverage to power, so that sounds at either end of the spectrum won’t be rolled off as quickly.” The Matrix cables also employ a new technology called F.A.T. (Fractional Articulation Technology) that helps maintain the harmonic structure of audio signals.

In the Magico room where they were displayed, the new Magico Q3, Soulution amplifiers, and files from Paul Stubblebine’s Tape Project made wonderful music through Oracle Matrix HD 120 speaker cable and the Oracle MA-X interconnects (start at $8495/1m pair). You can see the Oracle Matrix HD 120 boxes in the above photo, which was taken behind one of the Magico speakers. If other rooms hadn’t called, I would have dropped everything then and there and stayed for hours.

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Jon Iverson Posted: Jan 15, 2011 3 comments
So many music servers and related products appeared at the 2011 CES, that we can now sort them into various sub-categories depending on what is included in the box. I was looking for new or upgraded digital products, but likely missed a few. Feel free to add what I missed in the comments.

Click through to see the complete list of what I found with links and an informal taxonomy.

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John Atkinson Posted: Jan 15, 2011 0 comments
My other joint best sound at CES was to the On a Higher Note room at the Mirage Hotel across the street from the Venetian. On dem was the G2Giya ($50,000/pair), which made its debut at the 2010 CES, driven by a Luxman stereo amplifier, and the Audio Aero La Source tube preamp/digital player, hooked up with Shunyata's new Anaconda line of cables.

The G2 has half the cabinet volume of the similar-looking G1Giya that Wes Phillips reviewed last July, and replaces the larger speaker's twin 11" woofers with 9" units. Whether it was the smaller speakers not exciting the penthouse room's acoustics as much as had the G1Giya the previous year—the Mirage's glass-fronted rooms may give spectacular views of Las Vegas, but they also flap at low frequencies—or the new front-end and cables, but the sound on José Carreras singing the audiophile classic Misa Criolla, Peter Gabriel's idiosyncratic but convincing reading of Paul Simon's "The Boy in the Bubble," and the unexpected combination of John Lee Hooker dueting with Miles Davis, from the soundtrack to the movie Hot Spot was to die for, the system simply stepping out of the way of the music. As it should.

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John Atkinson Posted: Jan 14, 2011 3 comments
TAD didn't appear to be demonstrating anything new in their large penthouse suite at the Venetian, but designer Andrew Jones was getting such an enormously involving sound from the Compact Reference CR-1 stand-mounts ($37,500/pair plus $1800/pair for stands) that I had to stop to take an extended listen. Jones had some of HDTracks' new 24/192 files that he was playing with Amarra and one track, featuring Hammond organ, double bass and drums, had the audience stumped. (The fellow in front of me even held up his iPhone and ran a song ID app, only for the screen to flash "No Match.") Then I twigged: it was a jazz arrangement of Pink Floyd's "Money," with sound to die for. DAC, preamp, and power amps were also from TAD.
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Jon Iverson Posted: Jan 14, 2011 2 comments
Musical Fidelity also displayed their V-Link which can take USB from your computer and convert it to S/PDIF for use with your non-USB DAC. Priced at $169, John Atkinson mentioned to me that "it measures really good" and found it did indeed operate in the better-sounding asynchronous mode.
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John Atkinson Posted: Jan 14, 2011 1 comments
Pride of place in the Avatar Acoustics room at the Venetian went to the four-way Siena speakers ($24,995/pair) from Italian manufacturer Rosso Fiorentino. The designer teaches electroacoustics in Florence, but is a graduate from the University of Salford in the UK. A pair of aluminum-cone 8" woofers in a separate sealed enclosure are combined with a 6.5" paper-cone midrange unit (a ScanSpeak Revelator), a 1" silk-dome tweeter, and what appeared to be a Murata "ultrasonic generator," to give a specified response of 35Hz–100kHz, –3dB.

The Siennas were demmed in a system comprising Dr. Feikert turntable and tonearm, Abbingdon Music Research CD player, phono preamp, and integrated amplifier, with Acoustic System racks and cables, but I will hand over to Jason Serinus for some additional thoughts:

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John Atkinson Posted: Jan 14, 2011 0 comments
The first trickle-down from The Sonus Faber project is a revised Amati model, the Amati Futura ($34,000/pair). Beautifully finished in a mirror-gloss lacquer, as you can see, it was also almost unphotographable. It was also only on passive display in the Sumiko penthouse suite at the Venetian.
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John Atkinson Posted: Jan 14, 2011 1 comments
The Trenner & Friedl Duke's diamond-diaphragm supertweeter fires upward at a Golden-Ratio–proportioned Swarovsky crystal that acts to widen its dispersion.
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Jason Victor Serinus Posted: Jan 14, 2011 0 comments
Touraj Moghaddam, based in Windsor, UK, near London, manufactures the relatively new TM Systems Pulse cables. The complete line includes tonearm wires and internal wiring for loudspeakers.

Not yet distributed in the US, Moghaddam’s handmade interconnects ($8000–$9000/1.1m pair) will be followed in February or March by the machine-made Pulse R interconnects ($4000–$5,000), which include special proprietary connectors made of copper alloy. Below them, Pulse B and Pulse C entry-level interconnects are in the works.

Veteran audiophiles will recognize Moghaddam as the 25-year veteran designer of Roksan turntables and loudspeakers. He began designing and manufacturing Pulse cables three years ago after he discovered that some Roksan ‘tables were being used with incompatible cables.

Gary Koh of Genesis, who had invited Moghaddam to exhibit his cables in the Genesis room, noted that they both attended the same college in England 25 years ago. “And now, 25 years later, we discover that we are both making our own cables because of similar concerns, such as their incorrect use by some people as tone controls,” he said.

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Robert Deutsch Posted: Jan 14, 2011 0 comments
“What’s new?” is the question that comes up first with established manufacturers when considering whether there’s something worthy of a blog item. In Polk Audio’s case, the answer was “Everything!” According to Polk rep, Jim Crowley, their entire home audio line has been revamped, with changes in the cabinetry, drivers, and crossovers. Perhaps the most significant change is that now, for the first time, some Polk speakers feature a midrange driver. And with all that, Polk loudspeakers continue to be reasonably priced: the pictured LSiM is a modest-by-audiophile-standards $4000/pair.
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Jon Iverson Posted: Jan 14, 2011 0 comments
It is a truism worth repeating: you can't really draw any conclusions about the sound of a component from an audition at an audio show.

Then there are those exceptions that prompt you to drop your neutrality and reach for the superlatives. The Vienna Acoustics room was like that for me last year. But this year, I've got to hand it to Philip O'Hanlon for creating a sound and scripting a demo that I would rate as extraordinary no matter what the circumstances.

Vivid's G2 Giya loudspeakers and the large room at the top of the Mirage didn't hurt. But I was here for the digital front end, and in this case, the Audio Aero La Source, which was functioning both as a disc player and preamp, connected to a Luxman M-800A Amplifier.

O'Hanlon describes the La Source as "an all-out attempt to put an analog preamp into the same box with the SACD/CD player." The La Source was also hooked up to a computer and streaming files via its USB input. On the back is a set of balanced and unbalanced analog inputs, BNC, SPDIF coax and optical, USB, and AES/EBU digital inputs along with a BNC digital and balanced and unbalanced analog outputs.

You can order the La Source with an Esoteric VMK5 Neo VRDS transport for $44,000 or without the transport for $35,000 and there is a trade-up program for Prestige owners. Also in the box is an Anagram digital clock along with S.T.A.R.S. 32bit/384kHz DSP, dual mono Burr Brown 1792 DAC, and vacuum tube output stage.

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John Atkinson Posted: Jan 14, 2011 0 comments
I first encountered the glass-enclosured Force dipole loudspeaker from Perfect Eight, which combines a full-length ribbon with 8 cone midrange units and a subwoofer handling the load below 60Hz, at the 2008 CES. Their 2011 dem, with the speakers driven by Ypsilon amplification, was noteworthy for having invited Ray Kimber to talk about and play some of his IsoMike recordings. (Ray is seen here on the left in my admittedly rather grainy photo—it was dark—with Perfect Eight's Jons Rantila.) I listened first to soloists from the Academy of St. Martin-in-the Fields performing a movement from the Mendelssohn Octet, then to a Mozart piano sonata movement by Robert Silverman (the latter one of my "Records to Die For" in the February 2011 issue). Despite my skepticism about glass as an enclosure material, the sound was natural and uncolored.
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Jon Iverson Posted: Jan 14, 2011 0 comments
Hiding in the back room of their palatial suite in the Mirage, Musical Fidelity was running a demo of their M1CL:C Universal Music Controller which is now being finalized. MF says they are shooting for somewhere under $2,000 for the product which operates as a DAC and preamp and includes USB, SPDIF and analog inputs. I noted a USB input on the front and a beautiful color display as well.

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