CES 2011

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Erick Lichte Posted: Jan 13, 2011 2 comments
New from E.A.R. USA is the V12 integrated amplifier ($9595), one of the prettier looking and sounding pieces I heard at CES. Many may remember E.A.R.’s V20 integrated, to which the V12 owes some inspiration. The V12’s visual design is also inspired by a Jaguar V12 engine, minus the motor oil stains. The V12 was designed by Tim de Paravicini and uses six EL84 tubes per channel. It puts our 50Wpc in triode mode. The sound, driving Marten speakers and using Jorma cables, was airy yet colorful.

Jason Victor Serinus elaborates on the Jorma cables: Jorma Koski, who owns Jorma Design of Sweden, designs all of his cables. When asked what makes them unique, he initially replied, “It’s the best cables in the world, except that everybody says that.”

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Erick Lichte Posted: Jan 13, 2011 3 comments
Ayre showed off their new VX-R stereo amplifier, a stereo version of their lauded MX-R monoblocks. Rated at 200Wpc into 8 ohms the VX-R is priced at $14,950. The amp is a zero-feedback design, featuring fully balanced discrete circuitry. As usual from Ayre, the chassis is beautifully made of milled aluminum. The sound of the VX-R, driving the TAD Compact Reference monitors was wonderful.
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Stephen Mejias Posted: Jan 13, 2011 0 comments
I was sort of shocked to see the Kiso Acoustic HB-1. While I’d never heard of Kiso Acoustics, the speaker looked so darn familiar. The HB-1 is nearly identical in size and shape and design philosophy to the Onkyo D-TK10, a collaboration between Onkyo and guitar-maker Takamine, which I discussed back in late 2006...
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Erick Lichte Posted: Jan 12, 2011 0 comments
Melody Valve HiFi of Australia was a new company to me. Pictured here is the Pure Black 101 Preamplifier ($4499) and PM815 monoblock power amplifiers ($7959/pair). The Pure Black 101 features an Alps remote attenuator, point-to-point wiring and Jensen copper foil paper in oil capacitors. The PM815 delivers 70W of pure class-A power using 845 output tubes.
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Jason Victor Serinus Posted: Jan 12, 2011 0 comments
Joe Lavrencik, owner of Critical Mass Systems, designs all Critical Mass Systems Precision Component Support Systems. All of the company’s products are built in the Chicago area.

The newest Critical Mass product is Maxxum ($5650 per shelf), a precision component-support system. The shelf and rack architecture operate together to mitigate vibration in the floor, the rack, the shelf, and the component at the same time.

“We do more than isolate,” the sleep-deprived designer offered by way of explanation. “We give energy in the air a pathway out of the component so that components are not saturated with vibration from the loudspeakers.”

Lest you think Critical Mass Systems only manufactures high-priced products, prices start at $195 for a set of four MXK spikes, and $195 for a basic shelf. “Even though we’re very expensive, we start very low,” says Lavrencik.

At CES 2011, Critical Mass Systems products were used in the Lamm, Hansen/Tenor, and BAT rooms. In the photo, Lavrencik kneels near his Maxxum amplifier/component stands ($5650/each) and the Lamm ML3 Signature monoblocks ($139,290/pair) being used to drive Wilson Alexandria II speakers.

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Jason Victor Serinus Posted: Jan 12, 2011 0 comments
Derived from Finite Elemente’s Emperor rack, the Soundbase equipment shelf ($1800) is filled with aluminum foam whose random patterning allows it to absorb energy and dissipate it as heat. Immedia’s Stirling Trayle notes that the shelf works as well for turntables as for other components.

Each Soundbase comes complete with four Cerabase Slimline coupling feet that use a combination of three internal ceramic ball bearings and stainless steel for ultra-efficient energy transfer. The Cerabase Slimlines are also sold separately for use under components ($550/set of four). Their three internal ceramic balls represent an advance in “resonance deflection” technology for the company.

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Erick Lichte Posted: Jan 12, 2011 0 comments
Audio Research of Minnesota is located only a mile from my home, yet my visit to their room at this year’s CES was the first time I’d really met any of their staff. Getting pride-of-place in their CES system this year was the Reference Anniversary Preamplifier ($24,995), a two-chassis preamp celebrating the company’s 40th anniversary. According to the folks at Audio Research, this preamplifier has been a huge hit and has, to their own surprise, exceeded their sales expectations. Orders for the preamplifier will be taken through April 2011 and, unlike Brett Favre, will not come out of retirement.
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Jason Victor Serinus Posted: Jan 12, 2011 0 comments
Although Sennheiser has come out with nothing that surpasses their wonderful, state-of-the-art HD 800 headphones, they have released three new, far less expensive audiophile models: the HD 598 most prominent in the photo ($329.95), the HD 558 ($229.95), and the HD 518 ($169.95).

I auditioned the HD 598, whose beige soft velour pads contrast elegantly with their black body. The salesperson who showed me around made a big deal of the packaging. Far more important were the frequency range, 15Hz–28kHz, and the sound. Although the rather bombastic source material was supposedly MP3, the headphones delivered impressively smooth bass and a far more natural-sounding presentation than I would have expected.

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Erick Lichte Posted: Jan 12, 2011 0 comments
Constellation also showed a brand new line of products at a more “real-world” price point. The components of the new Performance line will each go for between $15,000 and $20,000 and feature (from left to right) a preamp, digital source, phono preamp, and power amp. I was told that the circuit designs of the Performance line are exactly the same as Constellation’s Reference line but use less expensive parts.
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Jason Victor Serinus Posted: Jan 12, 2011 0 comments
At T.H.E. Show in the Flamingo hotel, a mere half mile, 500 hawkers, and 2000 gambling-addicted alcoholics away from the bulk of high-performance audio exhibits in the Venetian, John McDonald of Audience was showing his new Adept Response aR6-TS power conditioner. Each unit comes complete with an Audience powerChord. The units sell at two different price points, depending upon choice of Audience power cords ($5000 with a standard Audience powerChord e, or $6550 with the Au24 powerChord).

The 6-outlet version of the Adept Response aR6-TS was in use in the room. A 12-outlet version is also available ($8600 or $10,150, depending upon powerChord choice).

What’s new about the unit is the “S” in aR6-TS. “T” stands for the Teflon version of power conditioner, and “S” for its new Audience Teflon aura-TO capacitors. John McDonald says the new capacitors are significantly more resolute and transparent.

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John Atkinson Posted: Jan 12, 2011 0 comments
Avantgarde's Armin Kraus stands next to the new version of the three-way Duo speaker, the Grosso ($36,000/pair). Finished in "Lamborghini Orange," the Grosso substitutes two 12" woofers for the Duo's 10-inchers, and drives them with twice the amplifier power. The midrange and treble horn units are the same, but the speaker is now supported by a sturdier space-frame with spikes that are adjustable from above. And again, this is a horn speaker that offers the advantages of horns—high dynamic range, sensitivity, and "jump factor"—without the disadvantages, such as midrange coloration.
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Erick Lichte Posted: Jan 12, 2011 0 comments
Last year I marveled at the visual design of Resolution Audio’s Cantata Music Server. This year, Resolution debuts a new matching integrated amp, the C50 ($4000). The C50 puts out 50Wpc. According to Resolution’s Jeffery Kalt, on paper the C50 doesn’t look much different than most integrated amplifiers. However C50 benefits from custom capacitors, a unique application of feedback above the audio band, and a circuit layout that minimizes eddy currents. The C50 must be doing something right as it made a modest pair of Epos speakers sing with clarity, focus and body, sounding great song after song.
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Jon Iverson Posted: Jan 12, 2011 0 comments
We're still in that transition period where most folks who move to music servers and care about quality are going to source their tunes primarily from discs. As a result, most of the current server crop has a disc slot and the new Weiss MAN 202 is no exception.

The MAN 202 also includes AES/EBU, SPDIF, Ethernet and USB inputs on the back along with AES/EBU, SPDIF and Firewire outputs. Since there is a DAC inside, there are also a pair of balanced and a pair of unbalanced analog outputs. And there's more: Wordclock in and output via BNC connectors and a WiFi antenna is included for communicating with an Apple iPad through a free app which serves as the interface to run all of the music.

Weiss says that the MAN 202 will handle all digital formats up to 24bit/192kHz (with comparable quality to the Weiss DAC 202) and should be shipping in 4 or 5 months for a retail price of between $10,000 and $15,000. I love this kind of product, which is optimized for the modern audio enthusiast who doesn't have time to play around with computers.

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Stephen Mejias Posted: Jan 12, 2011 0 comments
Cayin was also showing these cute, retro table radios. The four different units (MJ-22U, MJ-23U, MJ-25U, and MJ-27U) are functionally identical, with AM/FM tuner and USB input; prices range from $120–$150.
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John Atkinson Posted: Jan 12, 2011 0 comments
I was initially confused when I walked into this room, as there appeared to be two different systems set-up, with loudspeakers from two different manufacturers. However, playing while I was there were the new Legacy Audio Focus SE speakers in Black Pearl finish (left, $8995/pair), with the Lumenwhite Artisan speakers (not quite so left) silent. Common to both system was an Ayon Audio CD55 CD player and Synergistic Research cables, and Ayon Triton tubed monoblocks drove the Legacies.

Broadly similar in concept to the Focus 20/20 speaker that Paul Bolin favorably reviewed in January 2004, the 25th Anniversary Focus SE is considerably more refined. It uses an AMT supertweeter and a leaf tweeter, between two unique 7" midrange units that use a cone comprising a sandwich of Rohacell and a weave of silver wire and graphite. The two 12" woofers take over below 200Hz and have a low-Q ported alignment to take advantage of the usual room gain without booming. Frequency range is specified as 16Hz–30kHz and sensitivity a very high 95.4dB (4 ohm impedance).

The cabinet is narrower and deeper than the older speaker's, with sculpted edges that progressively reduce the baffle width for the HF drivers to optimize diffraction. The crossover uses Solen metalized polypropylene capacitors and braided silver Kimber Kable is used to connect the supertweeter. The drive-units are matched to within ±0.25dB and designer Bill Dudleston hand-tunes the crossover network of each SE speaker.

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