Verity Audio’s entry-level Finn ($6495/pair) was an intriguing beast: a 91 dB sensitive loudspeaker that sounded open, authoritative, and smooththe latter quality more so than the dearer Verity Sarastro II, which sounded overly sibilant in another room. (But the good Lord knows that might have been caused by something else in the chain, so do keep these comments in perspective.) Music was supplied by digital files on a MacBook Pro (running Amarra playback software), addressing the digital inputs of a Musical Fidelity M6CD CD player ($2499), while the controller was Musical Fidelity’s new M1 CliC ($1999). Power was supplied by another new Musical Fidelity product, their M6500 integrated amplifier ($6995): a seemingly sweet-sounding 500Wpc monster that’s dual-mono from A through Z.
I’m not familiar with Raysonic, but their system sounded excellent: a large-scale presentation with good color and texture, elements of which may have been owing to the impressive-looking Raysonic Reference 26 mono tube amplifiers ($16,500/pair in Canadian funds). Each 180Wpc amp contains 12 Russian-made 7591AEH output tetrodes, configured for true balanced operation. (We were told that the loudspeakers, which bore the name Revolver, aren’t commercially affiliated with Raysonic.)
While visiting Gradient’s North American distributor, Simplifi, I listened to the current version of their classic Revolution loudspeaker ($7995), which had been favorably reviewed in Stereophile back in 1995. Earlier in the show I’d been impressed with the uncanny spatial realism in the MBL room; the interestingly shaped, dipolar Gradient Revolution was at least its equal in that regard. On one record, singer Willie Nelson was right damn there, and when someone in his band started giving hell to a tambourine, the effect was almost nerve-rattlingly real. What a cool speaker!
On my last day at the show I got to meet the founder and chief designer of Gradient, Jorma Salmi: a trim, quietly intense man with a boyish mop of hair. I introduced myself and complimented the originality of his designs; Dr. Salmi looked at me over the tops of his steel-rimmed glasses, smiled kindly, and said, “A little strange, aren’t they?” A moment later he quoted Becket, saying that, in his next design, he would “fail better.” What a cool guy!
This was the first SSI without Nizar Akhrass, who passed away just weeks after the 2010 show. His distribution company, Liberty Audio (May Audio in the US) was in full force nonetheless, now headed by Nizar’s daughter, Juliawho’s expecting her first child in Mayand son, Nabil. Liberty’s stalwart brands were all there, including Audes (whose Naum Dorkhman demonstrated a striking new full-range floorstander), Roksan, Target, GutWire, and Harmonix. Veteran audio salesman Michael Tang was on hand to represent the Japanese accessory specialists Orb Audio (they of the nifty DF-03 Disc Flattener, which promises to do what its name suggests). Among Mike’s newest products was the Orb Sakura Static Charge Neutralizer ($299), intended to neutralize unwanted charges more effectively than Robert Shapiro and Johnnie Cochran put together.
I admit: I’m impressed that the Danish loudspeaker manufacturer Peak Consult has made such a name for itself in little more than a decade. (Adding to my surprise is the fact that “Peak Consult” does not, at first glance, seem to mean anythingalthough the name makes sense once it’s been explained.) Now Jay Rein and Bluebird Music, North American distributors of Chord and Exposure electronics, Spendor loudspeakers, and van den Hul cables, have taken on the line.
Dear Mikey: I know you spend a lot more time outside of the US than I doheck, you probably get out of the house more often than Iso it’s with non-snotty glee that I must inform you: For once in my life I beat you to the draw on the coolest new analog toy in the known universe. At the Teo Audio room, Dr. Chris Feickert gave me a copy of his 7” Adjust+ Test Record ($20), which comes in a red jacket. Its use requires only that you download a special app from Apple App Store (search on “platterspeed”), fit your iPod/iPad/iPhone/whatever with an accessory microphone (I already have one for use with my über-cool Peterson strobe tuner app), cue up the Feickert disc, and measure away. Tests include wow and flutter, crosstalk, skating force, and channel balance. You’ll probably get one soon. Luv yaArtie.
In a room sponsored by the California-based distribution company On a Higher Note, Vivid’s entry-level loudspeaker, the V1.5 ($7700/pair and photographed here by Robert Deutsch) sounded immediate, lushly textured, and vivid indeed: Voices, violins, drums, andespeciallysaxophones leaped from their respective mixes with presence, power, and beauty. Associated gear included the SQ-38u integrated amp ($6000) and D-05 CD player ($5000) from Luxman, full-monty Bardot III record player from Brinkmann (including enhanced Origin Live Encounter arm and Brinkmann Pi cartridge: $12,300 for the package), and a full array of premium cables from Kubala-Sosnawhose proprietor, Joe Kubala, also played some of his own superb recordings through the demonstration system.
Are you in the market for a giant-sized speaker but your wallet is not correspondingly giant-sized? Then check out the Legacy Whisper XD. Weighing 210 lbs, 63"x17"x13", the Whisper XD is for large spaces, and the somewhat bass-heavy sound at SSI suggested that it was not feeling quite at home in the small hotel room. The price is $20,000/pairnot exactly spare change, but you get a lot for your money: a 10-driver system with four 15" subwoofers, four 7" Rohacell-reinforced midwoofers, a 3" ribbon midrange, and a ribbon tweeter. The system includes a DSP crossover with room correction.
For big speakers, like the Legacy Whisper XD in the story below, the problem in setting up an effective demo in a show environment is that the room may be too small for the speaker. And then for speakers that are more modestly sized, if they're demonstrated in a big room, the speaker may not be able to play loud enough and the bass response may not be sufficiently powerful for the big space. The LSA (Living Sounds Audio) Group's demo featured the LSA2 Statement ($5999/pair) speakers driven by their own LSA Standard tube hybrid integrated amp ($6200) . . .
If the Legacy Whisper was an example of a superb speaker ill-marched to the size of the room in which it was being demmed at SSI, the combination of Dynaudio's new DM37 tower ($2000/pair), driven by T+A's new E-Series Music Receiver ($4200) vis Ocos cable, showed what could be achieved from a more modest system, well set-up in a suitable room. The 160Wpc (into 4 ohms) Music Receiver includes an Apple-approved iPod dock, which takes the digital music data from the iPod and also has a USB port and three Toslink S/PDIF digital inputs. There is also a high-quality FM tuner and T+A’s Streaming Client board allows Internet radio stations to be played.
I have a lot of respect for Dynaudio speakers, and have enjoyed listening to them at various shows, but I've never been as taken with one of their speakers as I was with the new Confidence C1 Mk.II ($8200/pair). With Naim amplification and digital source (including a Squeezebox Touch), the sound was simply exquisite, with highs that were revealing and yet not clinical. The legendary Esotar2 tweeter (shown in the photo) has apparently undergone some evolutionary development, and continues to maintain its status as the best dome tweeter in the world.
Hop hop hop! Who’s that on top of the DeVore Fidelity Orangutan O/96 loudspeaker? It’s Richard the bunny, and he’s come to thank Stephen Mejias for staying behind and getting Stereophile’s June issue off to the printers while JA, RD, and I frittered away the hours in sunny Montreal, eating snails, duck livers, and pig-leg shavings. Richard thoroughly enjoyed the DeVore Orangutans. (More on that later.)
This looks like Jonathan Halpern, owner of the New York distribution firm Tone Imports, but it’s really the devil. Every time JA and I attempted to leave the Coup de Foudre room in which products by DeVore, Leben, EMT, Box Furniture, and Brinkmann were being demonstrated, the devil coaxed us to stay, just by playing one! more! song! We finally broke temptation’s chains and left to the strains of James Brown’s “Sex Machine”: JA and I had to literally back our way out of the room. Carefully.