RMAF 2012

Sort By: Post Date | Title | Publish Date
Filed under
Jason Victor Serinus Posted: Oct 21, 2012 1 comments
Listening to HDTracks’ 24/192 download of the Jimmy Cobb Quartet’s Jazz in the Key of Blue, I finally heard what a well-tuned MSB system can do. “So musical!” I wrote in my notes. Instrumental timbres were excellent, with the warmth and fullness of Roy Hargrove’s trumpet portrayed with near tube-like roundness and warmth. Combined with the air and depth conveyed by the high-res recording, and the sheer presence of the drums, the experience opened a portal to audio nirvana. I could have spent hours exploring music in multiple formats on this system, and still have wanted more. It killed me to have to leave the room so soon. Only the reality of many more rooms to cover before show’s end kept me from staying longer.
Filed under
John Atkinson Posted: Oct 21, 2012 2 comments
With a fanfare at 4pm, Sunday October 14, in the Denver Tech Center Marriott's Atrium, the Denver Broncos Half-Time Band, courtesy of Kimber Kable's Ray Kimber, brought the Show to a close. According to Show organizer Marjorie Baumert, "We had about 150 more exhibitors (according to the badges), about 3600 attendee days (approximately 100 more than last year). We had 1295 attendees pre-register and that was an all-time record (last year was 1100). . .
Filed under
Art Dudley Posted: Oct 21, 2012 12 comments
The next-to-the-last demonstration I heard at RMAF 2012 was among the two or three most impressive. Doing business as Volti (it means to move forward) Audio, Maine resident Greg Roberts builds horn loudspeakers that seem to embody both the superb craftsmanship and musical impact of America's finest vintage-audio products. His newest, the Vittora ($15,000/pair), is a three-way loudspeaker with a horn-loaded 15" bass driver, horn-loaded 2" compression driver for the midrange, and horn-loaded 1" compression driver for the treble, with passive crossover networks, stepped attenuators for the mids and trebles, and an all-plywood cabinet in a choice of veneers. Based on a brief audition with EMM Labs digital source components and a BorderPatrol S20 single-ended 300B amp ($13,750), I can only say that the Vittora is, if anything, underpriced. My first question to Mr. Roberts was, "Who do I have to kill to borrow a review pair?"; we're still working out the details. . .
Filed under
John Atkinson Posted: Oct 21, 2012 1 comments
As someone who fell in love with the sound of Apogee full-range ribbon speakers in the early 1980s, I made a point of visiting the room featuring Analysis Audio planar ribbon speakers. Driven by Arion HS-500 amplifiers ($5995/pair), which combine a class-D output stage with a tube input and driver stage, via JPS cables, a track from Patricia Barber’ Companion album sounded sweet and rich on the Omega ribbons ($24,200/pair with external crossovers), but with a touch of color in the mind-bass that was audible on kick drum.
Filed under
Jason Victor Serinus Posted: Oct 21, 2012 1 comments
Peering behind the curtain in a Show room reveals, not the Wizard of Oz, but instead. . .
Filed under
John Atkinson Posted: Oct 21, 2012 2 comments
A reader complained recently that exhibitors at audio Shows tend to demonstrate cost-no-object systems. He was right—they do. As Stephen Mejias has explained, exhibiting at a show is an expensive proposition and most companies go for broke with the systems they show, wanting to get the maximum “Wow factor,” hence return, on that investment.

Colorado retailer Audio Limits was no exception, its large room off the Marriott’s atrium featuring Venture Ultimate Reference loudspeakers ($135,000/pair) driven by FM Acoustics 115 monoblocks ($108,200/pair), an FM Acoustics 245 preamp ($25,800), with the source either a PC laptop running XX High End software, a Weiss Jason transport ($22,7070), or a Weiss Man301 network player ($9083 without DAC), Weiss Medea+ FireWire D/A converter ($21,799) . . .

Filed under
John Atkinson Posted: Oct 21, 2012 1 comments
Styled to resemble Sonus Faber’s cost-no-object “The Sonus Faber” flagship design, the new Sonus Faber Venere range of speakers made its debut at RMAF. Costing $2498/pair, ie, around less than 2% of the big speaker’s price, the Venere 2.5 was demmed with an Audio Research DSI200 class-D integrated amplifier ($5995), a Wadia Model 121 decoding computer ($1299), a Pro Ject Xtension turntable with Sumiko Blackbird cartridge ($3699) a Pro Ject Phono Box ($999), and Pro Ject’s new Stream Box ($1999). The LP of Jeff Buckley’s classic album Grace was reproduced with appropriate impact and a color-free tonal balance. Even considering the relatively affordable price of the system, this was still one of the better-sounding rooms I heard at RMAF.
Filed under
John Atkinson Posted: Oct 21, 2012 0 comments
In the other Hear No Evil room, Kevin Deal introduced PrimaLuna's new DiaLogue Premium Integrated amplifier ($3299). This amp can be fitted with KT66/6L6GC, KT77/EL34, or 6550/KT88 tubes and, driving a pair of KEF R900 speakers ($5000/pair) did sonic justice to Nils Lofgren’s homage to Keith Richards, “Keith Don’t Go.” Source was PrimaLuna’s ProLogue Premium CD player ($3299), which now has a 24/192k-capable USB input based on an M2Tech module as well as the tubed clock circuit used in the earlier Prologue Eight player.
Filed under
Jason Victor Serinus Posted: Oct 21, 2012 0 comments
No, I’m not talking about one of the young women who always seem to drive Stephen Mejias to distraction at shows. Rather, I’m speaking of Estelon’s Model XB loudspeakers ($32,900/pair). Designed for more modestly sized rooms, this Estonian speaker was producing realistic, full-range sound courtesy of Vitus Audio’s SM 010 monoblock amplifiers, SL 102 preamplifier, and SCD010 CD player. Power Conditioner was Silver Circle Audio’s Tchaik 6, cabling Kubala-Sosna’s Elation, and rack and feet from Stillpoints.
Filed under
John Atkinson Posted: Oct 21, 2012 11 comments
One of the final rooms I visited at the 2012 RMAF was Sony’s. An as-yet-to-be-named floor-standing speaker was being demmed with Pass Labs amplification, Kimber Kables, and a Mytek DSD-capable DAC, taking data over USB from a laptop. The speaker has much in common with the superb SS-AR2 that I reviewed in October, but is shorter and, as can be seen from Jason Serinus’ photo, has an intriguing array of two supertweeters above and below the tweeter.
Filed under
John Atkinson Posted: Oct 21, 2012 0 comments
Denver retailer Gold Sound’s room featured the Focal 836W speakers ($4500/pair), a three-way design related to the French manufacturer’s 826W Anniversary Edition speaker that Robert Deutsch enthusiastically reviewed in November 2010. Driven by a Cambridge Audio 851A integrated amplifier ($1795) and a Cambridge 851C CD player ($1795) and hooked up with Crystal cables, this relatively affordable system punched above its weight, producing a big, naturally balanced sound.
Filed under
Jason Victor Serinus Posted: Oct 20, 2012 1 comments
What a difference the recording makes. When I first entered the room sponsored by Von Schweikert Audio, Jolida Inc. and United Home Audio, I was surprised to hear really bright sound from what I expected was a master tape played on a UHA Phase 11 open-reel deck ($22,000). But when we switched to another recording, Pat Metheny and Charlie Haden performing “Missouri Sky,” I truly enjoyed the beautiful midrange, edge-free highs, and big presentation of the system. “Very, very nice” was my ultimate assessment.
Filed under
Jason Victor Serinus Posted: Oct 20, 2012 0 comments
It was a pleasure to make the acquaintance of Bob Neill, a fellow graduate of Amherst College and proprietor of Amherst Audio in Amherst, MA. In a system headlined by JM Reynaud Abscissa loudspeakers ($5500/pair) bi-amped with Crimson 640E monoblock amplifiers ($6000/pair), and completed by the Crimson 710 solid-state preamplifier ($7000), Resolution Audio Cantata ($6500), and Crimson interconnects ($360/1m pair) and bi-wired speaker cable ($1070/8' pair), I enjoyed the kind of cultivated sound that discriminating listeners crave. True, there was some extra resonance in the treble that made piano sound a mite metallic, but the midrange beauty of Antonio Lysy’s cello on Yarlung Records’ recording, Antonio Lysy at the Broad, was very special.
Filed under
Jason Victor Serinus Posted: Oct 20, 2012 1 comments
Audio Note now handles its US sales directly from the UK. The sound in their room may have been warmer than neutral, but it had an immediacy that I enjoy. Here, the vividness of a classic recording of music from Glinka’s Ruslan and Ludmila struggled to triumph over the bass commentary from the adjacent room’s Göbell behemoth. When the booming subsided, Jennifer Warnes emerged triumphant.
Filed under
Jason Victor Serinus Posted: Oct 20, 2012 6 comments
People sat up and took notice when Sanders Sound Systems released their Model 10 full-size electrostatic loudspeakers with analog electronic crossover amplifiers a few years back. The latest version, Model 10c ($13,000/pair) was delivering solid, full-range sound from a system that also includes Sanders Magtech Stereo amplifier ($5000), new preamplifier that combines both line and phono stages ($4000), and their own interconnects and speaker cables.

Pages

X
Enter your Stereophile.com username.
Enter the password that accompanies your username.
Loading