RMAF 2012

Sort By: Post Date | Title | Publish Date
Filed under
Stephen Mejias Posted: Oct 17, 2012 0 comments
In the AudioQuest room, I was treated to a course on the Powers of Network Attached Storage. It wasn’t really a course and it wasn’t really called that, but it could have been. AudioQuest’s Steve Silberman is convincing. And I am now convinced that, when the time comes for me to dive into computer audio and other digital waters, I’ll seriously consider a NAS for my needs.

While Silberman has found success with several different NAS devices, on display in the AQ room was Synology’s powerful DS712+, which Silberman says is highly reliable, has a very friendly user interface, and never compromises the performance of his system.

Filed under
Jason Victor Serinus Posted: Oct 17, 2012 1 comments
Visual aesthetics were clearly not the main priority in room 431. Pictured is Polk Audio's LSiM 707 loudspeaker ($4000/pair), driven by an unseen Oppo 83 SE used as a transport, the excellent Peachtree DAC/Pre ($4700), and, on the computer end, a Macbook Pro running Amarra 2.4.2 via an Audioquest Carbon USB cable. Audioquest Rocket 88 cabling, PS Audio P10 power conditioner, XLO-10 power cords, and room treatment completed a system that, on George Benson's classic recording of "The Ghetto"—a song that doesn't sound remotely like the predominantly Mexican, multi-ethnic and multi-national ghetto in which I live—sounded like solid hi-fi.
Filed under
Stephen Mejias Posted: Oct 17, 2012 2 comments
Eficion’s distinctly shaped F250 loudspeaker ($9950/pair) combines an Air Motion Transformer tweeter with a 5” carbon-fiber midrange unit and a 10” woofer. The speaker has a high specified sensitivity of 90db and a frequency range of 30Hz–35kHz.

The speakers were partnered with Plinius (“The Heart of Music”) gear: the 125Wpc, Class-A SA-103 power amplifier ($10,125), M8 preamplifier ($5150), and Tiki 24/96-compatible networking DAC ($4775).

Filed under
Stephen Mejias Posted: Oct 16, 2012 3 comments
Based in Taiwan, Lawrence Audio Co. (“Inspired by Musical Masters”) manufactures limited-edition and custom-made loudspeakers modeled after stringed instruments. Lawrence Liao, founder and chief designer, is also an interior decorator, music lover, and musician: He plays saxophone, violin, and piano.

Lawrence’s line includes the two-way, standmounted Mandolin; the slightly larger Violin; and the 3.5-way, floorstanding Cello ($18,000/pair), which was playing when I walked into the room.

Filed under
Stephen Mejias Posted: Oct 16, 2012 4 comments
Ann Arbor, Michigan’s Paragon Sight & Sound put together another high-performance, cost-no-object system: Wilson Audio MAXX Series 3 loudspeakers ($69,500/pair); Doshi Audio (“Audio Products for Music Lovers”) Alaap v3.0 NAB tape preamp ($10,995), Alaap v3.0 line stage ($14,995), Alaap v2.1 phono stage ($10,995), and Jhor 160 monoblock power amplifier ($28,995/pair); SME 20/3 turntable ($15,500 with SME’s Series V tonearm) and Koetsu Urushi Vermillion cartridge ($5850); and Transparent Audio cables. The gear was supported by Harmonic Resolutions Systems racks. I didn’t listen to any digital while I was in the room, but digital was being handled by a Wadia S7i CD player and a Playback Designs MPD-5 Reference DAC.
Filed under
Stephen Mejias Posted: Oct 16, 2012 2 comments
Here’s a picture of Ayre’s Michael Wiedmaier pretending to enjoy a martini. I also have a picture of someone pretending to take a hit from an oversized bong; a picture of someone else looking mesmerized by a lava lamp; a picture of someone dancing on a shag rug; a picture of someone else putting out an imaginary cigarette in a real-life ashtray; and a few other funny pictures, too.

I have no pictures of Ayre’s new AX-5 integrated amplifier, no comments on the sound quality of the system, no recollection of even listening to music while in the amazing Ayre room. I do recall very pleasant conversations with readers, exhibitors, and attendees. At any hi-fi show, there are rooms that are all about the gear; rooms that are merely about the technology; rooms that are stuffy or solemn; rooms that are even empty and quiet.

And then there are rooms like this one.

Filed under
Stephen Mejias Posted: Oct 16, 2012 3 comments
Do you know that creepy, moody Dead Can Dance track—the one with the shaker that comes flying from the left-channel speaker with crazy presence and realism? It’s called “Yulunga,” right?
Filed under
Stephen Mejias Posted: Oct 16, 2012 1 comments
You know the slinky hi-hat, the funky wah, the groovy bass line; the slow-building horns, the deep voice, the suggestive lyrics: Who’s the black private dick / That’s a sex machine to all the chicks? / (Shaft!) / Damn right…

There was a party going on in the Xact Audio room.

Filed under
Stephen Mejias Posted: Oct 16, 2012 9 comments
Ah-ha! I found a picture of the gear in the fantastic Ayre room.
Filed under
Stephen Mejias Posted: Oct 16, 2012 4 comments
Sharing the Blackbird Audio room with Colleen Cardas Imports was Bob Clarke’s Profundo, out of Round Rock, Texas. Bob Clarke seems to have an eye for beauty as well as an ear for sound:
Filed under
Stephen Mejias Posted: Oct 16, 2012 3 comments
I’m not at all embarrassed or ashamed to admit that there have been times when I was so distracted by a system’s appearance that I couldn’t properly appreciate its performance. Similarly, there have been times when I was so overwhelmed by a system’s price, that I couldn’t even hear its music.

But, here, in the MBL suite, just as in the Wilson/VTL suite, the sound of music was so compelling that I was easily able to ignore those aspects that are beyond my appreciation and reach.

Filed under
Stephen Mejias Posted: Oct 16, 2012 0 comments
Induction Dynamics matched their beautiful S1.8T loudspeaker with a host of McIntosh gear (MT10 turntable, MX150 control center, and MC207 power amplifier), all strung together with Kimber Kable.
Filed under
Stephen Mejias Posted: Oct 16, 2012 2 comments
I walked into the Audio Alternative room with a nagging headache and walked out cured. I credit the system: Vandersteen Model 7 loudspeakers with M7 crossovers ($50,000/pair) driven by Audio Research’s Reference 250 monoblock and new two-chassis Reference 10 preamp ($30,000); AMG Viella 12 turntable fitted with a Lyra Atlas phono cartridge; and AudioQuest cables.

The song, believe it or not, was “Here Comes the Sun.”

Filed under
Stephen Mejias Posted: Oct 16, 2012 2 comments
I loved the pure, clean sound and sense of touch and bloom that came with Ben Webster’s tenor sax on “Stars Fell on Alabama” from Billie Holiday’s great Songs for Distingué Lovers. And, in “A Foggy Day,” Lady Day’s voice was as rich and true as can be.

Later, I noted fine snap and brassy pluck to the sound of acoustic guitars during “Chuck E.’s in Love,” the opening track to Rickie Lee Jones’ self-titled debut, an album that people often love or hate.

One female listener was surprised by the sound:

Filed under
Stephen Mejias Posted: Oct 16, 2012 3 comments
Salk’s beautifully finished SoundScape 8 uses the same RAAL ribbon tweeter, Accuton midrange unit, and 12” side-firing passive radiators as the company’s larger SoundScape 10 and 12 floorstanders, but where those designs use single 10” and 12” woofers, respectively, the SoundScape 8 employs two 8” drivers. While the base price for the SoundScape 8 is $8000/pair, custom-finished models such as those seen here, which had a marble-like appearance, can cost up to $12,000/pair.

Pages