AXPONA 2013

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Jason Victor Serinus Posted: Mar 15, 2013 0 comments
There was a lot of major explication going on in the Marantz room, as in you'll hear some music if only you'll entertain our track-punctuating spiel, but when I did hear a bit of Chris Jones on the just introduced Marantz Reference NA 1151 network audio player/DAC ($3500), my interest was piqued by the depth and weight of the sound. Better yet was Sensemayá from the Channel Classics hybrid SACD of music by Revueltas. Here, the new Marantz Reference SA 1153 SACD/CD player ($4000) and Reference PM 1153 integrated amplifier ($5000), feeding Boston Acoustics M350 loudspeakers ($2500/pair), surprised me with their big soundstage and engaging depth. Even if the core sound of the lowest percussion wasn't totally fleshed out, the way the system delivered what highs and lows the speakers (45Hz–30kHz ±3dB) could produce suggests this may be some of the best audio equipment Marantz has yet released.
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John Atkinson Posted: Mar 15, 2013 4 comments
I had been looking forward to auditioning the 10th Anniversary Edition of Scaena's Silver Ghost speakers at the 2013 CES, but as I reported, there was a curious lack of recorded ambience. The Silver Ghosts, which cost $153,000/system with two active subwoofers, sounded much better at AXPONA, driven by Audio Research amplification. The front end was the new dCS Vivaldi rig and cabling was all Silversmith Audio Palladium. A duet between a woman singer and a double bass on the old Gloria Gaynor hit "I Will Survive" was absolutely convincing in its tonality and musicality—with plenty of recorded ambience!
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Jason Victor Serinus Posted: Mar 15, 2013 1 comments
Handsome Vapor Audio Cirrus Black loudspeakers ($3995/pair)—I don't have a clue as to why speakers of blond wood are named "black," unless it’s a Harry Potter reference—mated with exotically named Arte Forma Due Volta monoblock amplifiers ($5500/pair) and Thalia preamplifier ($2250), a B.M.C. DAC1 ($5690), Antipodes DV2 music server ($3299), Antipodes Reference speaker cables ($2200/set) and interconnects ($1900), Balanced Power Technologies PC-9LN power cables ($499) and BP-3.5 power conditioner ($2399), and ATS Acoustics room treatments to produce sound that I found nicely illumined, albeit a little hard and unyielding. The system may not have penetrated to the heart of the music, but the sound was very attractive, solid, and well-controlled.
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John Atkinson Posted: Mar 15, 2013 0 comments
In Pro Musica's second room, Dynaudio's Confidence C1 Signature speakers ($8500/pair in Signature finish, $7700/pair in standard Mk.II finish) were driven by Naim's SuperUniti integrated streaming amplifier ($6000), hooked up with Naim NACA5 speaker cable ($15/foot). I listend again to some of Ken Christianson's recordings on the Naim label, including a Schubert Symphony 5 performed by Iona Brown leading the Norwegian Chamber Orchestra. Sonics, music, balance, communication—I wanted for nothing.
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Jason Victor Serinus Posted: Mar 15, 2013 0 comments
In a room shared with Audiogon, Cary Audio constructed a system of lower cost Audio Electronics brand equipment designed and hand built in Apex, North Carolina. With circuit designs less complex than those in traditional Cary Audio components, the line's four components utilize no global feedback, and their audio stages are predominantly class-A designs. New to the line is the Lightning USB 24/192 DAC ($1295). Utilizing asynchronous USB technology from Gordon Rankin of Wavelength, the Lightning is set to strike the market around April 1.
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Jason Victor Serinus Posted: Mar 15, 2013 3 comments
In Room 806, one word said it all: Rega. Demming the Rega RP8 turntable with Rega Exact 2 cartridge ($3400), Rega Apollo R CD player ($1095), Rega Brio R integrated amp with phono stage ($895), and Rega RS3 floor-standing speakers ($1395/pair), the nattily bow-tied Barnaby Fry of The Sound Organisation was having a ball playing Johnny Adams' From the Heart. The system did best on Adams' voice—the voice was great—but when the blues artist sang, "I can't control the vibrations," I'm afraid he was talking about the limitations of the system's bottom reach and bass control. (For starters, I don't believe power conditioning or special equipment supports were in use.) But on voice and piano, Rega x 4 = very nice.
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John Atkinson Posted: Mar 15, 2013 2 comments
Verity's US distributor John Quick (right) shows the Amadis speakers, with Brian Wasserman

Back in 2009 I recorded classical pianist George Vatchnadze for a live-vs-recorded dem. As well as being a superb classical pianist and teacher—he teaches piano at Chicago's DePaul University—George has a parallel life as an audio retailer. His company, Kyomi Audio, had two 8th-floor rooms at AXPONA, featuring Verity Amadis speakers ($30,000/pair) driven by CAT amplification and hooked up with the huge and expensive helium-filled Stealth cables. Sources were either an Acoustic Signature turntable fitted with a Funk Firm arm and Colibri cartridge, or an Esoteric transport feeding data to a prototype non-oversampling D/A processor from Stealth, this featuring the AD1865 DAC chip.

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Jason Victor Serinus Posted: Mar 15, 2013 1 comments
Both at and post-show, Buffer (aka L. Langdon Ergmann, Jr.) was charmingly apologetic. Having read my "As We See It," "There's No Business without Show Business," in the April issue of Stereophile just hours before I walked into his Laufer Teknik room, he knew that his inability to supply a list of components and prices, add a track to his Memory Player from one of my six USB sticks, or even tell me what music was playing on his own music server (as in "We don't have an internet connection, so we can't identify the track") had left him a prime candidate for the Duncecap Dealer of the Day award.
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Jason Victor Serinus Posted: Mar 15, 2013 3 comments
You can always count on Doug White, owner of The Voice That Is in Newtown, PA, to provide excellent sound and an attractive display. At AXPONA, he came through in spades, rendering John Atkinson's recording of male ensemble Cantus singing Eric Whitacre's Lux Aurumque with extreme beauty. The system did equally well on Rimsky-Korsakov's well-worn Dance of the Tumblers, producing superb sound and nice depth. Lacking only were the ultimate transparency and room-filling soundstage that I encountered in far too few rooms at AXPONA.
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Jason Victor Serinus Posted: Mar 15, 2013 2 comments
I wish I could say something of import about International Phonograph Inc.'s room, which was showcasing the Artisan Fidelity turntable. The marvelous TAD Reference One loudspeakers were mated with Lamm electronics to play master tapes of jazz and other genres. Alas, there was far more talking than music going on when I stopped by, and the promised equipment list never made it to my inbox. Hopefully, others can fill in the blanks in the comments section below.
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John Atkinson Posted: Mar 15, 2013 0 comments
Chicago retailer Pro Musica, led by recording engineer Ken Christianson, had two rooms at AXPONA. The first featured a system built around Dynaudio's Confidence C2 Signature loudspeakers ($13,500/pair in standard Mk.II finishes; $15,000/pair in Signature finish). The electronics were a Naim NAP 300 amplifier with 300PS power supply ($11,495), Naim 282 preamp with NAPSC2 ($6795), Naim SuperCap2 DR preamp power supply ($6595), Naim UnityServe SSD server ($3045), Naim NDS streaming player ($10,995) with Naim 555PS DR power supply ($9645). Speaker cable was Naim NACA5 ($15/foot) and the equipment rack was the Quadraspire EVO (6 shelf, $1200).
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Jason Victor Serinus Posted: Mar 15, 2013 1 comments
In the room set up by Holm Audio of Woodridge, IL, Sony SS-AR1 loudspeakers ($27,000/pair) dominated a system in which Nordost Odin cabling—Odin power cord ($15,999/2.5m), interconnects ($19,999/2m) and speaker cable ($25,999/2m)—transmitted signals from a Rega RP6 turntable ($1990 with Rega Exact cartridge), Hegel HD25 32-bit DAC ($2500), Manley Chinook phono preamp ($2250), Hegel CDP2A ($2650), Hegel P20 preamplifier ($2900), and Hegel H20 amplifier ($5750). On Randy Crawford's CD, We'll Fly Away, the sound was very smooth and non-fatiguing, but lacked sparkle.
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Jason Victor Serinus Posted: Mar 15, 2013 2 comments
Walter Schofield had lots to smile about besides his new trim and fit look. The great buy Wharfedale Jade 5 loudspeakers ($3199/pair), fed by an Avid Ingenium turntable with Pro-Ject arm ($1750) and Ortofon 2M Black cartridge ($719), Avid phono preamplifier ($7000), Marantz SA-15 SACD player ($2000), Marantz 150Wpc integrated amplifier ($2500), Audioquest Columbia interconnects, and PS Audio power strip—there was more, but I can't decipher my notes—produced a really nice midrange on Madeleine Peyroux's "Dance Me to the End of Love." The sound may have been euphonic, but it was also euphoric; the music swung so compellingly that I couldn't stop tapping my foot.
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Jason Victor Serinus Posted: Mar 14, 2013 1 comments
It's always a challenge, in a room filled with unfamiliar equipment, to pinpoint what's causing what. All I know is that on the 7th floor, in the room wired with $8000 worth of Silnote Audio Cables, the midrange on a recording of the Talking Crows was simply beautiful, if a bit dry.
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John Atkinson Posted: Mar 14, 2013 3 comments
There is something about the sound of open-reel tape that doesn't translate either to CD or to LP," I thought as I sat listing to Jackson Browne's "Rosie (you wear my ring)" from a 15ips Tape Project tape in the room shared by United Home Audio and Jolida. With MBL's floorstanding 116 omnidirectional speakers driven by Jolida's new Luxor 100W tube monoblocks ($12,000/pair) and Luxor dual-mono preamplifier (price still to be decided) sitting on Critical Mass Systems racks, and the tape played on one of UHA's extensively modified Tascam decks, there was an unforgettable, fleshed-out palpability to the presentation.

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