RMAF 2013

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Jason Victor Serinus Posted: Oct 18, 2013 0 comments
I discovered the popularity of the “Cartridge Alignment” seminars presented by Vana Ltd.’s Stirling Trayle and the “Speaker Set-Up” presentations by AudioBeat.com’s Roy Gregory were when I passed the closed doorway to their seminar room and discovered people already lined up for the next presentation.
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Jason Victor Serinus Posted: Oct 18, 2013 5 comments
What actually transpired as the person in charge of the darkened room began to change LPs:

Me: What are you putting on?
Him: (sounding slightly hostile) What am I putting on?
Me: Yes. What music are you playing?
Him: It’s violin music.
Me: (To myself: Yes, I do know what a violin sounds like.) To him: What violin music?
Him: “I can’t pronounce it. Here, you look.”

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Jason Victor Serinus Posted: Oct 18, 2013 2 comments
The Eficion loudspeaker/Plinius amplification combo, favored by Eficion’s Peigen Jiang because the fast amp complements the speed of the Eficion’s distinctive, highly detailed AMT (Air Motion Transformer) tweeter, graced two adjacent rooms at RMAF. In the first, shared with FIM Music, Eficion F200 loudspeakers ($3400/pair), a Plinius SA103 amplifier ($10,150), Exemplar Audio preamp ($4250), and Exemplar-modded Oppo BDP-105 (aka the Expo T105—$4750 including cost of the Oppo) produced gorgeous, full range sound and beautiful tonality on Jacques Loussier’s rendition of J.S. Bach’s Pastorale in C minor, from The Best of Play Bach. Credit is also due FIM’s remastering, which improves on the already fine sound of Loussier’s Telarc originals.
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Jason Victor Serinus Posted: Oct 18, 2013 1 comments
With Tyll Hertsens reporting in depth on RMAF’s CANJAM 2013 at our sister site, innerfidelity.com, I’ll just briefly acknowledge the scope of this major exhibition. Hosted by Head-Fi.org, the event drew the youngest crowd in its history.
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Jason Victor Serinus Posted: Oct 18, 2013 1 comments
When I entered the room sponsored by the three above entities, I heard first a CD quality file of Saint-Saëns’ Danse Macabre, and then a 192kHz sample-rate file of period instrument violinist Rachel Podger playing Bach. I thought the system wonderful at handling complex information, keeping everything clean, and controlling the bass—superb in fact. The only question arose when, on an SACD of mezzo-soprano Lorraine Hunt Lieberson singing Handel, the voice was somewhat damped.
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John Atkinson Posted: Oct 17, 2013 2 comments
Taiwanese speaker manufacturer used an 400Wpc/8 ohms Jeff Rowland Design Group 825 stereo amplifier and Aeris DAC to demonstrate its new Double Bass loudspeaker ($28,000/pair), with audio data sourced from a Bryston BDP-1. The Double Bass combines an MTM ribbon array with an 8" sandwich-cone mid-woofer and 12" sandwich-cone woofer in a vented enclosure that resembles, yes, a double bass.
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Stephen Mejias Posted: Oct 17, 2013 0 comments
SVS Sound’s Gary Yacoubian explained that his company’s speakers are designed to combine the dynamics of a home theater system with the neutrality of an audiophile system. “When voicing the speakers, we used real music that real people listen to in their homes.”
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Jason Victor Serinus Posted: Oct 17, 2013 1 comments
In the first of MIT’s two adjacent rooms, Steven Holt, in his last appearance with the company before moving on to Light Harmonic, showed off MIT’s newest Z-Plug 3 ($199) and Z-Plug 6 ($399) AC noise traps. Demonstrated with Audio Prism’s noise-sniffing device, these parallel power filters seemed to do a fine job of quieting things down. Also new are two power cables, the SL-Z-Cord3Fp AC Noise trap ($349) and SL-Matrix Z-Cord 6 AC Filter power cord ($699), both of which incorporate Z-series power filtration. Don’t you love these ridiculously long names that make you feel like you’ve bought something special, which, despite the name, it may very well be?
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Stephen Mejias Posted: Oct 17, 2013 0 comments
The UK’s Neat Acoustics is distributed in the US by High Fidelity Services in Braintree, Massachusetts. Here we see the company’s Motive SX2, in sassy pink ($2395/pair), driven by a Sonneteer Orton integrated amplifier ($3795). The digital source was Sonneteer’s Byron CD player ($2795), while vinyl was being spun on a VPI Scout 2 ($2400) with a Dynavector 20-2 XL cartridge ($850). The attractive rack is the Custom Design Ikon 750 Reference ($1475). Neat, indeed.
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Jason Victor Serinus Posted: Oct 17, 2013 1 comments
Did that title get your attention? Andrew Jones’ TAD Evolution 1 loudspeakers ($29,500/pair) usually do by themselves. But, in this case, they were paired with TAD’s visually understated M600 amplifiers ($68,000, presumably for the pair), C600 preamp ($42,000), and D600 (CD/SACD) disc player ($32,000), as well as Ron LaPorte’s forthcoming Blue Smoke Entertainment Systems’ Black Box II digital music server/client ($3995) and USB to 384/32 digital output ($2995—both expected late 2013).
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John Atkinson Posted: Oct 17, 2013 0 comments
The KingSound King III electrostatic loudspeakers ($12,000/pair) sounded superb at RAF, without the sweet-spot beaming I would have expected from their width. Amplifier was the 120Wpc, $6500 Innamorata from Wells Audio that I first heard at the 2013 Newport Beach Show, with an EAR 868 tube preamp ($7395) and Kaplan cables. Source was the latest Sound Science Music Vault M7 ($5595) with an Antelope Zodiac Platinum DAC with Voltikus power supply ($5500). Analog source was a Townshend Rock 7 turntable ($3900) fitted with an Ortofon Rondo Blue cartridge ($879).
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John Atkinson Posted: Oct 17, 2013 0 comments
When I walked into the On A Higher Note room at RMAF, Philip O'Hanlon was playing Doug McLeod's There's a Time LP, our May 2013 "Recording of the Month," and very good it sounded too. Turntable was a Brinkmann Bardo fitted with a TriPlanar 12" tonearm and a Brinkmann Pi cartridge, with a Luxman L590X integrated amplifier ($9500) driving the superb Vivid B-1 loudspeakers ($14,990/pair) that I reviewed in October 2011. Cables and power conditioning was by Shunyata.
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John Atkinson Posted: Oct 17, 2013 3 comments
John Wolff's Classic Audio company has been a fixture at audio shows the past few years, always showing his beautifully made speakers, combining hornloaded midrange and highs with big paper-cone woofers, most recently using field-coil–energized drivers. This year John was demming the T-3.4, which combines a field-coil–energized midrange unit, with a 4" beryllium diaphragm loaded by a wooden horn horn with a 2" throat, with a pair of 15" woofers operating below 500Hz, one firing forward, the other at the floor, and a "Ultra-High-Frequency" supertweeter operating above 12.5kHz.
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John Atkinson Posted: Oct 17, 2013 1 comments
My sleeping room at the Tech Center Marriott was next to the Jeff Rowland Design Group's sound room. The night before the show started, though I wasn't kept awake, I was puzzled by the low-level, low-frequency noises coming through the wall. When I went into the room after the show had begun to take a listen, JRDG's Lucien Pichet, who for many years had been a stalwart at Avalon Acoustics, explained that they had been breaking in the system. This comprised Raidho D1 speakers, driven by the Continuum S2 400Wpc integrated amplifier ($9800) via Cardas Clear cables, with source the Aeris D/A processor ($9800) hooked up to a Bryston BDP-1 file player. The components were supported by one of the impressively built Harmonic Resolution Systems racks.
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Stephen Mejias Posted: Oct 17, 2013 2 comments
The Antelope Audio Zodiac Platinum DAC ($5500, including Voltikus power supply and remote control), seen here in the shadow of the wild Rubicon, utilizes the company’s 64-bit clocking technology, supports sampling rates up to 768kHz, and plays DSD files. It offers both analog and digital inputs, including balanced analog XLRs, unbalanced analog RCAs, AES/EBU, two coaxial, two Toslink, USB, and a 10MHz input for Antelope’s Rubidium Atomic Clock. Dual front-panel 1/4" headphone jacks, an analog volume control, and a spiffy app for PC, Mac, and mobile devices add to the fun.

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