CES 2014

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John Atkinson Posted: Jan 18, 2014 0 comments
Second up from the bottom in YG’s speaker line has been the Kipod ($38,800/pair), named after YG founder Yoav Geva’s daughter Hailey, whose nickname was “Kipod” or “Hedgehog” in Hebrew. But as Hailey is growing up fast (as daughters do), it was time to name a new speaker after her; CES saw the premier of the YG Hailey. Priced at $42,800/pair, the three-way, floorstanding Hailey uses technology trickled down from the top-of-the line Sonja that I reviewed last July. YG’s “Billet-core” drivers, where the cones are machined from solid aluminum stock, are combined with a 1" dome tweeter in a machined aluminum enclosure that eschews the Sonja’s double-cabinet construction.
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John Atkinson Posted: Jan 18, 2014 0 comments
Both the speakers from Sandy Gross’s GoldenEar company that have been reviewed in Stereophile—the Triton 2, reviewed by Bob Deutsch in February 2012 and the Aon 2, reviewed by Bob Reina in November 2013—impressed us with the very attractive combination of price and performance. And at the 2014 CES, Sandy introduced me to the new flagship, the Triton 1, which will sell for $2499 each or $4998/pair when it comes to market in late April.
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Jason Victor Serinus Posted: Jan 18, 2014 3 comments
I was hardly the only press person who waited until the last day of CES to make the trek to the Flamingo Hotel to cover T.H.E. Show, the alternative, lower-priced-than-CES location for high-performance audio exhibitors. It was easy to spot my colleagues, because, at least on Friday, the last day of the show, there were so few industry professionals and audiophile attendees vying for exhibitors' attention. The hotel's 4th floor claimed 23 exhibit rooms, not all of which I had time to visit, and at least one or two of which were locked. But attendance was so light that the place felt dead.
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Jason Victor Serinus Posted: Jan 18, 2014 0 comments
Having heard a prototype of Zesto Audio's brand new BIA 120 class-A stereo power amp ($12,500), I was delighted to discover it looking and sounding extremely attractive in a system that included TAD Evolution One loudspeakers, a Zesto Andros PS1 phono stage, Merrill Williams audio REAL 101 turntable w. Tri-Planar U2 tonearm and Dynavector XV-1s cartridge, and a full complement of WyWires cabling. On Illinois Jacquet's album, God Bless My Solo, I noticed that the really nice, warm sound was a little bright on top, and that images seemed rather small for the speakers and room.
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Jason Victor Serinus Posted: Jan 18, 2014 0 comments
It's a l o n g story, but Fritz Speakers ended up at T.H.E. Show as a replacement for a company that couldn't make it. In tow were the Fritz Speakers S/R loudspeakers ($3500/pair), which combine a Scanspeak Illuminator tweeter and a 5" paper-cone driver. Bringing up the rear, as it were, were a VPI Traveler, modified Oppo, DEQX preamp, PTE phonostage, Wells Audio Innamorata amplifier, and WyWires cabling. On an LP by Tracy Chapman, I heard fine soundstaging, lovely bass, and a little ringing around the edges. The bright edge remained when we switched to CD.
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Jason Victor Serinus Posted: Jan 18, 2014 0 comments
I’m happy that Simplifi Audio’s Tim G. Ryan introduced me to a new speaker manufacturer, Klangwerk of Zurich, because I really liked the sound of Klangwerk’s fully active, mastering grade Ella loudspeaker ($15,000/pair). Not only did the Ellas produce a very wide and tall soundstage, but they also descended to 35Hz (albeit –6dB). Paired with a Weiss MAN 301 network player, DNM Design speaker cables with HFT ends, and optional DSPeaker automatic room correction—claimed to fix any stereo system in 5 minutes—the Klangwerk Ellas yielded lovely, smooth, and most enjoyable sound on an excerpt from Reference Recordings’ disc of The Tempest.
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John Atkinson Posted: Jan 18, 2014 1 comments
Has it really been a quarter century since Meridian introduced its first “digital active” loudspeaker, the D600, pictured left with designer Bob Stuart standing between the D600 and the DSP6000 from 1990. I reviewed the D600 in November 1989 and was mightily impressed by what I heard from a speaker that used Philips’ then-new S/PDIF receiver chip to allow it to realize DAC, crossover, and amplification in one, elegantly proportioned box.

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John Atkinson Posted: Jan 18, 2014 4 comments
I am sure that contributing to the superbly neutral, well-balanced, uncolored, full-range sound in this room was the acoustic treatment from Swedish company SMT, which provided a combination of absorbers and diffusors. And dig the treatment applied to the ceiling by SMT, with different-radius sphere segments. Other exhibitors could take lessons from Martin and its US distributor Dan Meinwald.
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Jason Victor Serinus Posted: Jan 18, 2014 0 comments
Tom Compagna brought his new Quintessence Acoustics flagship QLS loudspeakers ($50,000/pair, $60,000 with active subs) to T.H.E. Show. "These are true ribbons, not quasi-ribbons," he said of his SOTA line source design, which uses nine 6.5" true ribbons and nine moving-coil mid-woofers. Frequency response is stated as 39Hz—41kHz, ±3dB, extending down to 19Hz with the subs. With a claimed 95dB sensitivity, the QLS can handle up to 400W continuous, 1000W peak. Connected to Tom Maker's reference monoblocks and MG Audio Design flat ribbon cables, the speaker's bass was very impressive, but midrange predominance de-emphasized the top end.
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John Atkinson Posted: Jan 18, 2014 0 comments
Having gotten used to John DeVore showing off his high-sensitivity Orangutan O/96 and O/93 speakers at recent shows, both of which have been very favorably received by Stereophile’s reviewers, driven by low-power Shindo and Line Magnetic amplification, I was somewhat surprised to see the new and more conventional Gibbon X towers driven by a high-powered VTL S-200 Signature amplifier in Triode mode via Auditorium cabling in his suite at the Venetian. The new Gibbon is projected to sell for $12,000/pair and features all-new drive-units: a ¾” tweeter asymmetrically mounted beneath a paper-cone midrange unit based on that first used in the DeVore Silverback, which features what John calls an adaptive surround, and two long-throw 7” woofers.
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Jason Victor Serinus Posted: Jan 18, 2014 7 comments
When I entered the Daniel Hertz room, close to a full house was sitting at attention as someone was giving a spiel about room correction. As I wrote in my notes, "I don't know what's going on, but the choir is overloading and the sound is too warm." Said person, whom I only later learned, after I left the room, was Mark Levinson, then announced that he wanted to show off the system's dynamic range. "Any sound known to man this system can reproduce," or something very close to that, he declared as he proceeded to play sounds created by Norah Jones.
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Jason Victor Serinus Posted: Jan 18, 2014 0 comments
First, today's language lesson: lampa = vacuum tube (or a valve) in Polish. Hence the name LampizatOr for the young Polish company whose GM70 SET 22W tube monoblock integrated amplifiers ($8000/pair) are point-to-point wired in Poland, and whose motivating force, Lukasz Fikus, seems intent on causing quite a stir on audio forums with statements such as, "I DECLARE universal war against high-end equipment manufacturers: CD player, amplifier, cables, speakers—NO MORE CRAP."
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John Atkinson Posted: Jan 18, 2014 1 comments
At almost 6’ high, weighing 507 lbs, and costing $480,000/pair, the Coltrane Supreme 2 from Swedish company Marten was one of the more extreme loudspeakers at the 2014 CES. But to my surprise, playing my own recording of the Jerome Harris Quartet playing Duke Ellington’s “The Mooche,” from the CD Rendezvous, it sounded delicately detailed, with a superbly stable rendering of the recording venue, Chad Kassem’s Blue Heaven Studio in Salina, KS.
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Jason Victor Serinus Posted: Jan 17, 2014 0 comments
Although the business buzz in the Esoteric room made deep sonic evaluation impossible, I was impressed with the very nice midrange warmth and sweetness of the Esoteric system. I didn't hear any overtones from the new Grandioso M-1 mono power amplifier ($23,000/each), but I expect they were drowned out. A new companion preamp may be out by summertime. Also due from the company known for its excellent transport mechanisms is a new top-of-the-line transport, to replace the P-01, and a new mono DAC, to replace the D-01.
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Jason Victor Serinus Posted: Jan 17, 2014 1 comments
Krell used CES to launch no fewer than seven iBias high-efficiency class-A amplifiers. Called, by the company, "the most revolutionary design change in its 33-year history," the amps consume far less energy than traditional class-A amplifiers. iBias technology also reputedly eliminates crossover distortion, allowing low-level details, subtleties and spatiality to emerge without restricting dynamics. It does so by operating output transistors constantly at full power, so they never shut off, and adjusts power going to them according to demands.

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