This photo should give you an idea of what it was like once inside. And, yes, camera fans, that's a Canon DSLR with what looks like a big L-series lens, being held up above the crowd. Which brings up another point about why there were more people at this year's CES Unveiled: this year, PMA, the photoimaging manufacturers' association, has joined CESthey call it PMA@CESso in addition to the consumer electronics press there are also the photo equipment journalists.
In a sidebar to his review of the B&W DM302 speakers in the October 1997 issue (Vol.20 No.10), Wes Phillips mentioned a handy tool he uses for speaker setup—a laser level. The one Wes used was originally intended for construction work, not tweaking one's speaker placement, but now there's one available specifically for that purpose: The 770 SA-S Laser Sound Alignment System by Checkpoint Laser Tools.
Conrad-Johnson Design, well-known purveyors of vacuum-tube electronics, introduced the ET2 Enhanced Triode preamplifier, featuring a single-ended triode voltage gain stage direct-coupled to a high-current output buffer. For once, this is not another $18k preamp; the price is a relatively modest $3500.
CES Unveiled turned out to have little of interest to Stereophile readersexcept those who are general technical geeks. (Not that there’s anything wrong with that!) Most of the products on display involved mobile computing, computer peripherals, etc., and the exhibits were simple table-top setups. Major CES exhibitors like Sony and Panasonic were conspicuous by their absence. Samsung just had some of their small digicams. I guess the high performance audio community decided to pass on this event, and it makes sense: what makes these products special can’t be evaluated by just looking at them.
The female staff members of Salon Son & Image are easily recognizable by the blue wigs they wear. I don't know whose idea this representsMichel Plante or Sarah Tremblay would be my guessbut it's a great way of signalling that the show is going to be FUN. The charming Claudia L'Ecuyer (pictured) prepared my badge. In the background, getting his badge is Jim Griffin of Griffin Audio, Canadian distributor of ProAc loudspeakers.
Performing music in a group is all about collaboration and communication. Look closely at this picture of the John Atkinson Trio, in performance on the last day of HE2007. JA is playing a solo, and both pianist Bob Reina and drummer Allen Perkins are listening and watching intently. In his comments after the number, Bob said that they had some differences of opinion about how to end the number, and resolving these differences required some give-and-take in the actual playing. Now that's jazz!
The Computer Audio 2010 seminar on Saturday was very well-attendedI barely managed to get a seat. The presentation was by Steve Silberman of Ayre Acoustics, with technical commentary by John Atkinson. Silberman took an admirably generic and non-partisan approach, barely mentioning Ayre products, and refusing to answer the question "Should I get a Mac or a PC?" I've taken a wait-and-see approach to the whole computer audio subject, and Silberman did not convince me it's time to introduce a computer into my audio system, but I must say that he did an excellent job of describing the options, and if I were to take the plunge I would certainly use the information on the Ayre web site.
Canadian-designed and assembled, the signal distinguishing feature of Tri-Art Audio amplifiers is that concrete is used extensively in their construction. Tri-Art Audio believes that class-D power amp chips offer superb power but suffer from microphonics, and only when the chip is isolated from vibration can its virtues be truly experienced. The Block amplifiers do just that. The amplifiers are available in various forms, some with and some without level controls, with optional battery power supply, power ranging from 25 to 200Wpc, prices starting at $1995.
For anyone who's been around the audiophile block a few times, Conrad-Johnson Design is a brand that needs no introduction. My first acquaintance with Conrad-Johnson was before I began writing for Stereophile (more than two decades agotime sure flies fast when you're having fun!). I was in the market for a new preamp, having become convinced that my Dayton Wright SPS Mk.II was the weak link in my system, and had narrowed my choices to two similarly priced products: a solid-state model made by PS Audio (I'm not sure of the model number), and the tubed Conrad-Johnson PV-2ar. They were carried by different dealers, who allowed me to take their preamps home over the same weekend for a direct comparison. I was impressed by both preamps, and was sure that either would represent an improvement over the Dayton Wright, but in the end decided to go for the PV-2ar. I later traded it in on a dealer's demo unit of another Conrad-Johnson preamp, the PV-5. And, as it turned out, one of my first reviews for Stereophile was of Conrad-Johnson's PV-11 preamp.
I must admit that, for a long time, I found it difficult to accept the idea that a major portion of one's audio budget should be spent on the preamplifier. Speakers, yesthey produce the sound; amps drive the speakers, so they're important. And source components? Well, everyone knows it's garbage in/garbage out. But a preamp? Even the name suggests something that's not quite the real thing, like pre-school, pre-med, or premature. Unlike amplifiers, they don't have to contend with loads that sometimes approach a short circuit, and heat dissipation is not normally a problem. What's the big deal?