At T.H.E. Show in the Flamingo hotel, a mere half mile, 500 hawkers, and 2000 gambling-addicted alcoholics away from the bulk of high-performance audio exhibits in the Venetian, John McDonald of Audience was showing his new Adept Response aR6-TS power conditioner. Each unit comes complete with an Audience powerChord. The units sell at two different price points, depending upon choice of Audience power cords ($5000 with a standard Audience powerChord e, or $6550 with the Au24 powerChord).
The 6-outlet version of the Adept Response aR6-TS was in use in the room. A 12-outlet version is also available ($8600 or $10,150, depending upon powerChord choice).
What’s new about the unit is the “S” in aR6-TS. “T” stands for the Teflon version of power conditioner, and “S” for its new Audience Teflon aura-TO capacitors. John McDonald says the new capacitors are significantly more resolute and transparent.
Here's a more modest system than some of the others featured so far that really nailed the raucous highs on a curious wind version of Revueltas' wild, ritualistic Sensemaya. Veteran high-end designer Frank Van Alstine was justly proud of his Ultra 550 hybrid power amp with its 300Wpc ($2395), Transcendence Eight vacuum-tube preamp ($1299 with optional remote and phono stage), and Insight Solid State DAC ($999). Paired with the Jim Salk Sound Veracity HT3 3-way loudspeakers with their 10" woofer ($4895), this system was making sounds worth checking out.
Is it any surprise Audio Consulting and Scaena, otherwise known as Switzerland meets South Florida, sounded excellent? From Audio Consulting, who were making their first show appearance since 2008, and is now sold direct from Nashville, we experienced numerous products. The first, the Audio Consulting MIPA (Mains Independent Power Amplifier) Silver Rock Toroidal amplifier, is available in stereo 30W ($45,000), mono 120W, and 30W/120W switchable ($52,000) configurations. A battery-driven, solid-state class-A switching amplifier, it has customizable inputs and outputs and is housed in a wood chassis.
Rapidly approaching the staggering state observed among inveterate show attendees on Friday evening, I stumbled upon the debut of Duke Lejeune’s $4000/pair Jazz Modules. Note that the speakers were not intended specifically for jazz; the name came to Duke in a dream as he was preparing to graduate from amateur speaker builder to fledgling audiophile professional. With a claimed sensitvity of 92dB, the speakers extend from the upper 30s to about 17.5kHz. Port tuning is changeable according to listening position. Even with only two days of break-in—the woofers require several hundred hours to sound their best, Duke told me—the speakers threw a huge soundstage, and sounded remarkably full, warm and luscious in the midrange, I felt.
Audio Note now handles its US sales directly from the UK. The sound in their room may have been warmer than neutral, but it had an immediacy that I enjoy. Here, the vividness of a classic recording of music from Glinka’s Ruslan and Ludmila struggled to triumph over the bass commentary from the adjacent room’s Göbell behemoth. When the booming subsided, Jennifer Warnes emerged triumphant.
Audio Note UK, shown at RMAF by its US distributor AudioFederation.com, chose the Denver Show for the world premiere of its first USB-input DAC. The DAC 0.1X, an entry-level product that features neither anti-alias filtering nor oversampling, and uses a teeny little 6111WA dual-triode output tube that is said to behave like a 12AU7 but last a staggering 100,000 hours, was making fine sound paired with a complete line of Audio Note components and cables.
Although they looked the same, the Audio Note UK E/SPe HE 98dB-sensitive loudspeakers ($9300/pair plus $650 for the stands) were a larger version of what I heard at AXPONA Chicago. In a system that also included Audio Note UK’s CDT Three top-loading CD transport ($12,000), DAC3.1x / II Balanced ($10,000), and OTO SE Signature integrated amplifier ($5500, or $6300 with phono), a very warm and mellow midrange triumphed on Jane Monheit’s “More than You Will Ever Know” from the album, Neverland. A further listen to a cut from Hazmat Modine’s Bahamut convinced that this is a system for midrange lovers über alles.
Although Misty Ellis' atmospherically lit room was a challenge to photograph, the sound this company from Columbus, OH put together from a big-bucks system headed by the Audio Power Labs 833TNT 200W transformer-coupled monoblocks ($175,000/pair), Tidal Audio Contriva Diacera SE floorstanding speakers ($58,190/pair in piano black, $64,190/pair in African Pyramid Mahogany as shown), and Laufer Teknik The Memory Player 64 ($24,600) was as tantalizing and satisfying as its visuals. Initially marred by an exaggerated midrange and treble resonances, everything improved immensely when Tidal dealer Doug White, the extremely conscious proprietor of The Voice That Is in Newtown Square (Philadelphia), PA, removed the preamp responsible for the imbalance.
The Audio Alternative had a number of rooms on the 9th floor of the Denver Marriott Tech Center Tower, the largest of which boasted an impressive set-up. Audio Research Corporation's Anniversary Edition Reference Preamplifier ($24,995), Reference 210 amplifiers ($19,900/pair), Reference Phono 2 ($11,995), Reference CD8 ($9995) and DAC 8 ($4995) were dancing with Vandersteen 7 speakers ($45,000/pair); Linn LP12 turntable, Ekos SE tone arm and Lyra Titan cartridge ($24,000 total); AudioQuest Wild Blue Yonder XLR interconnects ($16,800 for 26'). Wildwood speaker cables ($11,600 for 8'), NRG WBY AC power cords ($4400 for 12'), and WBY XLR interconnects ($4200 for 3'); and Harmonic Resonance Systems SXR 1921 isolation stand ($4995), M3X 2123 isolation base ($2895), and R1-1921 ($1095). (Whew!) The room was full of people making too much noise; the sound loud (there was no choice), impressively big and solid. Short of blowing a whistle, there was nothing I could do except collect literature and promise myself that at the next show, I'll finally get a chance to hear the Vandersteen 7s that received raves at the 2010 CES.
Audio Research's new SP20 tube stereo preamplifier ($9000) combines a full-function linestage and phono stage, and includes a hi-resolution tube-driven headphone output, touchscreen control, remote control, and both balanced and single-ended inputs and outputs. The front panel echoes the Minnesotan company's fabled SP3 preamps from the 1970s. Listening to the company's first preamp in 20 years to include both a linestage and phonostage via Sonus faber Olympica III loudspeakers, I heard both the classic Audio Research midrange and a fast response that served bebop extremely well. Bob Reina is working on an SP20 review for Stereophile.