Having hosted an AudioKinesis speaker demo at my home for the Bay Area Audiophile Society (BAAS), I feel confident saying that Duke LeJeune is one of the dearest men in the business. Here he demonstrates his new 92dB-sensitivity, 16 ohm impedance, 170 lb Dream Maker ($9000/pair), whose "controlled-pattern, offset bipole configuration" is designed to control the relative level of reverberant energy density in the room. If that sounds like gobbledegook, the vivid presentation of the AudioKinesis/AtmaSphere combo, which was admirably clear in the higher frequencies, whet my appetite for more extended listening in the future.
When Steve Davis told me that people were hungry for an audio show in Chicago, he wasn’t kidding. What Davis believes to be over 4000 attendees2000 tickets had been sold before the Show openedvisited over the course of three days, March 810. They mobbed many of the rooms on Saturday and actually managing to keep things lively in most of the rooms I visited on the 8th floor on Sunday. And that was with people having to choose among 90 exhibit rooms, a bunch of table displays, an art show, multiple seminars, and lively marketplace that together extended over five floors of the Doubletree in Rosemont (Ground, mezzanine, and all of floors 7, 8, and 9) near O’Hare Airport. (My thanks to John Atkinson for standing outside in the pouring rain to get the photograph of the hotel.)
I don’t know what the sound was like at Chicago’s last consumer audio show, sponsored by Stereophile, which took place in the Palmer House Hilton in the Loop in 1999, but at the Doubletree, a large number of dealers and manufacturers managed to produce good to excellent sound within the confines of hotel rooms that they had never before exhibited in.
The Burning Amp Festival is almost upon us. The day-long DIY (do-it-yourself) love fest, held within yards of the San Francisco Bay, attracts a good 150 DIYers from around the world who engage in the annual ritual of demming their homemade gear for other avid audio enthusiasts.
It's the morning of Friday August 3, and I've arrived 30 minutes before dagogo's third annual California Audio Show begins in Burlingame's Crowne Plaza Hotel. In the lobby, the website's founder and show organizer, Constantine Soo, just has time to pose before a map of exhibit rooms on the hotel's first floor.
A trumpet fanfare? For the opening of the largest consumer audio show in North America, nothing less would suffice. As Bob Levi (right), President of the largest audio society in North America (or perhaps the entire galaxy), gave the cue, the ribbon could be cut and the music could pour forth. The trumpet player was William Artope Jr, whose band gave concerts later in the show.
The South African Vivid Audio K1 loudspeakers ($20,000/pair) in the Musical Surroundings room—seen here behind Musical Surroundings’ Garth Leerer (right) and Stereophile’s Michael Fremer at the Sunday afternoon raffle—produced an impressively large, sit-up-and-listen soundstage. A similar case of a soundstage that dwarfed the speakers that produced it awaited in the Gamut room. The L-7 flagship speakers ($14,900/pair), paired with the Di150 180Wpc integrated amp ($9800) and brand new CD3 ($6000), produced an amazing sense of space and depth, as well as some mighty low bass extension. Learning that the system lacked a power conditioner and was powered by stock power cords and $300 Siltech silver cables only increased my admiration. As the audiophile press has affirmed for several years now, Gamut is on to something very, very good.
As much as I enjoyed many of the systems I auditioned on the first day of the show, the one that seduced me the most was assembled by Doug White's The Voice That Is of Newtown Square, PA. Powered by Vitus (pronounced VEE-toos) Audio SM-010 25W class-A monoblocks ($49,500/pair), and connected by Argento Audio FLOW power cords ($3100/2m), interconnects ($4100/m with RCAs), Master Reference interconnects ($8900/1m RCA), and Master Reference speaker cable ($24,500/2m), the dCS Puccini SACD/CD player ($17,999) with U-Clock ($4999) and Tidal Audio Piano Cera speakers ($28,400/pair in midnight black lacquer, or $36,3000 in Ebony Macassar) were producing the warmest and most beautiful midrange I had heard so far. In fact, as it turned out, it was the warmest and most seductive midrange I heard on the first two days of the show.
Beyond all doubt, the most heralded debut at a show filled with more product debuts than could fit in our show preview was the unveiling of the Wilson Audio Alexia loudspeaker ($48,500/pair). Introduced at back-to-back press conferences, the speaker and its elite companions made a stunning impression.
If there's one thing that Dave Wilson (pictured above) knows besides crossover design and time domain alignment, it's the sound of live, unamplified music performed in spaces that do it full justice...
Todd Garfinkle of MA Recordings was so busy cueing up music for visitors on the three headphone amps in his room that he barely had time to talk. I’m a huge MA Recordings fan, finding their choice of music from all genresthere’s even a recording of music composed and performed by Stereophile Contributing Editor/Web Monkey Jon Iverson. Alternesiaand their sound quality on both CD and high-resolution discs unique and compelling. In the photo, Todd is listening to his latest CD, Résonance, on which Nina Ben David plays music from baroque to contemporary on viola da gamba.
Zu Audio's room was like no other. While the "normal" set-up has components facing attendees and carefully stacked on equipment racks, Zu more or less duplicated the DJ experience. Spinning vinyl as if in a cage, and very happy to be there, I might add, sat Zu owner Sean Casey's delightfully high-spirited son, Ian.