"I am a substantial amp, and I deserve your attention," Accustic Arts' new, pure class-A AMP IIMk.2 dual-mono power amplifier ($11,000) seems to declare. Its aesthetics certainly got me to take notice. The 121 lb amplifier includes 24 MOSFETs, and both balanced and single-ended inputs and bi-wire/bi-amping speaker terminals. It outputs 250Wpc into 8 ohms, and 500 into 4. Also available, albeit not pictured, is Accustic Arts' fully balanced, tube hybrid TUBE-PREAMP II ($6500), with 3 XLR and two RCA inputs, and 2 XLR and 1 RCA outputs. The company also makes a transport, DAC, streamer, cables and accessories. While these products, handmade in Germany, have been out for a while, this appears to be the first time they've become available in the US.
Every new venue presents new acoustic challenges for exhibitors. Deniz Daldal of Design Interaction in Emerald Hills (part of unincorporated San Mateo county, near Redwood City), wondered if the bass ringing in his room was due to the cement in the floor and back walls. "We need more stuff," he told me, but there was no more stuff at his disposal.
Those are the words that came to me as I began listening to the diminutive set-up in the room sponsored by Acoustic Sounds. As Eric Bibb & Needed Time made beautiful music on their Opus 3 LP, Good Stuff, I gazed at a pair of Manley Labs Snapper Monoblocks ($4250) and Stirling Broadcast LS3/5a V2 Speakers ($1695/pair) sitting on Target Audio MR 28 Speaker stands ($299), as well as a Silver Circle Audio Pure Power One 5.0 power transformer ($5000 with Vesuvius power cord). Interconnects, power cords, and loudspeaker cables were also from Silver Circle Audio.
David Maeshiba, designer and partner in Acoustic Technologies LLC of Chicago, had a surprise in store. He claims that his single titanium-cone loudspeaker ($2650/pair) can be turned in any direction and you will hear exactly the same thing. Counter-intuitive as that may seem, it would be perfect for non-obsessed music lovers who don't want to spend all their listening time stacking their friends in the sweet spot.
No US audio show feels complete without hearing Acoustic Zen cables, interconnects, power cords, and loudspeakers connected to Triode Corporation electronics. Acoustic Zen’s Robert Lee deserved to smile, because his set-up showed everyone’s equipment at its best. Upsampled to 192kHz, a violin CD sounded gorgeous, and the low organ pedals on Saint-Saëns’ well-known “Organ Symphony” were equally convincing.
What has become a familiar site at shows, Acoustic Zen loudspeakers and cabling mated with Triode electronics, has also become a welcome sound. Here, I experienced a beautiful airiness around female vocalists. "Just gorgeous," I wrote in my notes. The bass, however, was challenged, perhaps because of the room.
I have always greatly admired the match of Robert Lee's Acoustic Zen loudspeakersin this case the wonderful Crescendo loudspeaker ($16,000/pair), a 3-way transmission line design with a horn-loaded ribbon tweeterwith the Triode Corporation electronics imported by Santy Oropel of TWIN Audio Video. Here, the Crescendos formed an especially sonorous alliance with the TRV-CD5SE CD player ($3250), TRX-1 remote controlled tube preamplifier ($3200), and TRX-M845SE monoblock power amplifiers ($22,500/pair).
TwinAudioVideo teamed up with Acoustic Zen to pair the large and imposing Acoustic Zen Crescendo loudspeaker ($16,000/pair) with Triode Corporation Ltd. of Japan's Tri TRV-4SE tube preamp ($1,900), the power module of the Tri TRV-845SE 20W pure class-A integrated amp ($6000), and Tri TRV-CD4SE tube CD player with 192kHz upsampling ($2200). The Crescendo is a 3-way, 125 lb transmission-line design with 6 ohms nominal impedance, 89dB sensitivity, and a frequency range of 20Hz to 30kHz. Also in the room on the floor were two ORB power traps (aka power conditioners/distributors), the Kyoto ($6000) and Kamakura ($3900), and, of course, Acoustic Zen cabling. This system did a fine job of capturing music's beauty and warmth. Which is saying a lot.
It takes people of vision to advance sound quality in an errorthank you, Mr. Freud, I mean erawhen record companies often seem set on anything but advancing the quality of music and musical reproduction. Hence, for his panel "Adventures in Digital Formats, Upsampling & Dithering," John Atkinson and RMAF's Kurt Bauer assembled an extraordinary panel.