Relatively affordable at $30,000/pair, that is, given the cost-no-object construction featured by TAD's new CR-1 "Compact Reference Monitor," seen here with its designer Andrew Jones and compared with the company's original floorstanding and superb-sounding Reference One from 2006. (Across the corridor from TAD, Ray Kimber was using four Reference Ones to demo his new IsoMike recordings in surround.)
"Air Motion" because the Adamsfamiliar to me from the German company's strong showing at pro-audio showsfeature modern versions of the Oskar Heil-designed "Air Motion Transformer" higher-frequency drive-units that a brief period of popularity in the 1970s. This uses a corrugated aluminum-foil diaphragm that moves somewhat like an accordian bellows, alternately squeezing and stretching the air between the folds. Adam, who is entering the North American high-end audio market, was proudly showing its top-model Tensor series at SSI, but I was also impressed by the active A5 shown in the photo, which crosses the AMT tweeter over to a moving-coil woofer at 2.2kHz and costs just $900/pair. With the $600 Sub 7 active woofer also shown in the photo, a pair of Adam A5s would make the basis for an affordable high-quality system.
My first visit at AXPONA was to the large ground-floor room where AIX Records' Mark Waldrep (pictured) was playing back some of his superb-sounding multichannel recordings from Blu-ray, complete with hi-def video.
Taking a somewhat different, historical approach than my presentation on the same subject at the 2009 RMAF, HiFi Plus editor Alan Sircom, despite being jetlagged, forcefully showed how insensitive use of compression kills recorded sound.
At $12,600/pair, the two-way S1 is the least-expensive speaker to come from Magico. Nevertheless, in a relatively large room at the Atrium, driven by the Constellation monoblocks ($54,000/pair) that Mickey Fremer will be reviewing in the October issue, and the Constellation Virgo preamp ($29,000) had an ease to its sound, coupled with an almost full-range balance with palpable imaging. Source was Constellation’s new
Cygnus server ($29,000), controlled by an iPad app, and cables were all Kubala-Sosna. Expensive electronics but this system was one of my best sounds at the Show. (And I’m not just saying that because Constellation’s Peter Madnick played one of my favorite Cantus tracks, an acapella treatment of Curtis Mayfield’s “It’s Alright,” which I recorded live at Minneapolis’s Southern Theater in 2008.
The Helium2 has long been one of Stereophile's long-term reference monitors, so I was expecting good sound when I went into the VMax Services room. And apart from the ubiquitous upper-bass boom that afflicted the standard-sized rooms at the Hilton Bonaventure, good sound was what I heard.
I stuck my head in the door of Room 8009. "That's Willie Nelson," I recognized that distinctive voice. "But what's he singing? Wait a second, that's Peter Gabriel's 'Don't Give Up'WT...?" I had to go in and take a seat. Daedalus Athena three-way speakers ($9950/pair) were being driven by AMR AM-77 monoblock amplifiers which in turn were being fed signal from a First Sound Presence Deluxe tubed preamp ($9200). Source was AMR's impressive CD-77 CD Processor. Nice, very nice.
"An amusement park for the mind." That was how, some years ago, one engineer described the Audio Engineering Society's biannual conventions, which alternate between European and American venues. The 111th convention, subtitled "Advancing the Art of Sound," was held at the cavernous Jacob Javits Center on Manhattan's west side in early December. (It had originally been scheduled to take place last September, but was postponed for the obvious reason.)
"Do you hear that difference?" asked Shunyata's Grant Samuelson. Indeed I did. Grant was playing a track from singer-songwriter Ray LaMontagne on Focal speakers and had replaced the Marantz amplifier's and disc player's stock AC cords with Shunyata cords; the voice and instruments became slightly better differentiated from one another. Then,instead of plugging the AC cords straight into the wall, he plugged them into a Shunyata Hydra distribution box. There was a further improvement in the same direction. Finally Grant removed the German-made Stillpoints wideband acoustic absorbers from the room's sidewalls. He didn't need to play any music, the sound of his speaking voice acquiring a distinct "honk."