Magico's Alon Wolf shows off his new Q1 stand-mounted speaker ($24,950/pair), which marries the beryllium-dome tweeter from the Q3 and Q5 floorstanders with a 7" Nano-Tec–cone woofer. The sealed, hard-anodized aluminum enclosure is braced and damped to minimize resonances. Despite its relatively diminutive sizeit measures 14.2" H by 9" W by 14.2" Dthe Q1 weighs 60 lbs.
Driven in Chicago retailer Musical Artisans' room by by BAlabo amplification, a Zanden phono stage, a Clearaudio turntable, and a Bottlehead-modded Nagra open-reel deck to play Tape Project tapes, the Q1s produced a full-range sound that flattered female vocals without sounding mellow or lacking in transparency.
Without a doubt, the four-way, five-driver Magico Q5 that Michael Fremer reviewed last November was one of my loudspeaker high points of 2010. But at $59,950/pair, the Q5 is definitely a speaker aimed at the deep-in-pocket. Magico's Alon Wolf proudly showed his new Q3 at CES, which, at $34,000/pair, is going to appeal to a somewhat wider market.
A three-way sealed-box with three 7" Nano-teccone woofers, the 47"-tall floor-standing Q3 uses the same proprietary beryllium-dome tweeter as the Q5 in the same type of space-frame enclosure, with a 6" Nano-tec midrange unit. The lower woofers roll off earlier than the upper one, to optimize the crossover to the midrange unit. Frequency response is specified as 20Hz50kHz, sensitivity as 90dB (which is significantly higher than the Q5's 86dB), and impedance as 5 ohms.
I auditioned the Q3s in a system comprising Soulution pre- and power amps hooked up with MIT's new cables, and listening first to a Red Book file of Patricia Barber, then to a Jordi Savall/Hespèrion XXI recording of a baroque double-violin concerto, this was one of the best sounds I heard at CES, with excellent LF extension and definition, if a touch on the mellow side.
Magico were showing a prototype of the Q1 stand-mount in a back room, which they will be introducing at the 2011 Munich Show. This combines the beryllium-dome tweeter with a single Nano-tec midrange-woofer, but the price has yet to be decided upon.
The are small amps, there are large amps, there are stereo amps, there are mono amps, and then there are Vladimir Lamm's ML3 Signature two-chassis monoblocks, demmed at FSI with Verity Lohengrin speakers, a Lamm L2 Reference preamplifier, LP2 phono preamp, NeoDio CD transport and DAC, and Kubala-Sosna cables, and Critical Mass Systems racks.
In the second Kyomi Audio room, E.A.R. USA's Dan Meinwald was doing an effective dem of the Marten Django XL speakers ($15,000/pair) that Erick Lichte favorably reviewed in September 2012. He used a prototype CAT tube amplifier, a CAT SL1 Renaissance tube preamplifier, and an Esoteric K-1 DAC with standalone clock fed audio data from Amarra. Cabling appeared to be all Magnan. With the Swedish speakers set up firing along the room's diagonal, low-frequency room modes were tamed and vocal music blossomed, whether it was Peggy Lee singing "Fever," Paul McCartney singing a demo of "Mother Nature's Son," or Neil Young live from Massey Hall.
...use a unique drive-unit concept that provides breathtakingly realistic, silky-smooth treble reproduction. I always try to visit the German manufacturer's room at the end of the Show, to savor the sound of their 101E speakers. Driven by MBL's own amps and digital front-end, with Tara Labs "Zero" vacuum-dielectric cables, these lived up to my expectation, though the Show room was not completely sympatico with the bandpass-loaded woofers, which need a relatively well-damped acoustic to work at their best.
Driving Von Schweikert VR-3S speakers ($7995/pair) in Room 8032 was the awesome-looking Kronzilla SXI Mk.II monoblock, featuring the largest tubes I have seen in an audio amplifier. Source was the French EEra CD player, and there my handwritten notes become illegible. Apologies :-(
RMAF was my first chance to hear the new McIntosh MT10 turntable ($9500) that had starred in our 2008 CES blog. But after I had listened to vinyl on the McIntosh system for a whileand very good it sounded, tooRon Cornelius drew my attention to the MCD500 SACD/CD player ($6500) at the top left of the stack shown in the photograph.
Costing $165,000/pair, Magico's new Q7shown here with AudioStream.com editor Michael Lavorgna for scaleembodies everything the Californian company knows about speaker design: a proprietary beryllium-dome tweeter, nano-fibersandwich-cone midrange unit and woofers, housed in a sealed all-aluminum enclosure weighing 750 lbs! With the prototype Audeeva music server, Pacific Microsonics DAC, a Spectral preamp, MIT cables, and unidentified amplifiers hidden behind a curtain, the Q7s threw an enormous soundstage on a 176.4kHz/24-bit file of a Reference Recordings orchestral recording, with bass-drum blows that pressurized the room without obscuring a low-level bassoon that was playing at the same timemacro and micro-dynamics.
It’s been a long time since I listened to a pair of Sound Lab electrostatic speakers, but the gigantic A-1Xes ($28,270/pair), powered by MSB M203 monoblocks in the room Sound Lab was sharing with San Diego dealer Blue Skies Audio, sounded as awesome as I remembered from when Dick Olsher reviewed the A-1 in the 1990s. (Review to be posted in Stereophile's free on-line archives in late June.)
The YG Anat III Professional Signature speakers ($119,000/pair) in the GTT room had an attractive titanium finish. I thought a 45rpm test pressing of the Doors' "Riders on the Storm" sounding astonishing, especially John Densmore's drums, which, although recorded in mono in the right channel, had a combination of weight, realistic highs, and authority that I hadn't heard before from this over-familiar track.