My photograph doesn't do justice to the lustrous blue finish or the immaculate interior construction, but Vandersteen's new M7-HPA power amplifier looks as gorgeous as the Vandersteen Model Seven and 5A loudspeakers with which it is intended to be used. As the HPA in its name implies, the M7-HPA provides a high-pass filtered output (>100Hz) to the upper-frequency drive-units of these two speakers, which have integral powered subwoofers. The amplifier uses a tube input stage and a two single-ended solid-state output amplifier stages operating in what Richard Vandersteen calls "push-push," all mounted with a sprung suspension and kept cool with a liquid cooling system. Price is projected to be between $30,000 and $40,000/pair.
Richard Vandersteen doesn't rush to release new loudspeakers, so given that the top-of-the-line Vandersteen 7 was a hot product at the 2010 CES, I wasn't expecting anything new at the 2011 Show. Talking to Richard in the company's Venetian suite, where they were featuring the Model 7, he casually mentioned that the new Tréo ($5990/pair) was at the Show, just not in his room. So I hustled me along to the Musical Surroundings room, where the Tréos were being demmed with a Clearaudio turntable and Aesthetix electronics.
Basically, the Tréo is similar to the $10k/pair Quatro Wood that Wes Phillips reviewed in December 2007, but replaces that speaker's active, equalized bass unit, with a conventional passive 6.5" woofer and an 8" flat-cone "acoustic coupler." Good sound at an equally good price.
Silicon Valleybased Velodyne was founded in 1983 to develop a range of subwoofers that used servo-control to reduce non-linear distortion to vanishingly small levels. They succeeded in this goal to the extent that Velodyne is now perhaps the best-known subwoofer company in the US, currently employing 65 people. At the 1994 Winter CES, Velodyne launched the subject of this review: the DF-661 ($1800$2600/pair), their first full-range loudspeaker (the "DF" stands for "Distortion-Free").
The three-way DF-661 was designed from the ground up to continue the Velodyne tradition of ultra-low distortion. "We had developed the technology and resources to attack distortion elsewhere in the audio chain," wrote company President David Hall, "and started with the premise that, by definition...distortion in loudspeakers is wrong." (His italics.) "We went to the laboratory for a solution, with the living room as the ultimate goal." Velodyne calls this attention to technological detail "The Silicon Valley approach to sound."
Belgian manufacturer Venture, whose products are distributed in the US by Precision Audio & Video, was demming its new Vici 2.1 loudspeaker ($36,000/pair), driven by Venture V200A+ MOSGET monoblocks ($120,000/pair), a Venture VP100L preamp ($35,100), and reinforced below 60Hz by a pair of Venture AW500 active woofers ($12,000 each), which each use two 10" drivers. Front-end was the XX High End music player running on a Windows laptop feeding a Weiss Medea FireWire DAC ($21,799). Cables were all Grand Reference Diamond and Diamond Signature.
A familiar dem track was playing when I entered the large room from Colorado Springs retailer Audio Limits: "There'll Be Some Changes Made," from Mark Knopfler and Chet Atkins. However, rather than LP or CD, it was being played back from a PC running the J-River player and feeding the well-regarded Weiss DAC202 Firewire D/A converter ($6670). Speakers were the beautifully finished Venture Reference II Signature ($135,000/pair), which combines an AMT (Air-Motion Transformer) tweeter with a 7" graphite-coned midrange unit and four 8" graphite-coned woofer. Amplification was the Swiss FM Acoustics 811 Mk.II amplifier (455Wpc into 8 ohms, $128,800) and the FM Acoustics 245 preamp ($23,200). Power conditioning was by Isotek and Audience; racks were from Harmonic Resolution Systems. The full-range sound was superbly clean and effortless, but I couldn't help thinking that the room was not doing justice to this very expensive system's potential.
One of my favorite sounding rooms at SSI was the large suite featuring Verity Sarastro II speakers, the new Nagra 300B stereo amplifier that made its debut at the 2011 CES and a Nagra PLL preamp, with a Nagra CDP CD player and Nagra VI solid-state digital recorder being used for the front-end, all hooked up with Nordost Valhalla cables. The sound of a Jordi Savall ensemble performance of Vivaldi Oboe Concerto, played back on the Nagra VI with 24/48 resolution, was lifelike and easy on the ear, but without sounding either mellow or laidback. perhaps the sound was a little congested on the climaxes with larger-scale music, but this was one of the bigger rooms at the Hilton Bonaventure and the amplifier is limited to 20Wpc.
Montreal-based company Verity has been slowly building a reputation for sound quality with its unique speakers, which combine a conventional head-unit on-top a woofer module that, unusually, mounts the drivers on its rear. CES saw the launch of two new models, the Leonore ($15,995/pair) and Finn ($5995/pair). Both speakers offer high sensitivities in the low 90s, and while the Leonore produced an impressive sound from Keith Jarrett's Live at Carnegie Hall CD powered by Nagra's forthcoming MSA stereo amp that Wes Phillips blogged about earlier, I was also impressed by the more affordable, one-box Finn, which was demmed with Nagra's PMA "pyramid" amps. The rest of the system included a Basis Debut turntable and Vector 4 tonearm, Nagra PLL preamp and Nagra's new battery-powered BPS phono stage, which I am sure Mikey Fremer will be reviewing in the near future.
At the 2008 FSI, the hornloaded Avantgarde speakers from Germany were being demmed in one of the large rooms in the Centre Sheraton's downstairs convention area. At the 2009 SSI, Avantgarde were exhibiting in a conventional hotel room, but the three-way Duo Grossos ($37,500/pair), driven by Avantgarde Model One monoblocks and an Avantgarde Model One preamplifier, with an Audio Aero Prestige SACD player as source and all Nirvana SX cabling, sounded more coherent than I remember from last year's Show. Playing "The Mooche" from the Stereophile Editor's Choice CD, I was struck by how un-hornlike the system sounded: uncolored, sweet, full-range, but with the excellent dynamics I have come to expect from horns. The upper bass was a bit over-generous at first, but adjusting the crossover of the active B231 woofer, which uses two 12" drivers, took care of that.
Vienna Acoustics were demming the latest version of Die Musik speaker, which we first saw and heard at the 2008 CES. VA's Patrick Butler played the role of DJ for me, operating the Jeff Rowland Design Group gear.
Scheduled for a summer 2012 launch with a projected priced of $9000$10,000/pair, the Vienna Acoustics Beethoven Imperial Grand speaker uses a smaller flat, concentric tweeter/midrange drive-unit developed from that used in the Austrian company's top models, The Kiss and The Music. But like them, it uses a supertweeter to cover the range above 17kHz. The cabinet is sourced from Italy and the speakers are assembled in Vienna. And the name? Well, the Bösendorfer company is also based in Vienna and their flagship piano is also called the Imperial Grand.