Audio critic Myles Astor was playing Mike Oldfield's Tubular Bells"the LP that launched a thousand virgins," he quippedwhen i walked into YG's large room. Whether it was the Dan D'Agostino Momentum amplifiers, the Veloce LS-1 battery-powered preamp, the Kubula-Sosna Elation! cables, or the Scheu Analog Das Laufwerk 1 turntable with Scheu 12" Tacco arm and Scheu Ruby 3 cartridge, but the sound in this room was stunning. Or perhaps it was YG's new flagship speaker, the Sonja 1.3 ($106,800/pair)!
Second up from the bottom in YG’s speaker line has been the Kipod ($38,800/pair), named after YG founder Yoav Geva’s daughter Hailey, whose nickname was “Kipod” or “Hedgehog” in Hebrew. But as Hailey is growing up fast (as daughters do), it was time to name a new speaker after her; CES saw the premier of the YG Hailey. Priced at $42,800/pair, the three-way, floorstanding Hailey uses technology trickled down from the top-of-the line Sonja that I reviewed last July. YG’s “Billet-core” drivers, where the cones are machined from solid aluminum stock, are combined with a 1" dome tweeter in a machined aluminum enclosure that eschews the Sonja’s double-cabinet construction.
"That sound real," I thought as I approached the room shared by Oracle, Burmester, and Genesis. "It sounds just like Canadian singer Anne Bisson," whom I had heard live at an SSI concert in Montreal a couple of years ago.
Stepping into the room, I was confronted by, yes, the real Anne Bisson, who was duetting with herself on one of the tracks from her Blue Mind LP on Fidelio.
It has become accepted lore in audiophile circles that the 44.1kHz sampling rate adopted for Compact Disc is too low. Some writers have argued that, as a 20kHz sinewave will only be sampled about twice per cycle, it will not be reconstructed accurately, if at all.
The opening night of T.H.E. Show, cable manufacturer ZenSati ApS sponsored a recital by the Russian pianist Hagia Pastor, following a short speech on the state of the audio industry by yours truly. I am not ashamed to admit that Dr. Pastor put on a better show :-)
Zesto first made its name with its Andros PS1 tubed phono preamplifier that Michael Fremer raved about in his April 2013 "Analog Corner" column. Then they launched the $7500 Leto tubed line stage, which Bob Reina will be reviewing in our February 2014 issue. Now they have the Bia 120 stereo power amplifier ($12,500), which uses a pair of autobiased KT88s per channel to produce 60Wpc. In a system featuring a Merrill Williams Real 101 turntable mounted with a TriPlanar tonearm and Dynavector XX2 cartridge, and TAD Evolution One speakers ($29,800/pair), I auditioned Steely Dan's classic "Hey Nineteen," which not only sounded superb but also got me thinking that the young girl who "don't remember ('Retha Franklin) the Queen of Soul" would now be 52!
“An honest sound; clarity without detail being thrust forward at the listener,” read my notes from this room at the Hilton, which featured the superb-sounding TAD Evolution One speakers ($29,800/pair) that Kal Rubinson reviews in the July 2013 issue of Stereophile. Both Eva Cassidy singing “Fields of Gold” and the Sir Charles MacKerras’s “Living Stereo” recording of Sibelius’s Finlandia (the latter one of the first classical recordings I owned more than 50 years ago) were well-served by this system, which included Zesto’s Andros PS1 tube phono stage ($4300) that Michael Fremer liked so much when he reviewed it in his March 2013 “Analog Corner” column, Zesto’s new Leto tubed line stage ($7500), and A VAC Phi 200 power amplifier ($9990), all hooked up with WyWires wires. Turntable was the Merrill-Williams ($7200) fitted with a Triplanar arm ($6000) and a Dynavector XX2 Mk.II cartridge ($1985).
Zesto was also using TAD CR1 speakers for the debut of their new Leto tubed line preamplifier ($7500, top), which, like the Andros phono stage (bottom), is made in the USA. With a system comprising a Gamut D200 power amp, a Merrill Williams turntable fitted with a Triplanar arm and a Dynavector XX2 Mk.II cartridge, a Lindemann DAC fed data from a PC running J River software, with WyWire cables used throughout, the Ozawa performance of Mahler's Symphony 1, with the Boston Philharmonic on a typically bright-sounding DG LP, had me sitting for the entire first movement, so low was the noisefloor and so high the dynamic range. AC power was being conditioned by Spiritual Audio's VX-9 power conditioner.
I first heard the Zesto Andros PS1 phono stage ($3900) at the 2011 Rocky Mountain Audio Fest and was impressed by what I heard. The Andros was being used in the One World Audio room in the Hilton, with a Lindemann amplifier driving speakers from Voce Audio, a name new to me. The Voce UA-3 is a large floorstander using a ring-radiator tweeter recessed behind a short horn. Source was a 1978 Luxman PD-444 turntable fitted with a TriPlanar arm and a Lyra Kleos cartridge. Cabling was all WyWires. The sound of bass player Stanley Clarke's acoustic 2009 album, Jazz in the Garden, with Hiromi on piano and Lenny White on drums, had excellent dynamics but was overall a little mellow.
Utah-based Zu Audio does indeed goes its own way, with retro, almost-full-range pulp-cone drive-units used in high-sensitivity designs. (See Art Dudley's review of the $4000/pair Essence in the October 2009 Stereophile. All of Zu's speakers have been moderately priced, so I was not expecting to see and hear a design costing $40,000/pair when I went into the Zu room at T.H.E. Show.
The Dominance uses three 10" paper-cone drivers, each with a whizzer cone, to cover the range from 27Hz to 12kHz. Each is in its own sub-enclosure featuring Zu's proprietary ZuRG loading (See AD's review) with the outer two tuned identically and the central drive-unit adjusted to give a bit more upper-midrange energy. There is also a downward-firing 15" subwoofer, covering the octave below 27Hz, and completing the line-up are two horn-loaded ring-radiator tweeters operating above 12kHz. Unusually, these are placed at the top and bottom of the Dominance.
For the dem, the subwoofer was powered by a Pass Labs XA30.5 but the main drive-units were driven by a 1.5Wpc Yamamoto SET amp. Yup, just 1.5W, but the Dominances still managed to fill the room with sound. Lows were tight and extended; imaging was tangible; jump factor was startling; but I couldn't get away from a touch of character in the mid-treble imparted by those whizzer cones.