Anne Bisson is a talented vocalist/pianist/composer who often appears at audio shows. She was at SSI 2014 to promote her about-to-be-released CD, entitled Tales from the Treetops (Camilio Records CAM2-4335.) All but one of the songs on this recording are in English (with Percy Bysshe Shelley credited as one of the lyricists). Bisson told me that, listening to the recording, she was surprised to note that her voice sounds different in English and French, a difference she attributes to the fact that French has no diphthongs, only pure vowels.
Bryston's James Tanner, shown here with the Model T external crossover, told me that this crossover also uses special components, and that the improvement in sound quality with the external crossover is quite noticeable.
What is this replica of the DeLorean used in the Back to the Future movies doing at an audio/video show? It's to advertise a company called Le Studio Secret, which organizes office parties with a cinema theme. But this is obviously not just a business; the Back to the Future DeLorean was a labor of love for Thierry Lacombe, with some extra gadgetry that Doc Brown and Marty McFly would have appreciated. You have to admit that it looks cool.
Friday was Day One of a three-day show, but I'd already picked my best soundwhich I'm quite certain will not be exceeded by listening to any collection of electronic/mechanical contrivances. It was provided by soprano Sophie De Cruz, tenor Eric Thériault, accompanied by Dominique Boulianne on the piano. Standing near the entrance to the bar/restaurant at the Hilton Bonaventure, De Cruz and Thériault, sang arias and duets from La Traviata, La Bohème, Tosca, and other pieces of the Italian and French operatic repertoire.
Electronics manufacturer Bryston is going full-steam-ahead with their line of speakers, which continue to impress me. The system on demo at SSI 2014 had a pair of Model T Signatures in a stylish white finish. The Signature differs from the base model in having an outboard crossover, with a price difference of $1000 ($6495/pair vs $7495/pair).
One of the popular exhibits at previous Montreal shows has been the Personal Audio Zone, at which attendees could listen to a wide variety of headphones. This has been retained at SSI 2014, but with the difference that people could actually buy headphones. At least, that was the idea.
It's Friday, March 28, about 11 am. I'm on the Toronto-to-Montreal train, checking the Stereophile website. Art Dudley has a SSI 2014 show report posting up already! A travelogue is a good idea; I'll try to follow Art's lead. Alas, the scenery is not the most photogenic, and shooting from a moving train has its challenges. For me, travelling by train has an association with Hitchcock: North by Northwest and The Lady Vanishes. I look at my fellow passengers; none of them bears a resemblance to Cary Grant, Eva Marie Saint, or Margaret Lockwood. There seems to be nothing sinister going on.
What can you tell about the intrinsic sound quality of a loudspeaker if you've heard it only at an audio show? Arguably, not much. If it sounds bad, there may be a number of reasons for that, only one being the speaker itself. It may be the acoustics of the room, problems with speaker setup, poorly matched associated equipment, insufficient break-in/warm-up, or poor choice of demo recordings.
The design and manufacturing of loudspeakers can be described as falling on a continuum. At one end, we have speakers that use off-the-shelf drivers purchased from driver manufacturers, combined with crossovers based on information in standard loudspeaker design cookbooks and/or loudspeaker design software (perhaps with "voicing" that conforms to the designer's preference). In the hands of a skilled designer, this approach can produce good resultsbut they can't claim any originality.
At the other end of the continuum are speakers that are designed and built from the ground up,, using design principles that, while perhaps not entirely original, represent substantially new application of these principles. This approach is much more rareand much more costly to implement.
The Muraudio Domain Omni ESL ($48,000/pair), which made its debut at TAVES, is squarely in the latter category...
Turntables were much in evidence at TAVES, perhaps the most impressive being the TechDAS Air Force One, which had two versions of the famed Graham Phantom Elite arm mounted. Bob Graham himself was on hand, and can be seen in the photo. Bob demonstrated the vacuum hold-down of the turntable, the audible resonance of the LP when tapped being silenced when the vacuum was turned on. Impressive. The worldwide standard price of the Air Force One is $100,000, and the Phantom Elite arm is $15,000, but Bob said that since he's also the distributor of the AirForce One, he can offer a "deal" on the package price.