I've heard demonstrations of Lyngdorf's digital room correction components before, and had been impressed by it, but never as much as at the demo held at this year's FSI. Adrian Low, whose Toronto store, Audio Excellence, is a dealer for Lyngdorf, played a recording of a male voice that was so bloated in the midbass as to be virtually unlistenable. That was with the Lyngdorf room correction bypassed. The sound was totally transformed when the room correction circuitry was engaged: the midbass boom, endemic to the smaller rooms on the Sheraton's upper floors, was gone, and while it was still clear that the performer was too close to the mike, producing the proximity effect that's a well-known consequence of this sort of miking, it sounded much more natural.
What does this photo of the bar in the Sheraton illustrate? Well, I could say that it provides further confirmation of the fact that it snowed in Montreal. But the real reason is that I just like this shot, taken with the Sigma 15mm fisheye on the Canon 5D, and thought that audiophiles that are also into photography (and there are many such in my acquaintance) might enjoy seeing it.
Conventional audio marketing wisdom has it that any new company with a single product, selling at a high price, will have a really rough time establishing distribution and picking up dealers. But this apparently did not deter Kim Neeper Rasmussen. The Neeper Perfection One is a two-and-a-half way floorstander of modest size, with a 1.5" ScanSpeak ring-radiator tweeter and two 5.5" custom ScanSpeak midrange/bass units, each speaker weighing 30kg (66 lbs). A major feature of the design is that the cabinet walls are all non-parallel to each other, an approach to resonance-control that Rasmussen considers to be vastly superior to the use of damping materials. The speakers are made in Denmark, and are priced at $20,000/pair.
It's been said often enough to be considered as a truism that FSI is an occasion for snow: at the show's opening, during the show, or at least when the show is closing. But it looked like this year was going to be an exception; the weather forecast for the three days of the show called for temperatures well above freezing, with rain on Friday.
The first evening of the show, I had a most pleasant dinner with John Atkinson, Stereophile associate publisher Keith Pray, columnist John Marks, and the folks from Dynaudio and Simaudio. During the pre-dinner conversation, John Marks illustrated a point he was making by singing a bit, ably demonstrating his ex-choirboy credentials. His performance was apparently noticed by the people at the next table; at the end of the meal, one of the ladies at that table came over to us and said that this was her friend's birthday, and asked if the gentleman who was singing before could sing "Happy Birthday" to her.
There were lots of turntables at the show, but the one that intrigued me the most was the Calibre Mk.101, from Audio Excellence, the Toronto-area dealer, which is making its first foray into the turntable business. The Calibre Mk.101 has a with a marble plinth, 1.5" thick acrylic platter, AC motor with speed regulation, high-quality polished bearing, and looks elegant without being ostentatious. The price of $1999 includes a good-quality arm, with further arm upgrades available. Audio Excellences stated aim in introducing the Calibre Mk.101 is "the best reproduction of records at the lowest price possible—making turntables we would own."
Never mind all those fancy audio components; this is all you need. Well, maybe not if you're the typical Stereophile reader or FSI attendee. This RCA console stereo (model SFA 1091) is circa-1968, and I note that it's "All Transistor." It was a part of a display of vintage audio equipment at FSI from the Emile Berliner exhibit at the Montreal Musee des Ondes.
Is $140,000 the new price point for loudspeakers? No, that's not quite right—unlike the KEF Muon, the price of the GamuT S9 El Superiores is "only" $130,000/pair. Like the KEF model, this is intended to push the boundaries of what's possible in loudspeaker design, but the two speakers bear absolutely no resemblance to each other. GamuT's speakers use the principle of distributed resonance in the design of their speaker cabinets, allowing the natural resonance of each part of the cabined to decay undamped, but distributing these resonances over such a wide are that the overall frequency response remains linear, but without what designer Lars Goller's feels is the "unmusical" sound of highly damped enclosures. Here's Lars with the S9. And, yes, the speakers did sound quite wonderful.
"Cinema—musique—beaux-arts." That's what it says on Mario Boisvert's business card. His Montreal store, Le Ren Art Bleu, sells LPs, CDs, original art, and Blu-ray discs. How is that for diversification? He had some of each at FSI—with just about the lowest priced I've seen for Blu-ray discs.
GamuT makes electronics as well as speakers, and they introduced a new model at the show. The Si100 is a $120Wpc integrated, similar in design—and, they claim, sound—to their $11,000 Di150, but priced at $6200. (I was going to say "only," but, of course, $6200 is still a good bit of change for most people.)