Another interesting product featured in the Canada Pavilion was the exaSound e18DAC ($1999). It is, as the name implies, a DAC, but it's much more than that. Featuring a maximum 384kHz/32-bit sample rate and bit depth, it can function in stereo and 8-channel modes, and has a formidable list of technical specifications, including a 0.13ps master clock with 3 precision quartz oscillators, 17 power filtering stages, galvanic isolation between the USB subsystem and the DAC circuits, true asynchronous USB interface, hardware volume control implemented by the DAC chip for the highest S/N ratio, and has a high-quality headphone amplifier.
Grant Fidelity's sign says "No Retail Mark-Up, Free Shipping, 1st Class Service," and "High End, Not High Prices." The products, as you might have guessed, are made in China, but what else is new? At previous shows, most of their products had the Grant Fidelity brand name; this time, it was Opera Audio Consonance. The pictured Consonance LP12.1 Die Walküre turntable can accommodate three tonearms, and, with a single W/T1288 tonearm, sells for $3200. That's not super-cheapwhich actually gives me more confidence in the quality of the product. I was told that the turntable and arm are made in the same factory that manufactures the latest version of the Well Tempered turntable/tonearm.
As you can see in the picture, Angie loves Jeff Rowland Design Group products, such as the Aeris DAC/preamp ($12,000), which made its debut at SSI 2012. The Aeris features a substantial external power supply, and has the usual array of inputs, including the now-mandatory USB.
Headed by the irrepressible Angie Lisi, Audio Pathways is the importer for some ultra-high-end gear as well as affordably-priced audio products, and usually has some new interesting goodies at every show. At $47,000, the new VAC Statement 250 stereo amp is right up there, but if the 225Wpc is not enough for you, it can be bridged to produce 450W. The Statement 250 is a two-piece affair, and is meant to be stacked, with the power supply on the bottom, isolated from the top piece with bearings (which reminds me of the Aurios accessory bearings that were very good but unfortunately are no longer available).
Speaker manufacturers at audio shows often go to considerable trouble to make sure that their products sound good in the exhibiting rooms, but their efforts usually stop there. Totem is one of the few manufacturers that go beyond being concerned with sound quality; their exhibits are aimed at creating a total environment, in which the visual aspect is as important as the auditory. This was the case at SSI 2012, as you can see in the picture. The speakers included two Element Metals for the front, one Element Wood for center channel, two Tribe 5s for the rear, and two Storm subs.
ASW is a line of speakers imported to Canada from Germany by Tri-Cell, and was, for me, something of a find at SSI 2012. The speaker demonstrated was the Cantius 404 ($1950/pair), their entry-level floorstander. With an older-model Clearaudio turntable as source, and a Unico Secondo ($2000) hybrid integrated driving the speakers, the LP of Willie Nelson singing "Stardust" sounded sweetly musical, with excellent imaging.
Gala-Solo is a Canadian speaker company that intends their products to be suitable for both the pro and audiophile markets, the "M" that's part of each speaker model's name standing for both "Monitor" and "Music." The M3 ($3600/pair) is a two-way, three-driver system, using pro drivers. The 6.5" bass drivers from PHL France feature a patented "intercooler" process. The tweeter, pictured above, from Acoustics Beyma (Spain), has an aluminum diaphragm and voice-coil. Rated sensitivity is 94dB, and the maximum level is 116dB. It was pointed out to me that this maximum level specification is particularly important: some speakers may produce 94dB for a 1W output, but, unlike the M3, they won't play much louder than that without distorting.
On the morning of the last day of the show, I went around one more time, looking for anything that I might have missed, and re-visiting some exhibits that I particularly enjoyed. To this end, I stuck my head in the MBL room, hoping to get another listen to the small MBL126 speaker that had impressed me earlier. Alas, the speakers playing were the big ones, but Jeremy Bryan of MBL said that if I came back in 5 minutes, he would have a special listening treat for me.
VTL's Luke Manley was one of the many industry luminaries at the Coup de Foudre party.Through the control-room window of Graeme Humfrey's studio can be seen part of Graeme's large collection of classic pro-audio gear.