Roy Johnson of Green Mountain Audio (left) teamed with Ron Hedrick of Marigo Audio Labs (right) to create a system modest in appearance and generous in musicality. After pairing Green Mountain’s Eos HX top-of-the-line 2-way loudspeaker ($4995/pair) with a cheap Sony multi-disc changer and the Jeff Rowland Design Group’s Model 525 amp and Aeris DAC, they put Marigo’s Mystery Feet under the electronics, and used, in addition to Audio Magic power cords, Marigo Audio cables and, on CDs, Marigo’s new Ultimate High-Definition Signature Mat ($239).
Walter Liederman’s Underwood Hifi showed an $11,600 system that he sells for the discount price of $8995 + freight. At its head were Emerald Physics CS3 Mk.2 open-baffle, controlled-dispersion loudspeakers complete with Emerald DSP2.4 digital equalizer/crossover ($3500/pair). Supporting them were two REL T9 powered subwoofers ($1200/each) electronically bi-amped through the Emerald DSP2.4, an Emerald Physics EP100.2SE amplifier ($2200), one DSPeaker Anti-Mode 2.0 Dual Core for preamplification and room correction ($1200), and a Jolida Fusion tube DAC/Transport ($2300). Also included, prices not supplied, were a Pro-Ject Xtension 10 turntable, PS Audio NuWave phono stage, and Mac mini.
Thinking it was my last roomwrongI lingered for some time with two great and dedicated guys, Keith Greeninger and Dayan Kai of Wyred 4 Sound. Listening to “The Deeper That You Love” from a Blue Coast Special album, I found a moderately bright leading edge balanced by an extremely lovely midrange. “Mids very, very nice for this price” I wrote in my notepad. Then, “Summertime” on an Original Master issue of Patricia Barber’s A Distortion of Love yielded “a fabulous sense of space and air, and great low bass.” (“A great demo track,” I noted, although the same can be said for many of Barber’s wonderfully recorded and mixed tracks).
In German Physiks’ room on the 11th floor of the Denver Tech Center Marriott, the Unlimited Mk.II loudspeakers ($13,500/pair) were mated with Vitus Audio’s RCD-100 CD player ($12,750), RD-100 D/A converter ($11,250), and RS stereo power amplifier. Held together by Purist Audio Design’s Corvus balanced interconnects ($2100/1m pair), fabulously named Aqueous Aureus digital cable ($705/1m), and Venustas speaker cable ($5450/7m pair), the system displayed a lovely midrange with a bit of hard edge on a golden oldie, Sara K’s “If I Could Sing the Blues.” (Who remembers the audio show where this track was playing in at least 7 rooms, if not more?) Regardless, I found the superb sense of depth and air uncanny.
The Eficion loudspeaker/Plinius amplification combo, favored by Eficion’s Peigen Jiang because the fast amp complements the speed of the Eficion’s distinctive, highly detailed AMT (Air Motion Transformer) tweeter, graced two adjacent rooms at RMAF. In the first, shared with FIM Music, Eficion F200 loudspeakers ($3400/pair), a Plinius SA103 amplifier ($10,150), Exemplar Audio preamp ($4250), and Exemplar-modded Oppo BDP-105 (aka the Expo T105$4750 including cost of the Oppo) produced gorgeous, full range sound and beautiful tonality on Jacques Loussier’s rendition of J.S. Bach’s Pastorale in C minor, from The Best of Play Bach. Credit is also due FIM’s remastering, which improves on the already fine sound of Loussier’s Telarc originals.
Given that Brodmann Acoustics uses Electrocompaniet components in their design studio, the pairing of Brodmann’s FS ($4500/pair), VC 2 ($19,900/pair) and VC 7 ($24,900/pair) loudspeakers with Electrocompaniet’s AW 180 power amplifier ($5425), EC 4.7 preamplifier ($3499), ECD-2 DAC ($3099, to be reviewed in the December issue by JA), and EMT-3 transport ($3995) was especially felicitous. I’m not sure which speakers I auditionedprobably the big guysbecause things got a little crazy when someone from another publication entered the room.
It was all psychedelic retro in Room 9000, as Odyssey’s Klaus Bunge dimmed the lights and headed to Fillmore West as he played Iron Butterfly’s "In-A-Gadda-Da-Vida.” Given that I was hardly prepared to drop acid in the midst of blogging the show (as in who is that strange person from Stereophile who has spent the last 15 minutes staring at our turntable while muttering something about God being the deepest groove of all?), I didn’t know what was going on equipment-wise until I found Klaus outside the room and asked which way was up.
What actually transpired as the person in charge of the darkened room began to change LPs:
Me: What are you putting on?
Him: (sounding slightly hostile) What am I putting on?
Me: Yes. What music are you playing?
Him: It’s violin music.
Me: (To myself: Yes, I do know what a violin sounds like.) To him: What violin music?
Him: “I can’t pronounce it. Here, you look.”
When I entered the room sponsored by the three above entities, I heard first a CD quality file of Saint-Saëns’ Danse Macabre, and then a 192kHz sample-rate file of period instrument violinist Rachel Podger playing Bach. I thought the system wonderful at handling complex information, keeping everything clean, and controlling the basssuperb in fact. The only question arose when, on an SACD of mezzo-soprano Lorraine Hunt Lieberson singing Handel, the voice was somewhat damped.
Warned that the speakers and phono cartridge were not fully broken in, I entered Vana Ltd’s Room 9025 to discover Vienna Acoustics Beethoven Baby Grand SE loudspeakers ($5500/pair) paired with the debut of the Dr. Feickert Analogue Woodpecker turntable with 12 Jelco and Acoustical Systems Arché headshell ($8000) and equipped with an Ortofon Windfeld phono cartridge ($3900). Also in the system were Primare’s CD 32 CD player ($2800), I32 with MM30 media upgrade integrated amplifier ($4500), and R32 phono amp ($1200); IsoTek’s EVO3 Aquarius Mains conditioner ($2000), EVO3 Syncro active DC blocking cable ($1750), and EVO3 premier power cables ($195/each). Analysis Plus analog cables completed a system whose bass was not under control, and whose midrange was somewhat muffled, but whose highs, on an LP test pressing of Mahler’s Symphony 3, were quite wonderful.