After hearing the Stello stack, I thought I had heard it all. But in the next room, April Music President Simon K. Lee blew my mind even more with the one-piece Aura note Music Center ($1850). This little baby, available through a dealer network, even includes a USB port on back, a second USB memory stick port on the side, a built-in tuner, and two RCA inputs. Paired with the Aura speaker ($650/pr), the parallel single-ended MOSFET design (thank you, Nelson Pass) sounded a bit more mellow and soulful than the Stello stack. (It would have probably extended as low as that stack if it had been paired with the B&Ws).
April Music's tremendous achievement deserves two blog entries. In one room at the Alexis Park, the Korean-based company demmed an absolutely amazing for the price Stello stack of low-cost, truly high-end mini components: the Stello CDT-100 transport ($695), DA100 Signature ($895), HP100 headphone amp/preamp ($595), and S100 50W/channel power amplifier ($745). Auditioning Harmonia Mundi's beautiful recording of Schubert's Arppeggione Sonata, this diminutive set-up (complete with B&W 805 loudspeakers and Red Rose cabling) created an amazingly deep, involving soundstage that would make many a manufacturer of components costing 10 times the Stello price envious. The system also did a fine job of capturing the complex harmonics of the piano. An I2S bus connection between components—shades of Audio Alchemy and Perpetual Technologies—sure helps matters. I wouldn't go as far as saying that this set-up fully captured the soul of every piece of music I auditioned, or that its solid-state pedigree wasn't apparent, but it blew the socks off most mass-market doo-doo and a helluva lot of supposedly audiophile-grade components.
Now I know why Robert Deutsch wrote such an enthusiastic review of the Fujitsu Ten Eclipse TD712z loudspeaker in the January 2007 issue of Stereophile. This eye-arresting single-driver loudspeaker ($7000/pair with dedicated stands) delivered an absolutely beautiful rendering of Monica Salmazo's voice. Both top and midrange were exemplary, as was transparency. Though early instrument strings on the delightful Channel Classics SACD, Bolivian Baroque v.2, were either a mite too edgy or conveyed with unforgiving accuracy, the system did a wonderful job with the church venue's naturally reverberant acoustic. Soprano Kate Royal's voice on her marvelous EMI debut recital was drop dead gorgeous. Within their frequency limitations, these speakers are superb. And given that the source was a Denon 955 DVD player rather than a state-of-the-art unit, their triumph is even more noteworthy.
In a room dominated by imposing Antique Sound Labs tube electronics and Reference 3A Grand Veena loudspeakers, the Chang folks were demonstrating their new Hyper Drive "hyper noise shunting mechanism." Designed to bring AC noise down further than conventional Chang Lightspeed power conditioners, the Hyper Drive will be incorporated into 2008 Reference models such as the Chang Mk III ($3500).
Instead of using conventional CD playback technology, the Rockport room featured the DC-powered Black Box Audiophile PC from Blue Smoke Entertainment Systems of Chicago. (Preliminary pricing, expected to lower before the unit reaches the market, is $7999.) With no moving parts in the box into which one inserts a CD, the DSP-based system reclocks the data after reading the CD, basically eliminating jitter. It copies the audio data from a CD onto a hard drive, reading the CD multiple times if necessary to eliminate data-reading errors. It is said to be far more accurate my own conventional stick it in the iMac and burn it in iTunes setup. The unit can process data up to 24/192. Lordie did it sound good.
Music Culture Technology Corporation's Reference line has been designed and engineered by MBL's official engineers. Though not yet distributed in the US, the combination of MC's partnership with MBL and their components' arresting good looks drew me in for an extended listen. It was also a belated listen, but that had to do with the Hard Rock Café across the street from the St. Tropez, whose bass blasting from the rock video they project in their parking lot between 5pm and 10pm made listening to anything other than equally blaring rock music an absurdity. Call it high end trumped by high insult.
As much as I had hoped to write about new companies at T.H.E. Show this time around, I keep finding myself drawn to "old friends" for one overriding reason: their sound is the best I encounter. Such was the case with veteran audio designer Peter Ledermann's Soundsmith. Despite Peter's 1960s-holdover proclivity to turn his consistently impressive, housed-in-wood electronics into multi-colored light shows—thank God you can dim the lights or turn them off entirely—the former Director of Engineering at the Bozak Corporation continues to astound with the sound of his phono cartridges and the amazing frequency response of his small Firefly speakers.
Attendance was light at the Alexis Park on Wednesday, with the rooms closest to the front getting the most attention. That was certainly the case for Evolution Acoustics, whose imposing MM3 modular speaker commands respect. After seven years of development, this huge baby, designed by Kevin Malmgren (left, formerly of Von Schweikert) made its initial debut at RMAF 2006. Then, the company went low-key while Malmgren and his wife were busy raising their first child (who, after almost one year of development, has just made a most auspicious debut in his stroller at T.H.E. Show 2008). Well, not really. The speaker was back-ordered even before it was launched, and has kept Malmgren and its distributor so busy that they haven’t had the time or need to yet establish a dealer network.
The prototype speaker I shamelessly coveted at the 2007 RMAF, the Harbeth 40.1, resurfaced in final form at THE Show’s Alexis Park location. Paired with Resolution Audio’s exceptional-sounding components, it again made my mouth water. Now positioned on new, lower stands (which, in my not-so-humble opinion, look far more attractive, and far less like a funeral casket, when not draped in black cloth), the full-range 40.1 monitors have an immensely detailed, beautifully layered, extremely controlled midrange whose harmonic richness is hard to resist. Toed-in toward the listener, the speakers' high end was equally compelling.
I was so impressed by the 9" Feastrex drivers designed by Haruhiko "Hal" Teramoto of Japan that I was excited to hear how the 5" Feastrex DF Monster alnico driver sounds in MaxxHorn's new Lumination loudspeaker. The speaker, which also incorporates the Tractrix horn technology developed by Johan van Zyl, is so new—the pair at THE Show had been finished a mere 12 days before—that only the dealer price ($18,500/pair) has been set. All speakers are hand constructed, with 3–5 pairs produced a month.