John Atkinson

Sort By: Post Date | Title | Publish Date
John Atkinson Posted: Jun 10, 2013 2 comments
The second Audio Element room was one of my best-sounding systems at the show: Sonus Faber Elipsa speakers were being driven by Ayre’s new VX-5 power amplifier and KX-5 preamplifier, with source the latest version of the QB-9 USB DAC, which can handle DSD data. The sound was more open, less dark than in the other Audio Element room, with more space around the instruments. The new Ayre preamp and power amp have much in common with the new AX-5 integrated amplifier, which Art Dudley will be reviewing in the August 2013 issue of Stereophile.
John Atkinson Posted: Jun 10, 2013 0 comments
The Taiwanese company Lawrence Audio was founded in 1996 but was new to me. Their speakers are impeccably finished and are all named after string instruments: the large Cello (right) features twin ribbon tweeters and two 8" woofers and costs $18,000/pair; the smaller Violin ($7500/pair) a single ribbon tweeter; and the smallest Mandolin (just out of shot on the left) costs $5500/pair. Demmed with the new 125Wpc Model 125 stereo amplifier from Jeff Rowland Design Group, with the source a Bryston BDP-1 media player, the Cellos produced a clean, clear sound on a Japanese transcription for tenor saxophone of the first Bach Cello Suite, with none of the otherwise ubiquitous upper-bass boom I heard at the Hilton.
John Atkinson Posted: Jun 10, 2013 0 comments
“An honest sound; clarity without detail being thrust forward at the listener,” read my notes from this room at the Hilton, which featured the superb-sounding TAD Evolution One speakers ($29,800/pair) that Kal Rubinson reviews in the July 2013 issue of Stereophile. Both Eva Cassidy singing “Fields of Gold” and the Sir Charles MacKerras’s “Living Stereo” recording of Sibelius’s Finlandia (the latter one of the first classical recordings I owned more than 50 years ago) were well-served by this system, which included Zesto’s Andros PS1 tube phono stage ($4300) that Michael Fremer liked so much when he reviewed it in his March 2013 “Analog Corner” column, Zesto’s new Leto tubed line stage ($7500), and A VAC Phi 200 power amplifier ($9990), all hooked up with WyWires wires. Turntable was the Merrill-Williams ($7200) fitted with a Triplanar arm ($6000) and a Dynavector XX2 Mk.II cartridge ($1985).
John Atkinson Posted: Jun 10, 2013 2 comments
Audio Machina speakers were featured in the Coffman Labs room, driven by Manley New Classic SE/PP300 monoblocks, but my attention was drawn to this superbly finished tube preamp from Coffman, the G1-A ($5495, $5795 with remote), which includes a phono stage and headphone output, and is being produced in a limited edition of 500 units. The rest of the system included Music Hall’s MMF9.1 turntable fitted with a Sumiko Blackbird cartridge, Parasound’s great-sounding Halo CD1 CD player, and an Audience Adept Response power conditioner.
John Atkinson Posted: Jun 10, 2013 0 comments
Audience was demming their tiny ClairAudient 1+1 bipolar speaker ($1800/pair, available this month), driving them with their 400W Wavepower monoblocks $18,000/pair including Au24 SE PowerChords) via Au24 cables. Front end was a Bryston BDP-1 media player and BDA-1 DAC, and Audience’s Adept Response aR6-TS conditioners cleaned up the AC. As you might expect from such small speakers using two full-range drivers, the stereo imaging from this system was superbly stable and exquisitely well-defined, though double basses did sounded more like cellos, there only being so much low-frequency energy you can extract from 3" drive-units, even when loaded with passive radiators.
John Atkinson Posted: Jun 10, 2013 1 comments
Following the death of his father in July 2011, Brian Berdan had been running Brooks Berdan Ltd, the well-regarded retailer in Monrovia, the suburb east of Los Angeles. But T.H.E. Show saw the debut of Brian’s new venture, Audio Element, which will open in Pasadena in August. Many of the brands that used to be sold by Brooks Berdan Ltd. are going with Brian to the new store. Many were exhibiting in Brian’s two rooms at the Atrium. In the first room, Sonus Faber Amati Futura speakers ($36,000/pair), which I loved when I reviewed them in March 2012, were being driven by VTL’s MB-450 Series III Signature tube monoblocks ($18,000/pair), VTL’s TL-7.5 Series II Reference line preamplifier ($20,000), VTL’s TP-6.5 Signature phono stage ($8500), and the fully loaded, four-chassis dCS Vivaldi SACD playback system ($108,496). Analog playback was with a Grand Prix Monaco turntable ($23,500) fitted with a Tri-Planar tonearm ($5800) and Lyra Skala cartridge ($3995). Cables were all Cardas Clear and Clear Beyond and racks were all from Grand Prix Audio.
John Atkinson Posted: Jun 10, 2013 0 comments
The first Aaudio Imports room I visited featured the DEQX Room Correction Processor ($4500). I had been gob-smacked at the 2012 RMAF, when I heard how this processor turned a pair of RadioShack PA horns into acceptable hi-fi speakers. However, the correction being demmed at T.H.E. Show was more subtle, mainly involving a firming up of the stereo imaging, as the system was sounding good without correction. (Competing noise from the room across the corridor did make the improvement difficult to hear at first.)
PBN
John Atkinson Posted: Jun 10, 2013 3 comments
PBN’s Peter Noerback always gets a good sound at shows and Newport Beach was no exception. The KAS2 speakers ($38,000/pair) might have thought to be too big for the room, but driven by the 200Wpc Olympia-AX amplifiers, bridged for mono operation when they deliver 800W into 8 ohms ($22,000 each), they produced a delicious full-range sound, even one that was a touch too mellow, on Madeleine Peyroux’s rendering of “Bye Bye Love.”
John Atkinson Posted: Jun 10, 2013 7 comments
Although plagued by “Noisy Neighbor Syndrome,” Colleen Cardas Imports impressed me with the great sound they got from a 45rpm Acoustic Sounds test pressing of Stevie Ray Vaughan playing “Tin Pan Alley,” reproduced by the Opera Seconda loudspeakers ($3995/pair). Yes, that characteristic Hilton room mode was still in evidence, but these big two-and-a-half-ways produced an otherwise smooth, sonically compelling balance.
John Atkinson Posted: Jun 10, 2013 0 comments
Like so many rooms at the Hilton, Wyred 4 Sound was battling an unsympathetic acoustic, which made the otherwise excellent Paradigm Signature S8 v3 speakers ($7999/pair) sound bass-heavy. But driven by an almost all-Wyred 4 Sound system—MS-1 music server ($1999), DAC-2 DSDse ($2499), mAMP monoblocks ($1798/pair), with all Wyred 4 Sound cables, and PS Audio P5 AC conditioner ($3495)—the sound of DSD files from Cookie Marenco Blue Coast Records sounded excellent. One thing I did notice that the sweet spot was very small, the sound being rather diffuse and lacking transparency until I moved into the front-row center seat.

Pages

X
Enter your Stereophile.com username.
Enter the password that accompanies your username.
Loading