Peachtree's room was typical at AXPONA, packed with an enthusiastic crowd of listeners enjoying the music all weekend. The Peachtree Nova125 that Sam Tellig reviewed in January ($1499) was being demmed with the MartinLogan Montis speakers that Robert Deutsch reviewed in September 2012 ($9995/pair). The speakers were certainly not let down by the inexpensive amplifier"The Nova125 will handle any source, any speakers," proclaimed Peachtree's Jonathan Derda (below)who played me Rickie Lee Jones on LP on a Pro-Ject turntable with Phono Box dual-mono phono preamp, the sax-and-bass duet on Sting's "Standing on the Moon, from a Turtle Records hi-rez file, and even a luminous-sounding MP3 streamed from Spotify.
In Pro Musica's second room, Dynaudio's Confidence C1 Signature speakers ($8500/pair in Signature finish, $7700/pair in standard Mk.II finish) were driven by Naim's SuperUniti integrated streaming amplifier ($6000), hooked up with Naim NACA5 speaker cable ($15/foot). I listend again to some of Ken Christianson's recordings on the Naim label, including a Schubert Symphony 5 performed by Iona Brown leading the Norwegian Chamber Orchestra. Sonics, music, balance, communicationI wanted for nothing.
Chicago retailer Pro Musica, led by recording engineer Ken Christianson, had two rooms at AXPONA. The first featured a system built around Dynaudio's Confidence C2 Signature loudspeakers ($13,500/pair in standard Mk.II finishes; $15,000/pair in Signature finish). The electronics were a Naim NAP 300 amplifier with 300PS power supply ($11,495), Naim 282 preamp with NAPSC2 ($6795), Naim SuperCap2 DR preamp power supply ($6595), Naim UnityServe SSD server ($3045), Naim NDS streaming player ($10,995) with Naim 555PS DR power supply ($9645). Speaker cable was Naim NACA5 ($15/foot) and the equipment rack was the Quadraspire EVO (6 shelf, $1200).
I had been looking forward to auditioning the 10th Anniversary Edition of Scaena's Silver Ghost speakers at the 2013 CES, but as I reported, there was a curious lack of recorded ambience. The Silver Ghosts, which cost $153,000/system with two active subwoofers, sounded much better at AXPONA, driven by Audio Research amplification. The front end was the new dCS Vivaldi rig and cabling was all Silversmith Audio Palladium. A duet between a woman singer and a double bass on the old Gloria Gaynor hit "I Will Survive" was absolutely convincing in its tonality and musicalitywith plenty of recorded ambience!
When I win the PowerBall and retire, I am going to have MBL North America's Jeremy Bryan on call as my set-up man. At show after show, Jeremy has demonstrated that he can tame the most recalcitrant, obdurately obstinate room acoustics problems, using whatever tools he can find, to allow his system to shine its brightest. When I went into the larger of MBL's two rooms in the Doubletree, it was apparent that he had worked his magic. But what I didn't know that throughout the show, snow melting on the hotel's roof was causing a stream of water running down the wall of the room behind the drapes. (I was impressed by the system's liquid-sounding midrange, however!!)
Their chassis designed by Robbii Wesson, responsible for some beautiful cover illustrations for The Absolute Sound in the 1980s, the Aragon amplifiers were as beautiful to look at as they were to listen to. In Artisan Electronics Group's room at Axpona, the fairly new owner of Aragon, Indy Audio Labs, who bought the brand from Klipsch in 2009, were showing off the Aragon 8008, a software-upgradable, 200Wpc amplifier ($4399) with its ethernet-based control and status monitoring. Speakers were the glass-enclosure French Waterfall Victoria Evos ($7000/pair); source was an Oppo Blu-ray player used as a DAC with an Aragon preamp. Jamie Cullum's "High & Dry" sounded dynamic with neutral tonal colors.
Audio Note UK's David Cope always does good dems at shows, and AXPONA was no exception. With the K/SPe two-way, sealed-box speakers ($3700/pair plus $650/pair for stands) placed in the room corners, and driven by the OTO SE Signature parallel singled-ended integrated amplifier ($5500; $6300 with phono stage), Lukas Foss's Time Cycle, a 1960s recording from Leonard Bernstein conducing the Columbia Symphony Orchestra, sounded rich yet detailed, with percussion instruments nicely delineated in space. David then played a familiar CD, Cantus singing "Swing Low, Sweet Chariot," which I had recorded 10 years ago. This revealed the system to sound a little too lush and warm, but who could complain about that!
UK company Icon Audio was a new name to me, but as Adrian Fearey explained to me, they manufacture a wide range of tube gear. Adrian was demming the FRm2 floorstanding speaker, which uses a single 8" driver and has a claimed sensitivity of 96dB/W/m! US distribution is apparently by Music Direct.
Jeffrey Catalano of Manhattan retailer High Water Sound missed his vocationhe should have been a DJ, as listening to his choice of music is always a Show highlight for me. As I entered Jeffrey was playing the old Stones song "Wild Horses" but it didn't sound like the version I knew from the band's Sticky Fingers album. Yes it was Mick Jagger singing, but the backing was more like a demo. Jeffrey showed me the LP cover: The Rolling StonesStripped. It went on my must-buy list.
"Do you hear that difference?" asked Shunyata's Grant Samuelson. Indeed I did. Grant was playing a track from singer-songwriter Ray LaMontagne on Focal speakers and had replaced the Marantz amplifier's and disc player's stock AC cords with Shunyata cords; the voice and instruments became slightly better differentiated from one another. Then,instead of plugging the AC cords straight into the wall, he plugged them into a Shunyata Hydra distribution box. There was a further improvement in the same direction. Finally Grant removed the German-made Stillpoints wideband acoustic absorbers from the room's sidewalls. He didn't need to play any music, the sound of his speaking voice acquiring a distinct "honk."