Mytek Digital's Michal Jurewicz (facing camera) was busy all weekend, demonstrating both his company's new Stereo 192-DSD DAC FireWire D/A converter (see "Music in the Round," July 2013) and his 8-channel DSD A/D converter. The latter was being used with an Ampex open-reel recorder just out of shot.
I have listened to Legacy's Aeris loudspeaker at earlier shows this year, but this impressive tower ($17,750/pair) sounded better at RMAF. Driven by an AVM SA8 stereo amplifier ($13,880) an AVM PA5.2 tube preamp ($5650), and AVM CD5.2 tube CD player ($6995) and wired with Morrow cables, the system reproduced the Crash Test Dummies' "Superman's Song" with authority.
One of the joys of audio shows is the unexpected encounter. I wandered into the Positive Feedback Online hospitality room toward the end of the first day, drawn by the rumor that they had some high-end coffee on offer to ear-weary showgoers. And there, sipping on some truly first-rate, hand-roasted java, I bumped into Swedish recording engineer Jan-Eric Persson. Persson, a Blumlein-miking purist, has been responsible for some of the most gloriously natural sounding recordings on his Opus 3 label, first on LP, then on SACD. PFO had a system set-up in their room, courtesy of Jonathan Tinn of Blue Light Audio, comprising Evolution MMMicro One speakers ($4000/pair) and a Playback Electronics IPS-3 D/A amplifier ($13,000). I took a listen to some of Jan-Eric Persson's recordings, transferred to double-DSD from analog tape and was, in a word, gobsmacked by the sheer beauty of what I was hearing.
"Gauder?" I pondered as I went into the room shared by German electronics manufacturer AVM and speaker manufacturer Gauder Akustik, "I know that name." And when I met speaker designer Roland Gauder, I remembered why the name was familiar. Roland Gauder was the designer of the Isophon Europa II loudspeaker that Larry Greenhill had favorably reviewed for Stereophile in April 2004.
"I don't want you to talk about the nuts and bolts of computer audio, FLACs and DACs and files, etc, but to talk about the impact the computer has had on high-end audio," said AudioQuest's Steve Silberman when he asked me to be on the Saturday lunchtime panel session he was organizing for RMAF. Titled "Computer Audio and Beyondthe Ever-Shifting Landscape of Hardware, Media, and Content Providers," the session featured (from right to left in my photo), as well as Silberman, Joe Harley of AudioQuest and Music Matters, Chris Connaker (ComputerAudiophile.com), Matt Ashland (J River Media Center), Gordon Rankin (Wavelength), and Matt Green (Logitech/Ultimate Ears).
The Marriott's lobby area was packed with booths, with exhibitors actively engaged with showgoers all weekend. Shown here is the booth shared by The Cable Company and sister company Ultra Systems, which was opposite the Nordost Sort Füt booth Jason Serinus wrote about below. Ethan Wood is helping an audiophile through the process of using his computer as a high-end audio source while Robert Stein looks on.
"What is this music?" asked Jason Serinus (above).
We were sitting in the VTL room, where a pair of Wilson Alexia speakers ($48,500/pair) were being driven by VTL's S-400 stereo amplifier ($33,500), TL-7.5 Series III preamp ($20,000), and TP-6.5 phono preamplifier ($10,500 with transformer).
"It's 'Lose Yourself to Dance,' my favorite track from Daft Punk's Random Access Memories LP," I whispered...
In March, to celebrate Marantz's 60th anniversary, the company launched the subject of this review, the Reference NA-11S1 network player ($3499), which Ken Ishiwata described to me as "a new start, a new era" for Marantz. Michael Fremer attended the European press conference announcing the NA-11S1, and I subsequently talked to Ishiwata via Skype.
We are saddened to learn of the passing of inventor and audio entrepreneur Ray Dolby. Other sites have published full obituaries; I'd like simply to offer my memory of interviewing Ray back in the spring of 1977 for the English magazine Hi-Fi News, when Dolby Laboratories were trying to get the BBC interested in using Dolby noise reduction in FM broadcasting. Despite my being a neophyte audio writer, I was treated with courtesy and respect by a man who had forgotten more about audio engineering than I knew.
The door to a professional reviewer's listening room is one that revolves: As one product leaves, another enters. After a while, it becomes difficult to remember exactly when you auditioned any specific component. But some products stick in your memoryyou fondly remember the time you spent with them, and wish they hadn't departed quite so quickly. With loudspeakers, I recall a few such: Revel's Ultima Salon2 ($22,000, footnote 1), MBL's 111B ($17,000), Dynaudio's Confidence C4 ($16,000), Sonus Faber's Amati Futura ($36,000), Vivid's B1 ($14,990), TAD's Compact Reference CR1 ($40,600 with stands), and even the much less expensive Harbeth P3ESR ($2195$2395) and KEF LS50 ($1500). Among the most recently reviewed of those fondly remembered speakers is Sony's SS-AR2ES ($20,000).