Beauty of Sound also imports and distributes Ikeda tonearms and phono cartridges, used at the show in tandem with a Triangle Art Signature turntable ($12,500). Seen here are the Ikeda IT-407 arm ($6500) and Kai cartridge ($7500); I have in hand a review sample of the former, and will report on it soon. Also in the Beauty of Sound system but not seen here were the Tube Guru all-tube Reference Phono preamplifier ($5400) and Rick Schultz’s High Fidelity cables, which, I’m told, use a patented magnetic signal-transfer technology. Sadly, the aforementioned Leonardo loudspeakers, which sounded great, proved too glossy and black for my camera.
In one of two rooms sponsored by New Jersey dealer Audio Doctor, Jay Rein of distributor Bluebird Music demonstrated an impressive system comprising KEF Blade loudspeakers ($30,000/pair), Chord SPM 14000 Mk.II mono amplifiers ($86,000/pair), the Chord CPA 8000 Reference preamp ($45,000), a Manley Steelhead phono preamp ($8000), and the Kronos turntable (starting at $32,000)a combination on which Neil Young’s Comes a Time album sounded so good, I can scarcely wait to hear it again when I get home. While there I also enjoyed some music filesappropriately, my friend Michael Lavorgna of Audiostream.com had the seat next to minecourtesy of the Chord DSX-1000 ($13,000), a music streamer that incorporates the same company’s well-received QBD 76 D/A converter.
Among the finest aspects of the site selected for the Chester Group’s New York Audio Show was the view from the New York Palace hotel. As you can see from this glimpse through the window at the exhibit of Well Rounded Sound (to whom I’ll return shortly), one side of the Palace looks out on the neo-gothic Cathedral of St. Patrick, dwarfed by other architectural marvels in this concrete canyon: serious sights for serious listening.
Colleen Murphy, whose first serious system was built around a pair of Klipschorns, prefers vinyl to all other formatsnot just for the superior sound, but for other, less tangible qualities. “It’s almost a ritual,” she said at NYAS 2013. “The inconvenience is one of the things that makes us give ourselves over to it.”
Colleen “Cosmo” Murphy, the record-store clerk-turned-internationally known DJ-turned-analog impresario, has set out to change the way we listen, one roomful at a time; based on my experiences at NYAS 2013, she is bound to succeed. I had heard that Ms. Murphy is as sound- and music-savvy as she is lovely, and I can only say those observations don’t do her justice. “Today, music is treated almost as aural wallpaper, as a cheap commodity,” Murphy bemoaned in her opening remarks before spinning the Japanese vinyl version of David Bowie’s Hunky Dory on a truly grand system, including a Spiral Groove SG1.1 turntable with Centroid tonearm and a Lyra Atlas cartridge; a VTL TP 6.5 phono preamp (with integral step-up transformer); VTL’s TL 7.5 line-level preamp and Siegfried monoblock amps; Wilson Audio MAXX 3 loudspeakers and Opus series cabling from Transparent. (When I visited the Classic Album Sundays room, early on the show’s first day, exact pricing details weren’t yet available; suffice it to say, everything was rather expensive.)
Beethoven understood the pathos of the gap between idea and realization, and the sense of strain put on the listener's imagination is essential.Charles Rosen
Bass, like sex, is something most young men desire in excess: To the novice, quantity trumps quality, and as long as he can hear from his playback system the deepest sounds of an orchestral bass drum or five-string electric bass (low string tuned to B-0 or C-1), he is completely satisfied.
The challenge is biblical in character, if not in scope: A half year after railing, in these pages, against our industry's overabundance of products that cost more than $20,000, fate has given me such a thing to review.
MBL finished the job that Oracle Audio began with Anne Bisson (below): They spoiled me not only with live music, but with music by a world-class cellist, Montreal's Vincent Bélanger. Jeremy Bryan, the CEO of MBL North America, took the added step of inviting Bélanger to come by early and record, on ¼" analog tape (15 ips), extra cello parts for various pieces in his repertoire; thus when M. Bélanger set about to perform for a handful of fortunate show attendees, he did so alongside his recorded self, the latter portrayed with what can only be described as surprising realismdynamically, timbrally, and spatiallyby MBL's largest hybrid loudspeaker, the MBL 111 ($42,000/pair), which uses, from 600Hz and up, the same driver complement as even their most expensive loudspeakers.