I was never happier to be an audiophile than when my train stopped at the US/Canada border on my way home. The customs officers who boarded our train were quite serious-minded, and as I waited in my seat I heard them grill other passengers regarding the precise nature of the Canadian goods they harbored. When it came my turn, a surly-something man in a black uniform examined my Customs Declaration, saw that I was bringing some new LPs into the US, and broke into a friendly smile: “What vinyl did you get?” We chatted amiably for a moment about old Quads and Garrard 301s before he went on to crack other skulls than mine. (Just kidding. In fact ours was the rare trainin my experience, at leastfrom which no passengers needed to be removed for lack of a passport.)
Master recordist Rene LaFlamme of Fidelio Records marked the release of his first LPa remastering of Melanie Barney’s and the Buzz Brass Ensemble’s colorful recording of Holt’s The Planetsby adding to his demonstration system an interesting new turntable called the Kronos. Designed and manufactured in Montreal by Louis Desjardins and photographed here by JA, the Kronos is described as the first commercial turntable to use both a fully sprung suspension and a system of twin counter-rotating platters. (The perpetually fascinating 47 Laboratory 4724 Koma turntable, reviewed in Stereophile by Michael Fremer, pioneered the latter but lacked the former.)
This looks like Jonathan Halpern, owner of the New York distribution firm Tone Imports, but it’s really the devil. Every time JA and I attempted to leave the Coup de Foudre room in which products by DeVore, Leben, EMT, Box Furniture, and Brinkmann were being demonstrated, the devil coaxed us to stay, just by playing one! more! song! We finally broke temptation’s chains and left to the strains of James Brown’s “Sex Machine”: JA and I had to literally back our way out of the room. Carefully.
Dear Mikey: I know you spend a lot more time outside of the US than I doheck, you probably get out of the house more often than Iso it’s with non-snotty glee that I must inform you: For once in my life I beat you to the draw on the coolest new analog toy in the known universe. At the Teo Audio room, Dr. Chris Feickert gave me a copy of his 7” Adjust+ Test Record ($20), which comes in a red jacket. Its use requires only that you download a special app from Apple App Store (search on “platterspeed”), fit your iPod/iPad/iPhone/whatever with an accessory microphone (I already have one for use with my über-cool Peterson strobe tuner app), cue up the Feickert disc, and measure away. Tests include wow and flutter, crosstalk, skating force, and channel balance. You’ll probably get one soon. Luv yaArtie.
On my last day at the show I got to meet the founder and chief designer of Gradient, Jorma Salmi: a trim, quietly intense man with a boyish mop of hair. I introduced myself and complimented the originality of his designs; Dr. Salmi looked at me over the tops of his steel-rimmed glasses, smiled kindly, and said, “A little strange, aren’t they?” A moment later he quoted Becket, saying that, in his next design, he would “fail better.” What a cool guy!
Verity Audio’s entry-level Finn ($6495/pair) was an intriguing beast: a 91 dB sensitive loudspeaker that sounded open, authoritative, and smooththe latter quality more so than the dearer Verity Sarastro II, which sounded overly sibilant in another room. (But the good Lord knows that might have been caused by something else in the chain, so do keep these comments in perspective.) Music was supplied by digital files on a MacBook Pro (running Amarra playback software), addressing the digital inputs of a Musical Fidelity M6CD CD player ($2499), while the controller was Musical Fidelity’s new M1 CliC ($1999). Power was supplied by another new Musical Fidelity product, their M6500 integrated amplifier ($6995): a seemingly sweet-sounding 500Wpc monster that’s dual-mono from A through Z.
My reputation preceded me: Everywhere I went, people who knew me stopped and asked, “Have you heard the new Lowther yet?” The speaker in question was actually a Lowther-alike from the German firm Voxativ, named the Ampeggio ($29,750/pair), and as I told everyone who askedunsmugly, I hopeI’ve had a loaner pair in my house since mid-March.
In a room sponsored by the California-based distribution company On a Higher Note, Vivid’s entry-level loudspeaker, the V1.5 ($7700/pair and photographed here by Robert Deutsch) sounded immediate, lushly textured, and vivid indeed: Voices, violins, drums, andespeciallysaxophones leaped from their respective mixes with presence, power, and beauty. Associated gear included the SQ-38u integrated amp ($6000) and D-05 CD player ($5000) from Luxman, full-monty Bardot III record player from Brinkmann (including enhanced Origin Live Encounter arm and Brinkmann Pi cartridge: $12,300 for the package), and a full array of premium cables from Kubala-Sosnawhose proprietor, Joe Kubala, also played some of his own superb recordings through the demonstration system.
This was the first SSI without Nizar Akhrass, who passed away just weeks after the 2010 show. His distribution company, Liberty Audio (May Audio in the US) was in full force nonetheless, now headed by Nizar’s daughter, Juliawho’s expecting her first child in Mayand son, Nabil. Liberty’s stalwart brands were all there, including Audes (whose Naum Dorkhman demonstrated a striking new full-range floorstander), Roksan, Target, GutWire, and Harmonix. Veteran audio salesman Michael Tang was on hand to represent the Japanese accessory specialists Orb Audio (they of the nifty DF-03 Disc Flattener, which promises to do what its name suggests). Among Mike’s newest products was the Orb Sakura Static Charge Neutralizer ($299), intended to neutralize unwanted charges more effectively than Robert Shapiro and Johnnie Cochran put together.
I’m not familiar with Raysonic, but their system sounded excellent: a large-scale presentation with good color and texture, elements of which may have been owing to the impressive-looking Raysonic Reference 26 mono tube amplifiers ($16,500/pair in Canadian funds). Each 180Wpc amp contains 12 Russian-made 7591AEH output tetrodes, configured for true balanced operation. (We were told that the loudspeakers, which bore the name Revolver, aren’t commercially affiliated with Raysonic.)