The 23rd Salon Son & Image high-fidelity show, cosponsored by Stereophile, takes place in Montreal's Hilton Bonaventure March 2628. (An additional day, March 25, is reserved for the trade and press.) With 10,000 to 12,000 attendees expected, including a sizable American contingent and several thousand Canadians from outside Quebec province, who will take advantage of bilingual presentations and literature and the anticipated absence of snow, SSI remains the largest North America audio show that is open to the public.
BluePort Jazz's catalog of 15 titles, recorded in jazz clubs and studios by Jim Merod, is now downloadable in lossless FLAC format from the House of Linn website. Meroda PhD professor, an author of numerous books, a music critic for Enjoy the Music.com, and an equipment reviewer for Positive Feedback Onlineis known for recording with as few microphones as possible and mixing everything live to two tracks in high-resolution (24-bit/96kHz) PCM format.
At last, after 16 years, the South East has again hosted an audio show of considerable merit. Even more significant than the number of attendees, which according to many seasoned observers exceeded attendees at the first Rocky Mountain Audio Fest six years ago, the first of what will hopefully be many Axponas connected dealers, distributors, and manufacturers with music lovers in deep and satisfying ways.
Did Koetsu USA's room have the best sound at the show? It's hard to tell. Since my goal was to cover every single room at Axpona without playing slam, bam, thank you ma'am, I intentionally skipped set-ups John intended to cover. Those included some of the big players: YG Acoustics/Krell, Acapella/Einstein, the huge Legacy speakers, Belles/Advanced, and Mark Waldrep's huge, powerful AIX surround set-up with its five Thiel CS3.7s, two Thiel subs, four or more Boulder amps, DH Labs cabling, and Oppo player. Unfortunately, I also skipped the Ayon Audio exhibit, which I thought John was covering because it shared a room with Legacy.
I almost missed the Nightingale display. The first time I tried to enter the room, there were so many people involved in post-listening conversation that I skipped it. Happily, the Axpona organizers alerted me to my omission, enabling me to leave the show on a high note. And once I took a listen, I understood why people were spending so much time discussing what they heard.
After much too long a hiatus, Stereophile again pierced the digital shield with the return of its “Meet the Editors” panel. Although a poorly publicized schedule shift from Friday to Saturday afternoon diminished attendance in the seminar room, those present asked about everything from Stereophile's influence on the High End and integrity amongst audiophile publications to our favorite rooms at the show. While an objective report is impossible as far as I know, there are no prices on our heads that we can listit's fair to say that attendees got a pretty good sense of who we are as both dedicated listener/reviewer/critics and as human beings. Seen in the photo are (left to right): senior editor Michael Fremer, editor John Atkinson, and yours truly.
"Reference Audio on a Budget" was the tagline for the exhibit from Darren and Bonnie Censullo's Avatar Acoustics of Fayetteville, GA. Most important, the room featured two world premieres. First was a product you're sure to hear more about, the Axis Voicebox S loudspeaker ($3000/pair). A 5 ohm, 83dB sensitive model with a frequency response of 45Hz20kHz ±3dB, this little baby was paired with Abbingdon Music Research's AMR AM 777 60Wpc hybrid integrated amplifier ($4500), AMR CD-777 player ($4500), Dr. Feickert Analogue Woodpecker turntable ($4995) with DFA 10.5 tonearm ($1000), AMR PH-77 phono preamp ($11,995, and soon to be reviewed by Michael Fremer)), and DFA premium tonearm cable ($600). Throw in $11,265 worth of cabling and power distribution from Acoustic System International and Avatar Acoustics, including the world premier of the Avatar Acoustics Mach 4 Power Distributor ($1800 with power cable), and $10,240 worth of Acoustic System International Resonators, and your hypothetical budget would top $50,000.
In the aptly titled Navigator Room, Fernando Cruze of cruzeFIRST Audio of Miami had quite a stunning display of gear imported by Chris Sommovigo of Atlanta. At its head was the fabled Continuum Audio Labs Caliburn LP system ($150,000), equipped with a Lyra Titian I cartridge ($5800) and Chris' own tonearm cable. Sending its signal via the two-chassis Audio Premier Quattro preamp ($15,000) and Belles SA-500 stereo amplifier ($9000) to the Lansche 4.1 loudspeakers ($55,595/pair) with their plasma tweeter, 25Hzצ150kHz capability and extreme 99dB sensitivity, the system also benefited from two Tri-Point power conditioners, the Troy ($12,000) and Spartan ($35,000) and a full complement of Stereolab cables (loudspeaker, $3750/2.5m, interconnect, $3500/1m). If you can say that all in one breath, and pay for it without blinking your eyes, more power to you.
Mistral, a registered trademark in the UK and China, is a Chinese company, based near Canton, that began marketing its audio products overseas in 2002. According to their PR, they are recognized "all over the world for creativity, reliability and credibility." Judging from the rest of their written copy, they must believe that their credibility is so strong that they can dispense with the services of a bilingual writer with a firm command of English grammar.
Jim Smith, author of Get Better Sound, spent a full hour discussing a host of topics from his book. Among the subjects he was prepared to cover were optimal use of subwoofers, loudspeaker set-up, multi-channel system requirements, room acoustics and treatments, system enhancements, bi-amping, and analog vs digital. In the brief time I spent in the room, questions were lively and plentiful. One in particular, on compression in modern pop recordings, harked back to John Atkinson's recent "As We See It" and his Rocky Mountain Audio Fest presentations on the subject.