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Jason Victor Serinus Posted: Oct 18, 2012 1 comments
I ended Day 1 of RMAF with my first visit ever to the MC room. Although the MC-501A CD/USB player ($3995) and MC-701 integrated amplifier ($4595) were initially driving MC’s RL-21 loudspeakers ($3495/pair) too loud, generating an unwelcome host of small room interactions, the system did an exceptional job, at more realistic volume, playing a recording of a traditional jazz trio. Not only did the music sound very alive and in the moment, but the piano also had a special illumined quality absent from many systems that cost far more than this one.
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Jason Victor Serinus Posted: Oct 18, 2012 7 comments
Nordost’s Lars Christensen has become an industry legend of sorts for the enthusiasm with which he launches into cable comparison after cable comparison. At RMAF, he notched his demos up several steps, inviting people to hear the effects that cabling, power distribution, and resonance control products from Nordost and other companies can have on system sound.

“The bottom line is, despite the science involved, if you can’t hear it, it matters not,” Nordost’s West Coast distributor Michael Marko told me outside the demo room...

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Jason Victor Serinus Posted: Oct 18, 2012 2 comments
Not to be outdone, Kent Loughlin of MIT (Music Interface Technologies) staged 5-minute cable comparisons in the MIT room on the 2nd floor of the Marriott’s Tower. Using a Cary CD player and Cary monoblock amplifiers, and Polk Audio monitors with Custom Sound Anchors stands, Loughlin initially chose the beautiful, albeit oft-played soprano solo from Reference Recordings’ superb version of Rutter’s Requiem to let people hear the difference that MIT’s AVT Speaker Module ($149), which added up to 10 poles of articulation, brought to MIT’s custom installation cable (80 cents/foot for 12-gauge cable with two conductors).
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Jason Victor Serinus Posted: Oct 18, 2012 0 comments
As I was heading out of the Sony room, which John Atkinson is covering separately, I spied an open door. Like a cat to a paper bag, I dove inside to discover the sensational recording engineer and producer Cookie Marenco of Blue Coast Records. A strong proponent of DSD, with which she records many of her projects (including free hi-rez downloads), Marenco was hanging in Sony’s storage area/hospitality suite prior to delivering one of her four guest demos in the adjacent Sony room. (Gus Skinas of Sonoma Systems presented three other demos, and Chad Kassem of Analogue Productions the remaining two). I promised Cookie, when snapping the photo, that I would say nothing about the tantalizing, not-yet-released products intentionally hidden from view.
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Jason Victor Serinus Posted: Oct 17, 2012 14 comments
Although I was only able to stay long enough to snap a few photos and hear moderator Ken Kessler’s (Hi-Fi News) downer of an introduction, Friday evening’s post-show panel included, from left to right, HiFi Plus editor Alan Sircom, recording engineer Peter McGrath of Wilson Audio Specialties, Kathy Gornick of Thiel Audio, Michael Fremer of Stereophile and AnalogPlanet.com, Roy Hall of Music Hall and "why don’t you join me for a shot," and Kessler himself. Dan D’Agostino of D’Agostino, Inc., founder of and former designer at Krell, turned up after I had shot my photo.

John Atkinson adds: Kessler’s thesis was the high-end audio industry is dying by its own hand; that if it is to continue to exist, let alone thrive, high-end audio has to emulate the example of the luxury watch, pen, and car industries...

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Jason Victor Serinus Posted: Oct 17, 2012 10 comments
As familiar as I may be with the Playback Designs/Evolution Acoustics set-ups that Blue Light Audio's Jonathan Tinn brings to shows—one of these, with darTZeel electronics and much bigger Evolution Acoustics loudspeakers, received my Best of Show at T.H.E. Show Las Vegas a few years back—I constantly find myself amazed by the quality of the sound. This time, with Playback Design's MPS-3 DSD-capable high-resolution CD player with USB input ($8500); an Ampex ATR-102 open-reel recorder, restored by ATR Services, Inc of York, PA, playing 15ips master tapes sourced from ATR and Puget Sound Studios; and B.M.C. Audio's AMP CS2 integrated stereo amplifier ($8400) driving Evolution Acoustics' MMMicroOne 2-way monitor loudspeakers with stands ($2500/pair), the sound of a Shelby Lynne demo safety copy of her new album, provided by ATR Services, blew me away with its solid bass, powerful slam, and great depth. True, there was a bit of an edge on Lynne's voice, but it may have been room-induced, and sure didn't stop me from writing "OMG" in my notes.
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Jason Victor Serinus Posted: Oct 17, 2012 3 comments
It was nearing the end of the day of the first day of the show, and I hadn't covered nearly enough exhibits to ensure blogs for every room on floors 4 and 5, plus a number of others that I had agreed to cover. That, I figured, was why I found myself increasingly breathless as I ran from room to room, listening to less and less music before jotting down a few notes and heading out the door.

Then I entered the Coincident Speaker Technology room, heard some gorgeous music, and realized the underlying reason for my near-frantic pace.

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Jason Victor Serinus Posted: Oct 17, 2012 1 comments
When I entered Vienna Acoustics' room, their new Beethoven Baby Grand Symphony Edition (SE) ($4,500/pair), set to ship in November, was playing everything but Beethoven. Thanks to Boulder Electronics' 865 integrated amplifier ($12,500) and 1021 CD/Net DAC ($26,000), the latter streaming music from a Macbook Pro; IsoTek's Sigmas power mains filter network ($3,000); and Analysis Plus Silver Opal cabling, Jack McDuff's tenor sax filled the room with lovely, warm sound. The untreated room was not the kindest to the speaker's bass response, but everything above sounded great.
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Jason Victor Serinus Posted: Oct 17, 2012 2 comments
I don't know if it's a case of careful component and/or cable matching—Wilson Audio, after all, favors VTL electronics and Transparent Cabling, and Spectral always dems with its own, MIT-manufactured cabling—or just better engineering, but my experience of Teresonic single-driver loudspeakers has shifted dramatically for the better over the years.
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Jason Victor Serinus Posted: Oct 17, 2012 3 comments
Whisky, music, and chatter were all flowing, not necessarily in that order of priority, in the Music Hall room. Actual order of importance was determined by the visitors, of whom there were plenty, with a little boost from the high-proof atmosphere. Nonetheless, amidst a din too intense for serious listening, and preparations for the evening's dance party in the hotel Atrium that Music Hall was co-sponsoring with Chicago's Tweak Studio, Roy Hall and Leland Leard were managing to give complete and cogent raps about the equipment playing through the din.

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