"Whatever you do, don't miss the speaker company around the corner at the end of the third floor," a dealer who had no connection with the room selflessly told me. "The sound is terrific." Thus I scurried along to the exhibit sponsored by Audio Limits of Colorado Springs and Polymer Audio Research of Florida. There I encountered the new, eye-catching Polymer MKS-X loudspeaker system ($60,000/pair), whose 365 lb loudspeakers boast a pure-diamond, acoustic-suspension tweeter and midrange, plus two 6.5" composite-cone, rear-ported woofers connected in parallel.
"I really wanted people not to say that the electronics are why the speakers sound good, so I brought a very minimalistic set-up," said Milwaukee-based Jeff Permanian of his very first display at an audio show. Granted, his imposing, Internet-direct JTR Noesis 215RT ($7000/pair), a 3-way loudspeaker with a claimed 95dB sensitivity and impressive frequency response of 18Hz24kHz, may not be a visual work of art. But in the company of an Oppo BDP-95, Adcom integrated, and Cardas cabling, its reproduction of Norah Jones' "Come Away with Me" exhibited sufficient warmth to make me want to hear the Noesis loudspeakers in superior company next time around.
This compact system, in which Monitor Audio's Gold GX 200 loudspeakers ($4500/pair) and brand new Silver 10 loudspeakers ($2500/pair) mated with the Cyrus Lyric 09 all-in-one class-D system ($6499, due in June or July), sounded very fine through Nordost Red Dawn cabling. Especially when I moved up a bit from the back wall, I noted how controlled and musical the system sounded at the start of the Budapest Festival Orchestra's Channel Classics recording of Mahler Symphony 2, and how good the bass was.
I have no idea exactly what was in use in the McIntosh room, because both times I paid a visit, the exhibitor was too involved in demonstrating the system's "Room Correction" component to stop to chat. Regardless, the sound was very, very goodjust what you'd expect from a McIntosh system that can control challenging hotel acousticsand the demo far more convincing than my mother's apple pie.
I don't want to wax biblical here, but in Stereophile's world of show reports, the last shall be first, and the first, last. Thus we begin our coverage of the final day with the last system I auditioned at AXPONA 2014. Welcome to Goerner Communications' room on the Westin O'Hare's third floor.
Let's hear it for a relatively new dealer and father, Jason Walker of Midwest Audio in South Bend, Indiana. You know someone is an industry virgin when he confesses that he first heard of Rebecca Pidgeon, whose 20-year old "Spanish Harlem" was once a multi-room favorite at audio shows, a whole two months ago.
Since my focus was on new product introductions other than analog, which are being covered by Mikey Fremer on AnalogPlanet.com, all I'll say about the new Kronos Sparta turntable ($21,500) with Helena tonearm and AirTight PC-1 cartridge ($34,500 total) is that they sure sounded great in the context of the rest of GTT's system.
"Is this the same company whose A/D converter Jared Sacks of Channel Classics raves about?" I asked. When Bill Parish of GTT Audio & Video answered yes, I understood why. Grimm's LS1s three-way speaker system ($39,900/pair), which manages to fit hi-res ADC/DACs, a CC1 clock circuit, six amplifiers, DSP processor, integrated bass modules, cables and more into the two speaker cabinets pictured in the photo, is a virtually complete system that calls only for a source. In this case, the LS1s joined forces with a PC running JRiver Media Center and Kubala-Sosna power cords to produce gorgeous layering and tonality on Sacks' unedited DSD master of a Brahms Hungarian Dance.
You should have seen the sad sack look on the faces of Your Final System's Kevin O'Brien and Endeavor Audio Engineering's Leif Swanson when I told them I was trying to restrict my coverage to new product introductions. "We were handicapped by a bad cable and bad USB input when you covered us at the California Audio Show last year," Kevin complained. "Give me one reason to stay here and I'll turn around," said I. . .
There was some booming in the bass, but the really nice highs and openness, as well as the large and engaging soundstage on a 24/96 version of Jennifer Warnes' "Nightingale" convinced me that Daedalus Audio, ModWright Instruments, and WyWires cabling are doing something very right. Reinforcement came from a very nice and smooth, albeit less than brilliantly illumined Red Book track by Chris Jones.