Sam Laufer of Laufer Teknik was showing the German Physiks HRS-120 loudspeaker in high gloss finish ($33,500/pair). Helping this omnidirectional design sing were Abis Shuhgetsu monoblock amps (price to be determined), The Memory Player source and preamp ($22,500), Paul Kaplan cabling including speaker cables ($1995), Halcyonics Active Isolation Platform ($11,500), five LessLoss BlackBodys ($959 each), and the wonderful Stein Music Harmonizers (two A and two B units plus 12 stones for $4900) with their new matching stands (price not supplied). You can see one of the Stein Music Harmonizers, aka that little black box with the blue light that doesn't have to be on for the box to be working, peeking out from behind the loudspeaker.
Selah Audio, a North Carolina speaker manufacturer that sells its products direct on the net, was showing the Verita sealed box loudspeaker ($2000/pair, or $2650 with the veneer displayed at the show). A sealed box with 84dB sensitivity and a frequency range of 60Hz20kHz, it combines the excellent RAAL ribbon tweeter from Serbia's Aleksandar Rasisavijevic with a ScanSpeak woofer.
Craig Oxford and William Carpenter, CEO of Consensus Biotechnology and Consensus Biolabs of Little Rock, happily introduced me to the successors to Pipe Dreams loudspeakers, the HighEmotion Audio Pyra Bella 7 monitors ($6000/pair), Bella Basso 28 subs ($4000/pair, with 2 pairs in use), and Passare XOL crossover ($3000). (I did not audition the second system with the HighEmotion Audio Festune Bass Module). The HighEmotion speakers, which employ "a substantial amount of new technology", are the result of years of research into brain imagining technology, and "the emotional responses to music, auditory system function, physics, and electrical engineering."
I was delighted to discover that AudioPrism, originators of the infamous green pen (aka the AudioPrism CD Stoplight), is still in business. For newbies who do not know about the green pen, Collett and those who reviewed it shook skeptics to the core when they declared that painting the edge of CDs with the green pen lowered digital edge and improved data retrieval. The backlash was tremendous. Then Krell began bathing its CD tray in green light, some people found that green-tinted CD-Rs and then black discs sounded better, CD mats with green undersides made a demonstrable improvement in sound, and the skepticism was transferred to the next tweak on the horizon.
At RMAF 2009, Nordost shook up quite a few audiophiles by announcing preliminary results of research that can measure and validate the positive effects after market cabling, supports, and power products. One year later, Nordost announced that the research, jointly conducted by Nordost's competitor, Vertex AQ of the UK in collaboration with military electronic-engineering consultant and sonar expert Gareth Humphries-Jones of North Wales, has taken a major step forward.
One of the many graphs Nordost and Vertex displayed at their research presentation was of time-domain error in a CD player, ie, the difference between the data on a disc and the output of the CD player. It ain't pretty. Other graphs showed reduction in error with the addition of cables, supports, and power products (specifically, Nordost's Quantum). All these graphs will be downloadable from the websites of Nordost and Vertex EQ within a matter of weeks.
I'm afraid the companies exhibiting in this room will not be adequately served by this blog entry. David Salz of Wireworld was not available, and I never got details on his cabling other than word that his new, top-of-the-line USB cable got caught up in FedEx drama and didn't make it to the show on time. All I know is that the big speaker was the eye-catching, glass-enclosured Waterfall Niagara from France ($54,000/pair), which has 89dB sensitivity and a frequency response of 36Hz28kHz ±3dB, and a Cary 300T SACD player ($6500) and Cary monoblocks ($10,000) were called into action. Power was conditioned by the APC units that Kal Rubinson recommends. I don't know much more, unfortunately. As I just explained to the man who just answered the phone at Waterfall Audio USA, I owe them and Wireworld one.
Ray Lombardi's international set-up was getting much better sound from JBL's 1400 Array ($11,500/pair) than at the first California Audio Show (CAS) a few months back. In fact, Diana Krall's semi-lethargic rendition of "Let's Face the Music and Dance" sounded much less doped-up than it did when I last heard it at the Aurum Cantus factory in China. The presentation featured crisp and sweet highs, and a natural midrange. Neither Sound Applications power treatment (model not specified) nor ASC Tube Traps could totally tighten up the speaker's soft bottom, but I don't recall it sounding very tight at CAS either.
What has become a familiar site at shows, Acoustic Zen loudspeakers and cabling mated with Triode electronics, has also become a welcome sound. Here, I experienced a beautiful airiness around female vocalists. "Just gorgeous," I wrote in my notes. The bass, however, was challenged, perhaps because of the room.
Although their atmospherically lit room, which looks very different in this flash-illuminated photo, was dominated visually by 10-year old Genesis loudspeaker prototypes that never made it to market, PS Audio's electronics were what the room was about. The PS Audio Perfect Wave Transport ($2999), which I own; Perfect Wave DAC ($2999) with Bridge ($799); prototype Perfect Wave amp (under $5000); and award-winning Power Plant Premier ($1999), all using Perfect Wave AC-12 ($999/meter) sounded marvelous on a CD from Natasha Atlas. Playing the Pentatone SACD of Schubert's "Trout" Quintet, the highs were especially beautiful, with violins singing with estimable delicacy. It was the best sound I've ever heard from a PS Audio show set-up. This bodes very well for their forthcoming amplifier.