Driving the distinctive Scaena "iso-linear array" loudspeakers in the Audio Doctor suite was a pair of Conrad-Johnson's limited-edition ART amplifiers ($37,000/pair): one of 125 pairs in existence. These ARTs used KT-120 output tubes (the amps are rated at 275Wpc when run with 6550 pentodes) and were operated without their strikingly pretty tube cages.
Some of the nicest analog playback I heard at the show came courtesy of GTT Audio, in whose suite the reliably well-dressed Philip O'Hanlon spun vinyl on a Brinkmann Balance turntable ($24,000, closest to camera) with Brinkmann 12.1 tonearm ($7500) and an Air Tight PC1 Supreme cartridge ($15,000). Of special delight were selections from Ray LaMontagne's God Willin' & the Creek Don't Rise and advance pressings from the forthcoming LP reissue series, by Analogue Productions, of the Doors catalog. The rest of the system featured YG's Anat III Professional Signature speakers ($119,000/pair) driven by Soulution 501 monoblocks ($55,000/pair), a Soulution 750 phono stage ($25,000), Soulution 720 preamp ($45,000), all wired with Kubala-Sosna Elation cables.
After too long an absence, Harry Weisfeld brought VPI turntables and tonearms to a show in New York, alongside his son and business-partner-to-be Matthew Weisfeld. Here we see Harry with the stunning VPI Classic 4, sized for outsized or even multiple tonearms ($10,000).
The combination of Wilson Audio loudspeakers, VTL amplifiers, and Peter McGrath's digital recordingsand setup skillshas provided some of the finest music I've heard at literally every show I've attended in the past several years, and this show was no exception. The Wilson Sasha W/Ps ($27,900/pair) were installed along the long wall of one of Innovative's two rooms at the Waldorf=Astoria, and were driven by the VTL MB450 Series III amplifiers ($18,000/pair) and VTL 7.5 Series III preamp ($20,000), all hooked up with Transparent cables. The sound was colorful, dynamic, and tactilestring bounce was especially fineon all selections played, especially a high-resolution excerpt from Carmen that McGrath recorded in Miami not long ago, converted to analog with a dCS Puccini DAC ($18,000).
Renowned journalist (and owner of originally Wilson speakers and now Audio Note speakers) Carl Bernstein (left) and reviewer/set-up specialist Michael Trei, seen browsing the 18th floor during the show's first evening.
A Legacy Audio Whisper XD loudspeaker ($20,500$22,500/pair, depending on finish) stands next to a life-size picture of a Legacy Audio Whisper XD loudspeaker. One of these has eight drivers, dual 500-watt ICE subwoofer amplifiers, and a 24-bit room-correction processor. The other does not.
Furniture designer Robert Lighton used the New York Audio and AV show to debut his first audio product, the RL10 loudspeaker ($20,000/pair), offering a solid wood enclosure (even the rear-firing reflex port is turned from solid wood), 1” fabric-dome tweeter, 10” paper-cone woofer, and a sensitivity rating of 95dB. Selections from Lighton’s impressive collection of jazz LPsone Roland Kirk number in particularsounded tactile and convincing through his speakers and an 8Wpc Audio Note Meishu Silver Signature integrated amp with phono section ($18,850), Audio Note AN S8 phono transformer ($10,800), and Audio Note TT3.5 Reference three-motor turntable ($39,600), the latter using a Sogon-wired Audio Note tonearm ($13,156) and Yamamoto Y-03s cartridge ($1200).
The TAD CR1 (for Compact Reference) loudspeaker ($37,000/pair) was demonstrated with Viola amplification and a digital front end comprising the Weiss Man301 server ($9000) and Weiss Medea+ D-to-A converter ($19,000). The CR1, which has been on the market for a little over three years, has a rated sensitivity of 86dB and uses the same type of CST coincident driver as featured in the company's flagship Reference One loudspeaker. The TAD had satisfying bass extension for such a relatively small enclosure, but the system was being played way too loud for my comfort, so I can't offer a more nuanced appraisal. JA, however, was very impressed when he reviewed the CR1 last January.
The Viola electronics on display included their four-chassis, dual-mono Solo preamplifier ($45,000) and Bravo II stereo amp ($59,000). The latter is supplied in two chassis, and provides 700Wpc channel into 4 ohms: the nominal impedance of the TAD CR1s. DAC was the highly regarded Bricasti M1.