Room lock occurs when a set of loudspeakers reproduces the deep-bass notes of a pipe organ powerfully enough that the sounds can be felt as pressure waves. On Day 2 of the 2007 Home Entertainment Show, in one of the Sound By Singer rooms, our own John Marks played his recording of organist James Busby performing Herbert Howells' Master Tallis's Testament through a pair of Fremont loudspeakers from Escalante Design. The sustained bass note at the end of the passage took my breath away—the stand-mounted Fremonts sounded as open and dynamic as anything else I heard at HE2007. I wondered if they'd sound as good in my home listening room.
When I arranged to review the Bryston 28B-SST monoblock power amplifier, I wanted to be certain that the 1kW amplifier wouldn't be starved for current. Bryston advised me that Plitron, who manufacture the 28B-SST's toroidal transformer, also make Power Isolation Units (PIUs), under the brand name Torus Power. Torus explained that its PIUs combine surge suppression with massive toroidal transformers to provide AC power conditioning and protection from voltage surges.
It was a hot, humid, New York City evening in early August, and I was thankful to be sitting in the air-conditioned dark of Avery Fisher Hall, up in the Second Tier, for a Mostly Mozart concert. Listening to cello soloist Alisa Weilerstein in Osvaldo Golijov's hypnotic Azul, I was suddenly jolted by an explosive mix of primitive cello sonorities, accordion, and staccato riffs on ethnic percussion instruments. My thoughts turned to the importance in music of both power and delicacy, and of how Bryston Ltd.'s 28B-SST, a 1000W monoblock power amplifier, was designed to address both.
Ever listen to a system costing $340,288? Ray Kimber's IsoMike venture put on such an exhibit at CES to preview their DSD recordings with "no limiting, no compression, no mixing, and no equalization." They had their SACD Hybrid Stereo/4-channel discs next door for sale.
What does $275,000 buy you these days besides a used Porsche Carrera GT with 20,000 miles on it? Yes, there is now a loudspeaker system with that asking price, which gets you 900 lbs of hardware, including two midrange—tweeter towers, two subwoofers, and two subwoofer amplifiers. Frequency response is rated from 8Hz to 50kHz, and the minimal load impedance is 3 ohms. Furthermore, the Force is made of glass.
"Wes Phillips said you would be coming by to take pictures of our loudspeaker," said Paul DiComo, Vice President of Marketing at Definitive Technology. Paul then took me over to a pair of the company's slim Mythos ST Super Tower loudspeakers driven by Pass Labs XA 100.5 100W solid-state monoblocks. Standing just over 48" tall, the speakers had a width of 6.75" and a depth of only 9.5" What a change from the massive transducers I had seen at other venues at CES 2008!
Escalante Design's CEO and Founder, Matthew Waldron, and the company's design engineer, Tierry Budge, were on hand to introduce the $11,000/pair Pinyon, a lighter and less expensive version of their Fremont loudspeaker, which I review in the Febraury issue of Stereophile. Weighing 35 lbs each, the Pinyon includes two direct-coupled 6.5" woofers, and the same 1" ScanSpeak ring-radiator tweeter found in the Fremont. It comes with the Hoodooh Monitor stands that have a brushed aluminum inlay. Waldron had it playing with the 210 lb, 12", powered (500W), UINTA subwoofer, which is rated from 16–100Hz.
Jim Thompson from Egg.Works, the firm that manufactures Eggleston loudspeakers, was eager to tell me more about the Eggleston Nine. I'd seen the firm's loudspeakers in many different CES suites over the years, but never had a chance to listen to them before.
The Sumiko suite at CES provided a huge listening space to introduce the new Vienna Acoustics' full-range, four-way Die Musik loudspeaker ($25,000/pair). Designed by Peter Gansterer (see photo), a pair of Die Musiks produced some of the best sound I heard at the show. The speakers were positioned quite far apart against a side wall, and the listener sat on a couch closer to the plane between the speakers than the distance between the speakers. This created a very wide, coherent soundstage quite unlike any other than I heard at the show. Bass response, which was superb, actually could be credited, in part, to a huge REL Studio 3 subwoofer, which was parked and running in the nearest room corner.
I corresponded briefly a while back with Gary Koh, CEO of Genesis. Gary has owned the company for the past five years, and moved it from its original home in Colorado to Seattle, Washington. When he took over the company, he was aware that his background was in computer software, not electronics. He decided that this could be an advantage. "Not being an engineer, I didn't know what was impossible. This explains to some degree the types of projects I've decided to take on, and those that have been achieved."