While we have been salivating for months in anticipation of the impending release of the floorstander, the CS3.7 that Wes Phillips blogged about on Thursday, Thiel teamed a pair of them with 3 of the new SCS4 small LCR speakers (and a pair of SS-1 subs) in one of the most musical setups at the show. The SCS4 utilizes a single coaxial driver in a remarkably rigid and resonance-free enclosure. The front panel is an aluminum casting and the other panels are doubly-laminated 1" MDF. As a single source, this can be oriented vertically (as shown) or horizontally as a center channel without phase interactions. At only $1000 each, this matched sweetly with the CS3.7s.
So what does an audio guy discover at CEDIA? A turntable, of course. At the head of Sumiko's array of Pro-Ject turntables was their most elegant and impressive one yet. The RM-10 looks like a serious and grown-up RM-9 with a platform base and double-thick platter. At $2500, Pro-Ject's most expensive model yet, evoked buy-me-now urges in this lapsed vinyist. I understand that Michael Fremer has a review already in the hopper for our November issue.
Athena Technologies has been known for surprisingly high-value speakers tailored for home theater. At CEDIA, they unveiled a new LS Series, with the audiophile's taste in mind. The line features cabinets with curved sides so that the profile tapers at the rear, fiber-glass cones and aluminum-dome tweeters. The top-of-this-line, LS-500B is only $350 each! If the voicing is as stated and the finish quality is as remarkable as the floor samples, this line could have a huge market impact.
Here's designer Andrew Welker showing off his new baby floorstander in Mirage's OMD series. The OMD 15 is said to share many of the sonic splendors of the flagship OMD 28 and its general configuration, as well, in a slightly smaller size but at 1/3 the price! At $2500/pair, it offers a 1" titanium-dome HF, a 5.5" titanium-deposit hybrid midrange supplemented by a passive radiator and a 5.5" woofer operating with a down-firing port. In high gloss black, this was simply spiffy.
Late in the day at the Show, most glasses were filled or in the process of being emptied. This stack on the BG stand, however, was empty. It had been erected to show that Radia's new 210i Active Subwoofer is almost totally vibration-free in operation. At the time I took this picture, this sub, with its opposed 10" Kevlar drivers and 500w BASH amp was pumping out gobs of bass, cleanly and tightly. I could detect no vibrations at all with my hand. What's the point? Well, you can put something on top of them (vase, planter, cigar humidor!) without exciting spurious vibrations. Heck, you could even put this $1500 sub in a cabinet, if that suits your needs.
REL's new T Line of subwoofers is the first complete line since Sumiko's purchase of REL. The three subs are all dual-cone units with an active downward facing driver and a front-facing passive radiator. Powered, of course, and with the characteristic REL input and filtering arrangements that do not require an electronic crossover or any other insertions in the signal path of the main speakers. The picture shows the biggest of the three, all of which share the same technology, modern design and quality of parts and finish not generally seen at these prices.
It seems these days that everybody and his brother is doing something about room equalization. Sure, we had the old-time graphic and parametric EQs—now we're seeing much more sophisticated and dedicated devices, from the TacT and Z-Systems standalone products to the auto-setup and EQ systems found in many A/V receivers. I was impressed with the Audyssey MultEQxt in the Denon AV-4806 receiver—see my "Music in the Round" column in March, p.50—and a standalone AudysseyPro unit was demonstrated at the 2006 Consumer Electronics Show.
I am a Revel junkie. Their Ultima Studios have been my reference loudspeakers for years, and I've spent many happy hours with their Performa F-30s and Ultima Gems. They're all great speakers. When the original Gem was launched, it was made clear that all the corporate and economic weight of Revel's parent company, Harman International, was behind the development of this new line. When I visited Revel some years back, I saw cutting-edge design and development, in-house manufacturing of the most critical parts under the tightest scrutiny, and quality control of nearly compulsive meticulousness. All of this was reflected in the speakers' prices, which were reasonable for their quality and performance.
Ever since the 1960s, when I built a pair of Altec A7 clones, I've had a preference for relatively big speakers. Yes, I was seduced by the Stax F-81 electrostatics because of their incredibly low coloration, but inevitably I felt the need to return to something that would move more air. Regardless of the type of music (I do like the big stuff) or the sound levels, unless the sound has solidity and size, I can't easily suspend disbelief.
Oh boy! This was one of my most eagerly anticipated auditions. At my first demonstration of an OLS loudspeaker system several years ago, I was bowled over not only by the demo, but also by the idea that OLS's Kharma line was topped by the $1,000,000 Grand Enigma system!