And how! Spinning the vinyl in the room shared by Musical Surroundings, Boulder, and Focal was the 770 lb Clearaudio Statement turntable with its integral stand. Omigawd! Magnetic bearings, a magnetically driven subplatter, an 80kg pendulum counterweight, an automatic horizontal leveling device including the tonearm platforms...
I admit it. I have found YG Acoustics' hyperbolic promotional material off-putting. But having recently listened to the Colorado company's 4-way Anat Reference Professional speaker system in Wes Phillips' system—he is reviewing it for our February 2009 issue—I made a point of seeking the speaker out for a longer audition at RMAF.
Luxman and Vivid distributor Philip O'Hanlon, of On A Higher Note, always has a great selection of music at Shows, and RMAF was no exception. With a system based on Vivid B1 stand-mounted speakers ($13,500/pair) driven by a Luxman 30Wpc class-A integrated amplifier via Synergistic Research cables, the sound of an open-reel dub of a Reference Recordings Malcolm Arnold orchestral piece was distinguished by an enormous, stable soundstage, and excellent dynamics, with superb resolution of low-level orchestral detail. But I just can't get used to the speaker's alien-pod appearance.
RMAF was my first chance to hear the new McIntosh MT10 turntable ($9500) that had starred in our 2008 CES blog. But after I had listened to vinyl on the McIntosh system for a while—and very good it sounded, too—Ron Cornelius drew my attention to the MCD500 SACD/CD player ($6500) at the top left of the stack shown in the photograph.
On Saturday night, Bay Area Audiophile Society coordinator Bob Walters gave me a list of rooms he urged me to visit. Since two were on the 10th floor of the Marriott Tower, on which I had not yet set foot, I resolved to check both out. I'm glad I did. The tenth floor of the Marriott was like a gold mine. All I had to do was walk down the hall to the next room, and more glorious sound awaited me.
Within minutes of running into Jeff Wells, new National Sales Manager for Spectron Audio, I found myself on the tenth floor of the Marriott. Playing my own version of pick a number, any number, I decided to check out the first room on my left. There, in a display sponsored by TweekGeek.com, I discovered two Spectron Musician III class-D amplifiers ($7195 each) driving SP Technology Revelation full-range speakers ($20,000/pair).
Something happened in the middle of the tenth floor. In the remaining rooms I visited to the right of the elevator—with apologies to all those systems I unintentionally missed due to the pathetic human limitation of being unable to be in three rooms at once—the sound was darker, less illumined, but nonetheless quite involving. This is actually a sound that large numbers of audiophiles prefer. It's a more seasoned and mellow sound, less apt to sound bright and edgy in live rooms, and closer to the sound in acoustically dampened environments. It's truly a case of different strokes for different folks.
I was surprised not only by the ease to the sound of my hi-rez audio files played on the system in the Wavelength room, but also by the resolution. Surprised, because I am not naturally a tube guy, and not only is Gordon Rankin's gear tubed, it is unshamedly single-ended.
A close-up of the Wavelength Cosecant v3 DAC ($3500) that I used for my hi-rez dems. Using a single 6GM8/ECC86 dual-triode to drive the single-ended, transformer-coupled output, this is one of a very few USB-input DACs on the market that runs the USB link in "asynchronous" mode, whereby the DAC controls the flow of data from the computer and not vice versa, thus drastically reducing word-clock jitter when those data are fed to the DAC chip. I was impressed by its sound, playing 24-bit/88.2kHz files from my laptop, so I have asked for a review sample.
As Jason <A HREF="http://blog.stereophile.com/rmaf2008/101208house/">mentioned earlier</A>, I gave 5 hour-long presentations at RMAF entitled "Hearing is Believing—Is Hi Rez Digital the Future of Audio?" To allow Showgoers to hear the differences between the hi-rez masters of my recordings and CD and MP3 versions, I used a system put together by <I>HiFi+</I> editor Roy Gregory for his demonstrations of system tuning—Ayre A7-xe integrated amplifier, Avalon Evolution NP2.0 speakers (which I <A HREF="http://www.stereophile.com/floorloudspeakers/708ava/">reviewed in July</A>, Vertex AQ cables, Stillpoints rack and speaker stands, and Quantum QX4 "field generator"—to which I added a MacBook running iTunes 8 driving a Wavelength Audio Cosecant USB DAC.