Thiel was showing honest-to-God production samples of its CS3.7 ($9900/pair), which has a few cosmetic flourishes I hadn't noticed the times I spotted prototypes at earlier Shows. I could be wrong, but that aluminum cowling looks better-integrated with the body than I recall.
Lyngdorf was showing a $16,800 system that incorporated its RoomPerfect digital room correction system, which creates an EQ curve based on measurements taken in seven positions. The result is said to be a sweet spot that is spot-on in one position and "extremely fine" for up to eight target positions.
I stuck my head in Joseph Audio's room and asked, "What's new?"
What Mirage did display for real was the OM-28, their $7500/pair floorstander that boasts a real-size omnipolar titanium-dome tweeter, a 5.25" carbon-fiber midrange driver, and two 8" carbon-fiber woofers. The cabinet is ported with down-firing vents.
Mirage had a 36" mock-up of their omnipolar tweeter array on the wall, photographed here by Kalman Rubinson. A lot of people (well, me) thought it was real.
I saw it from a distance, spotlit and turning on a turntable. It was curved and sensuous, with its deep red flanks casting off highlights. I glanced up at the brandname and saw . . . Klipsch.
My bus was early, so I almost missed it. I sprained my ankle on Monday, so I can barely hobble down the aisles. Denver is humid. CEDIA is an A/V show.
Bitch, bitch, bitch.
It's funny, but everybody <I>knows</I> the Edsel was a flop and a wretched car. Everybody that is, except people who own one. I've known four people who were proud Edsel owners and their cars were all great rides.
Fred Hersch is playing six nights of piano duets at the Jazz Standard in New York City this week, pairing off with a different pianist each night, and Tuesday’s opening set was a marvel, further evidence that Hersch, not quite 52, is one of the two or three most harmonically imaginative jazz pianists on the scene and keeps carving new pathways—more intricate and probing, but no less swaying or lyrical.
