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Andy Singer, the retailer whose name and likeness have come to epitomize the high-end audio scene in New York City, brought two complete systems to the New York Audio Show, the more ambitious of which was built around the Verity Amadis loudspeaker ($30,000/pair). This three-way design uses a separate enclosure for its reflex-loaded woofer, which is then separated from the midrange/high frequency enclosure by means of a specially damped aluminum platform. Fed by a Playback Designs MPS-5 D/A converter with CD/SACD drive ($17,000) and driven by the VAC Statement Mk.IIA preamp ($19,000 including phono section) and VAC Statement 450S stereo amp ($39,000), and with Nordost cabling throughout, the Verity Amadis sounded open, clear, and nicely textured.

I had seen and heard a prototype of the Light Harmonic's Da Vinci DAC at the 2011 Axpona Show, but the 2012 NY Show saw the debut of the production version of this unique $20,000 DAC, which handle data with sample rates up to 384kHz over an asynchronous USB 2.0 link. Demmed in a system comprising Wilson Sasha W/P speakers, driven by a Pass Labs X100.5 amplifier and XP20 preamp, with all-MIT cabling, wit data sourced from an iPad-controlled Mac mini, the Da Vinci produced a sound that thrilled. A 384k-sampled recording of voice and acoustic guitar by Cookie Marenco sounded palpably real. I am planning on reviewing the Da Vinci in the late fall.

As well as providing the sound for the seminar room, which was where a recorded music concert, titled "Euphoria at the Waldorf," was presented Friday and Saturday evenings, The Tweak Studio's exhibit room also featured components from the premium German manufacturer Burmester: a pair of 380 Mk.2 speakers driven by a 911 power amplifier and an 088 preamp. Source was a Walker turntable and arm fitted with a Soundsmith Sussuro Hyperion cartridge. There was much to admire in this system's reproduction of Louis Armstrong singing "St. James Infirmary," but as was the case with so many of the rooms at the Waldorf, the presentation was marred by over-ripe room acoustics.

Long lines flooded out of the MBL room on the 18th Floor of the Waldorf=Astoria all weekend long, so I arrived at 9:30am on Sunday morning to see if I could get a good listen to the MBL system by myself. Upon arrival, MBL North America’s representative, Jeremy Bryan, was still setting up his smaller speakers, the mbl 120 Radialstrahler ($21,400/pair, without stands) along with their mbl C21 stereo power amplifier ($9200), mbl C11 preamplifier ($8,800), and mbl C31 CD player ($9,200), all members of their Corona line of electronics.

I sat to the side of the room while Bryan finished his set-up, centered in his listening position, tilting his head back and forth. After the first ten seconds of four to five different demo tracks, Jeremy blurted, “Alright! I think we’re set. Come sit down.”

I had visited the Legacy room at the NY Show hoping to hear the Whisper XD, which had been one of my best sounds at the 2010 Axpona Show. Though I have auditioned this speaker at other shows since then, they had never been set up in rooms that did them justice. However, when I visited the Legacy room, the relatively affordable Focus SE speakers ($8750–$9250/pair, depending on finish), set up at the other end of the room from the Whispers, were playing. Driven by Ayon tube amplification, this speaker, which combines a 1" Kapton ribbon tweeter with a 3" Kapton-ribbon midrange unit, two Rohacell-reinforced graphite-cone woofers, and two 12" aluminum-cone subwoofers sounded pleasant enough, but the listening conditions were not sufficiently ideal for me to make a more confident judgment of the speaker's quality.

Ayon's S3 Streamer ($8800) combines a DAC with a tubed preamp stage.

The larger of the two Audio Doctor rooms at the Waldorf=Astoria featured KEF's Blade speaker driven by Chord monoblocks and a Chord Red Reference digital player. This was my first chance to hear the English manufacturer's $30,000/pair speaker, which has been featured at dealer events the past few months. I was not disappointed: the sound of the Reference Recordings Scheherazade had focus and stability, coupled with an even full-range balance. (Could the array of Shakti Hallograph "candelabra" be responsible for what I heard? Nah!)