Two more recent articles on the cassette tape revival: The Los Angeles Times tells us “<a href="http://www.latimes.com/entertainment/news/music/la-ca-cassette-revival-… tapes are back in the mix</a>,” while Fact Mag offers “<a href="http://www.factmag.com/2010/07/26/cassette-playa-in-praise-of-tapes/">C… Playa: in praise of tapes</a>.”
Grant Fidelity of Calgary, Canada specializes in low-cost, high-value equipment from China. To get an idea of the huge number of components on display by the company whose motto is "Hi-End, Not High Priced," please check out the list on their <A HREF="http://grantfidelity.com/site/2010_California_Audio_Show_grant_fidelity…;. There you'll find a complete list of components on display, descriptions, and pricing. You'll even discover a host of photos taken at the show.
Music Lovers Audio of Berkeley and San Francisco had the big and small of the Wadia line on display. When I entered the room, the Wadia 571 CD/digital preamp/DAC ($13,950) was on standby, and Wadia's diminutive 170 Transport iPod dock ($379) and 151 PowerDACMini ($1195) were doing the iPhone.
It was speaker technology last week, this week we go after amplifiers. What is your favorite amplifier technology and why?
The Simon Yorke S10 Record Player ($19,950), now imported into the US by Tim Nguyen's Tone of Audio in San Francisco, is the replacement for the former Simon Yorke S7. That's the table Michael Fremer used as his reference for 10 years until the far, far more expensive Continuum Labs Caliburn entered his life in 2006. The new S10 is completely hand-machined on a lathe by Simon and his son Spencer from solid raw blocks of aluminum and non-magnetic iron.
The California Audio Show welcomed the debut showing of the eye-catching JIB line of cables. I say eye-catching because the diminutive sound system at one end of the room was intended solely to provide soft background music for a static display.
An experience in the impressive room assembled by highend-electronics of Apple Valley, CA emphasized the importance of carefully choosing your demonstration discs. As I settled into my seat, a very assertive visitor asked if he could audition two CDs that he brings along to check out deficiencies in equipment. Once obliged, he began to assault us with two tracks of raucous, ear-burning music. I watched the folks next to me wiggle with discomfort as I put my fingers to my ears on the second track.
Teresonic's pairing with Garth Leerer's Musical Surroundings was full of surprises. I confess that I have not enjoyed Mike Zivkovic's single-driver Lowther-powered speakers in the past, finding them unduly bright. Here, they sounded very warm and inviting.
How this Oakland resident has lived all these years without knowing about the Profundo distributors in El Cerrito, just two cities over, is beyond me. Regardless, I'm sure glad I got to meet them, because their combination of Transfiguration, Trenner & Friedl, and Heed was making extremely mellow sound. Whether it was Norah Jones singing "Not Too Late" or Bruce Springstein's LP, <I>Ghost of Tom Joad</I>, the system sounded beautiful, smooth, and extremely musical.
One of the high points of my time blogging the first <I>Stereophile</I>-sponsored Axpona Show in Jacksonville was hearing the <A HREF="http://blog.stereophile.com/axpona2010/a_willing_audience/">Audience ClairAudient 16+16 loudspeakers</A> and meeting John McDonald. This time, John went from extremely large to relatively small. Instead of the 16+16 or 8+8, he brought his smallest loudspeakers, the Audience ClairAudient 2+2 ($5000/pair), augmented by a prototype ClairAudient subwoofer ($5000).