LATEST ADDITIONS

Using the same treble and upper-midrange Air-Motion Transformer units as the Class Column 3 that Bob Deutsch writes about in the next story, the much more expensive Tensor Beta Mk.2 ($35,000/pair) adds new lower midrange unit and woofers, all with Hexacone diaphragms. The massive, cross-braced MDF enclosure features a 22mm-thick aluminum baffle and the interior walls are faced with a unique plastic-honeycomb substance with the cells filled with steel shot. The shot very effectively absorbs vibrations.

Invented by Oskar Heil and made popular by speakers under the ESS name in the ‘70s, the Air Motion Transformer (AMT) tweeter and midrange have lost popularity for a while, but have made a major comeback in speakers made by a number of manufacturers, including ADAM Audio in Germany. The Column Mk.3 ($7000pair), reviewed by Kal Rubinson in August 2012 was used by Cary Audio at CES, and had what I now think is a sonic signature that’s apparent in a variety of loudspeaker designs: low in coloration and detailed without being overly bright.

Erick Lichte was very impressed with the Marten Django XL loudspeaker when he reviewed it last September. The three-way Django costs $15,000/pair, but CES saw the debut of the two-way Django L, at a more affordable $9000/pair. A 1" Accuton tweeter is married to two 8" woofers and the sound on Peter Gabriel's "Don't Give Up" was much better-integrated than I would have expected.

Listening to the big MartinLogan CLX full-range electrostatics ($25,495/pair) at the June 2012 Newport Beach Show had been a high point for me, though they were being demmed in too large a room. At CES, the CLXes were in a smaller room, and were being supported by a pair of MartinLogan's Balanced Force 210 subwoofers. Amplification was by Cello and the source included Berkeley's Alpha DAC. I sat down to listen to a 176.4kHz file of Respighi orchestral music from Referenece Recordings, but sadly it was not possible to form much of an impression, due to the conversations competing with the music.

The Phoenix, a large, attractive-looking three-way design with ceramic-diaphragm drivers, can be had in passive form for $75,000/pair or in active form for $95,000/pair. The active form includes a 500W class-D amplifier for the woofers and incorporates the Rives PARC low-frequency equalization. Demmed with VAC amplification driving the HF and MF sections, the active Phoenixes worked well on Charles Mingus Mingus, Mingus, Mingus, Mingus album, the low end sounding more evenly balanced than in most other rooms.

I sought out Manley Labs, manufacturer of tube amplifiers and preamplifiers, at CES. The system in their room included a Music Hall mmf-2.2le turntable, the Chinook phono stage that impressed Michael Fremer last August ($2250), a Steelhead phono preamplifier ($8000), a pair of Snapper monoblock 100Wpc tube amplifiers ($7650/pair), which use four EL34 output tubes, driving Neat Acoustic Ultimatum XLS speakers. EveAnna Manley mentioned after the show that she was working on a secret, prototype1 DAC that promises "to beat all comers." I greatly enjoyed the audio I heard in the Manley Labs room at CES. I had to agree with the saying on the rug that appears at every Manley abs exhibit: "Tubes Rule!"

Over the last several years, whenever I’ve run into High Water Sound’s Jeffrey Catalano at a show, he reminds me that I have an invitation to visit his NYC salon for a proper listen. I smile, thank him, and honestly agree: Yes, we definitely have to get together soon. It’s gotten to the point now that we don’t even have to talk about it. I know what he’s going to say, he knows what I’m going to say. For no good reason at all, I still haven’t made it down to 274 Water Street.