LATEST ADDITIONS

Thiel’s long-awaited trickle-down speaker from 2008’s ground-breaking CS3.7, the CS2.7 ($9900/pair), made its North American debut in one of the Denver Audio Designs rooms. It combines the coaxial HF/MF unit that the late Jim Thiel developed for the ‘3.7 with a proprietary 8” woofer, reinforced with a passive radiator to give claimed bass extension to below 35Hz. Frequency response is specified as 35Hz–20kHz ±2.5dB, and crossover filters, of course, are all first-order. (No impedance spec was given; Thiel speakers have always been current-hungry.) The CS2.7s were demmed with Aragon Iridium 400W monoblocks ($7998/pair), an Aragon Sound Stage digital preamp ($4499), an Arcam CD37 SACD/CD player ($2299), an Arcam FMJ D33 D/A processor, and Straight Wire Expressivo interconnects and speaker cables, and Straight Wire Blue Thunder AC cords. The sound of Ryan Adams’ “Dirty Rain” had extended lows, grain-free highs, and superbly stable, well-defined stereo imaging.

In two adjacent rooms, GTT Audio & Video showcased systems dominated by much-admired YG Acoustics loudspeakers. In the smaller set-up, the diminutive YG Acoustics Carmel ($18,000) joined the excellent PS Audio PWT Memory transport ($3500), Devialet D-Premier all-in-one DAC/Phono Stage/Integrated amp ($16,000), and Kubala-Sosna Research Emotion interconnects and speaker cable ($3000/first meter) and power cables ($1100/first meter). The chosen material, Jascha Heifetz’s classic recording of the Mendelssohn Violin Concerto, sounded excellent, but the system’s clarity drove home to me that he was playing so fast that much of the soul of the music was lost.

Listening to HDTracks’ 24/192 download of the Jimmy Cobb Quartet’s Jazz in the Key of Blue, I finally heard what a well-tuned MSB system can do. “So musical!” I wrote in my notes. Instrumental timbres were excellent, with the warmth and fullness of Roy Hargrove’s trumpet portrayed with near tube-like roundness and warmth. Combined with the air and depth conveyed by the high-res recording, and the sheer presence of the drums, the experience opened a portal to audio nirvana. I could have spent hours exploring music in multiple formats on this system, and still have wanted more. It killed me to have to leave the room so soon. Only the reality of many more rooms to cover before show’s end kept me from staying longer.

I’ve come to expect three things from Jeff Joseph of Joseph Audio: great music, great sound, and great set-up. The music came first. With the new Joseph Audio Pearl3 loudspeakers (introductory price $28,500/pair) singing their hearts out, the timbres of Ben Webster and Gerry Mulligan’s saxophones were gorgeously conveyed. The same goes for the massed voices on Cantata Domine’s Scandinavian language version of “O Holy Night,” which was a favorite classical demo track at RMAF for exhibitors with analog rigs.

Legacy's Bill Dudleston stands by the new Aeris speaker ($16,900/pair), which combines an AMT tweeter/supertweeter module (see below) with a dipole midrange unit and upper woofer—these have corrugated surrounds for maximum inearity—and two sealed-box subwoofers operating below 220Hz and driven by an internal 500W ICE-power class-D amp. With an AVM amplifier and CD player,the sound of Tchaikovsky's Italian Caprice was forceful and clean, though the big bass drum thwacks clipped the amplifier at the level I had chosen for the orchestral sound in the large room Legacy was using.

Austrian company Ayon was sharing the large room with Legacy, which led to some delicate choreography scheduling dems. A pair of Lumenwhite Artisan speakers ($25,000/pair) was being driven by Ayon’s Triton 3 tubed, class-A integrated amplifier ($12,500), with an Ayon S3 media server ($8500) providing the bits. Some dub-step/electronica/who-knows-what-genre tracks from Swiss band Yello rocked the house on this system!