Capital AudioFest 2018

I began my Sunday morning at Capital Audiofest with a portion of one of Malcolm Arnold's jaunty overtures: not quite sacred music, but it was nonetheless magnificent in the room sponsored by Gryphon Audio and retailer 20/20 Evolution Systems. In addition to having appropriate weight and realistic die-away, the sound of mallet on bass drum had the most tonally realistic thud I recall hearing through a hi-fi. And on a CD vinyl drop of the mono version of Mal Waldron's "Warm Canto," the unison piano, cello, and double-bass notes in the opening measures had realistically tactile note attacks—likewise Ron Carter's pizzicato cello solo, which was very moving, appropriately so.

Listening to music in the Emia Labs room was one of those moments when I was reminded of how very little I know—that and how distressingly easy it has become for me to acclimate to different levels of audio goodness when confronted with different levels of build quality and design ingenuity. Earlier in my first day at Capital Audiofest 2018, I had heard other things I had thought were very good—and they were, in their way. But listening through the Emia system to recordings I know well—especially LP reissues from the Electric Recording Company, which co-sponsored the Emia room—was an experience far in advance of most.