At T.H.E Show SoCal, tubed equipment didn't seem as prevalent as I've seen at some other shows, but it still had a presence—a very strong presence—in Zesto Audio's demo room 227. The California-based amplification and electronics manufacturer is led by George Counnas, who has also worked as an audio engineer in addition to designing equipment tubed hi-fi equipment, and his wife, Carolyn, who is responsible for Zesto's signature industrial design.
At T.H.E. Show, Zesto presented a new digital-to-analog converter with analog-tubed output section, the Athena DAC ($15,000) with ESP (Energy Source Power) Supply, a power-supply upgrade. The Athena's front-panel matte-metal "wave" design motif, seen on all Zesto components, here has lights and labels that provide details about the track being played, such as file type (PCM or DSD X1, X2, or X4), bit depth (16-bit or 24-bit), and which of eight PCM sample rates (44.1kHz through 384kHz). Input selections (via a knob on the right side of the front panel) include coaxial (2), optical (2), AES3, USB, and I2S over HDMI.
The Athena was a preproduction prototype. It's expected to enter production soon with few if any notable changes, George told me.
Other equipment from Zesto was on hand and in system: a Zesto Andros Deluxe II tubed phono stage ($8300); a pair of Zesto Eros 500 Select class-A monoblock amplifiers ($35,000/pair); a Zesto Leto Ultra II tubed preamplifier ($11,900). The analog source was a Benz Micro Gullwing MC cartridge ($3900) affixed to a Tri-Planar Mk VII (U2 Classic) 9.8" tonearm ($7500) on a Dr. Feickert Blackbird turntable with linear power supply ($9900). The speakers were YG Acoustics Summit speakers ($29,000/pair). Stillpoints supplied racks, stands, isolation feet, and acoustic panels. Cardas Audio provided cabling .
George spun the title track from Bonny Light Horseman's self-titled LP. Imaging was i3D, solid, and to scale: Vocals and harmonies sounded full and slightly warm, guitar strums clean and tactile, harmonica suitably mournful. On partial listen to a Delvon Lamarr Organ Trio LP cut, transient attacks were percussive and snappy.
Switching to digital, Paul Simon's "Diamonds on the Soles of Her Shoes," from Graceland, sounded sensational. Ladysmith Black Mambazo and Simon, in the various vocal sections and soloists coming in and out, blended yet distinct. All the musical layers—trumpet, saxes, African drums, guitars, and so on—were well-sorted and full of life.
At T.H.E. Show, Zesto presented a new digital-to-analog converter with analog-tubed output section, the Athena DAC ($15,000) with ESP (Energy Source Power) Supply, a power-supply upgrade. The Athena's front-panel matte-metal "wave" design motif, seen on all Zesto components, here has lights and labels that provide details about the track being played, such as file type (PCM or DSD X1, X2, or X4), bit depth (16-bit or 24-bit), and which of eight PCM sample rates (44.1kHz through 384kHz). Input selections (via a knob on the right side of the front panel) include coaxial (2), optical (2), AES3, USB, and I2S over HDMI.
The Athena was a preproduction prototype. It's expected to enter production soon with few if any notable changes, George told me.
Other equipment from Zesto was on hand and in system: a Zesto Andros Deluxe II tubed phono stage ($8300); a pair of Zesto Eros 500 Select class-A monoblock amplifiers ($35,000/pair); a Zesto Leto Ultra II tubed preamplifier ($11,900). The analog source was a Benz Micro Gullwing MC cartridge ($3900) affixed to a Tri-Planar Mk VII (U2 Classic) 9.8" tonearm ($7500) on a Dr. Feickert Blackbird turntable with linear power supply ($9900). The speakers were YG Acoustics Summit speakers ($29,000/pair). Stillpoints supplied racks, stands, isolation feet, and acoustic panels. Cardas Audio provided cabling .
George spun the title track from Bonny Light Horseman's self-titled LP. Imaging was i3D, solid, and to scale: Vocals and harmonies sounded full and slightly warm, guitar strums clean and tactile, harmonica suitably mournful. On partial listen to a Delvon Lamarr Organ Trio LP cut, transient attacks were percussive and snappy.
Switching to digital, Paul Simon's "Diamonds on the Soles of Her Shoes," from Graceland, sounded sensational. Ladysmith Black Mambazo and Simon, in the various vocal sections and soloists coming in and out, blended yet distinct. All the musical layers—trumpet, saxes, African drums, guitars, and so on—were well-sorted and full of life.
Advertisement
