"No pain; no gain." Thus goes the June 1991 offering from the Cliché-of-the-Month Club—(800) MOT-JUST—a saying that seems particularly appropriate for audiophiles with aspirations. High-performance loudspeakers fall into two categories. First are those exasperating thoroughbreds requiring endless Tender Loving Care and fussy attention to system detail to work at all. Take the Avalon Eclipse or the Infinity IRS Beta, for example: when everything is just fine, you put on record after record, trying to get through as much music as possible before the system goes off song again. On the other hand, speakers like the Vandersteens, Magnepans, B&W 801 Matrix, and KEF R107/2 appear to sound excellent even as you unpack them, before you've even put them in what you think might be the optimum positions in your listening room.

The question is: Are such unfussy designs really high-end? I mean, if they were truly high-performance speakers, shouldn't the owner have to suffer even just a little to reach musical nirvana? "A little pain; some sonic gain!" goes that other familiar saying.

You all know where you stand on this vitally important question. Me, I prefer to sit and construct the following graphical analogy. Draw a vertical axis and mark it "Absolute Performance." (The units are "gb," footnote 1) Now draw a horizontal axis and label it "Setup." (The units are "dU" for "deci-Ungers," footnote 2) Okay, sketch out an inverted V-shape. This curve, something like an engine's torque vs RPM curve, represents the manner in which a system's or component's performance changes according to how it is set up.

The Proceed CD player is the first digital product from Madrigal Audio Laboratories, a company known for their Mark Levinson preamplifiers and power amplifiers, including the very highly regarded No.20.5 power amplifiers. Given Madrigal's track record of producing ultra–high-end (and expensive) components, I was surprised and encouraged that the Proceed CD player is so affordably priced.

The Proceed was a long time in development, reflecting Madrigal's care and thoroughness before releasing a new product. Many technical innovations have been incorporated into the Proceed, and the machine's unusual appearance exemplifies the "start from scratch" attitude behind its development. With its nearly square proportions, grey cabinet, and sparse front-panel controls, the Proceed may set a new trend in audio component styling.

This story originally appeared at InnerFidelity.com

Some modified Grado cans have shown up in the lab. I don't know what my problem was getting to them in a timely manner, maybe it's my dislike in general for Grado cans, maybe it was the trouble I was having getting my corporate shipping set up, but I've finally managed to get around to listening and writing this post.

Oh, well, here we go ...

Every person I talked to—manufacturers, distributors, dealers, and, most important, audiophile visitors—were most enthusiastic about their experience at the Toronto Show. Of the visitors, perhaps typical was the brother of a neighbor of mine, who lives in Florida and made a point of timing his visit in Toronto such that he'd be able to attend TAVES. Both brothers came to the show, and took pains to look for me and tell me how much they enjoyed it. The brother from Florida said that there are not many audio dealers in his part of the country, and he really appreciated the opportunity to see and hear so many products that he had only read about in Stereophile.

The exhibitors I talked to were uniformly positive about venue, and about the efficiency of the TAVES staff. Congratulations to Suave Kajko, Simon Au, Sarah Tremblay, and Michel Plante (L–R in the photo): a winning team.

On their website, the only products listed are cables and stepup transformers, but at TAVES, Blueberryhill Audio had a new speaker on demo. And what a speaker! The Rhapsody 3D has a bipolar arrangement of two 8" full-range Fostex drivers, supplemented by a Fostex supertweeter, and a servo-controlled powered subwoofer, with all the drivers in cylindrical cabinets. The sound was fabulous, with startling dynamics, great imaging, and bass that was tight, well-controlled, and extended. The Rhapsody 3D was being driven by an 8W 300B amp for the mid/highs and another 25W tube amp for the supertweeter (or maybe the other way around; my notes are not clear on this). Sold factory-direct at $15,000/pair, the Rhapsody 3D system provided for me one of the best sounds of the show.

I've had a fondness for speakers by Vienna Acoustics ever since I reviewed their original Mozart. I've heard their larger speakers at shows since then, and they've always sounded excellent. This was also the case at TAVES. The Music (how can you criticize a speaker named Music?) at $27,500/pair was combined with electronics by Esoteric and cables by Transparent (about $42,000 total), and a MacBook Pro as the source.