I followed my visit to the <a href="http://blog.stereophile.com/rmaf2010/physical_sound_from_kaiser_gte_aud… Acustica</a> room with a stop in a room occupied by Tidal Audio, dCS, and Argento Audio.

A familiar dem track was playing when I entered the large room from Colorado Springs retailer Audio Limits: "There'll Be Some Changes Made," from Mark Knopfler and Chet Atkins. However, rather than LP or CD, it was being played back from a PC running the J-River player and feeding the well-regarded Weiss DAC202 Firewire D/A converter ($6670). Speakers were the beautifully finished Venture Reference II Signature ($135,000/pair), which combines an AMT (Air-Motion Transformer) tweeter with a 7" graphite-coned midrange unit and four 8" graphite-coned woofer. Amplification was the Swiss FM Acoustics 811 Mk.II amplifier (455Wpc into 8 ohms, $128,800) and the FM Acoustics 245 preamp ($23,200). Power conditioning was by Isotek and Audience; racks were from Harmonic Resolution Systems. The full-range sound was superbly clean and effortless, but I couldn't help thinking that the room was not doing justice to this very expensive system's potential.

A familiar face and voice stopped me in the corridor outside the MC (Music Culture technology) room. It was MBL founder Wolfgang Meletzky, who, following his recent departure from the Berlin-based company, has started a new company to produce more affordable electronics and speakers. The system Meletzky was demming was based on the MC RL31 3-way tower speaker ($10,000/pair), this a conventional dynamic-driver design rather than the omnidirectional type that MBL was renowned for, driven by the MC801 power amplifier (180Wpc, $3300) and MC601 preamp ($3500). Source was an Onix CD player, as MC's own player had been held up in shipping. I listened to the Dutch Turtle Records CD of Sting's "Walking on the Moon," played by a trio of saxophone, double bass, and drums. The sound offered sharply defined transients, a natural midrange, and excellent low-frequency extension, and despite the room being one of the smaller ones in the Marriott Tower, the system's high frequencies were in natural balance with the rest of the spectrum.

I had been impressed by the sound Classic Audio were producing from their T1.3 Reference speakers at last March's Axpona Show in Florida. In Colorado, the Michigan-based company was using the smaller T3.4 speakers, which still use a field-coil–energized 15" woofer and Fostex horn tweeter, but with slightly smaller, Tractrix-flare midrange horn crossing over at 300Hz rather than 250Hz. The speakers were being driven by Atma-Sphere M60 tube monoblocks and an MP-1 preamplifier.

"Good grief, those look like Apogees," I muttered as I went into the Analysis Audio room and saw the Analysis Omega planar-ribbon speakers ($22,000/pair). Driven by Arion HS-500 hybrid monoblocks ($5995/pair), which combine a tube input stage with a class-D output stage, the speakers sounded a bit too warm in the upper bass on Jennifer Warnes version of Leonard Cohen's "Way Down Deep," but this could well have been a room effect. The soundstaging was to die for, in terms of stability and accuracy.

Perhaps the very prettiest gear of all I saw at RMAF was in the room occupied by Kaiser Acoustics, GTE Audio, and Fono Acustica. This was also the most </i>physical</i> sound I heard at the show; this system, more than any other I heard at RMAF, seemed to bring the musicians and instruments into the room with really impressive body and force.

See those little, white, star-shaped things? Those are room-tuning accessories from Stein Music. These were scattered, perhaps haphazardly, about the room&#151on the floor in front of an equipment rack (as seen here), as well as affixed to the walls and ceiling!

I ended Saturday's incredibly packed tour of the 15 rooms on the Marriott Tower's 10th floor with a stop in Musical Fidelity's room. It was a good choice. This was the first room at the show where I pulled out Channel Classics' superbly recorded hybrid SACD of the Ebony Band Amsterdam performing a unique arrangement of Revueltas' elemental, gutsy, phantasmagorical <I>Sensemaya</I>. The sense of air was immense, with amazing soundstaging that belied the small size of the room. I also loved the height of the soundstage, and the deep reaches of the bass. But as much as I savored the presentations' air and depth, this hardly laid-back system sounded a bit tipped-up in the highs, a common factor in many of the smaller rooms at the Marriott.

After building ModWright Instruments' reputation as a quality source for equipment mods, Dan Wright has expanded his business to include manufacturing his own components. Perhaps because his gear was called into play in a number of rooms, his own room was mobbed until Sunday, when crowds traditionally lighten up.