Something happened in the middle of the tenth floor. In the remaining rooms I visited to the right of the elevator—with apologies to all those systems I unintentionally missed due to the pathetic human limitation of being unable to be in three rooms at once—the sound was darker, less illumined, but nonetheless quite involving. This is actually a sound that large numbers of audiophiles prefer. It's a more seasoned and mellow sound, less apt to sound bright and edgy in live rooms, and closer to the sound in acoustically dampened environments. It's truly a case of different strokes for different folks.

I was surprised not only by the ease to the sound of my hi-rez audio files played on the system in the Wavelength room, but also by the resolution. Surprised, because I am not naturally a tube guy, and not only is Gordon Rankin's gear tubed, it is unshamedly single-ended.

A close-up of the Wavelength Cosecant v3 DAC ($3500) that I used for my hi-rez dems. Using a single 6GM8/ECC86 dual-triode to drive the single-ended, transformer-coupled output, this is one of a very few USB-input DACs on the market that runs the USB link in "asynchronous" mode, whereby the DAC controls the flow of data from the computer and not vice versa, thus drastically reducing word-clock jitter when those data are fed to the DAC chip. I was impressed by its sound, playing 24-bit/88.2kHz files from my laptop, so I have asked for a review sample.

As Jason <A HREF="http://blog.stereophile.com/rmaf2008/101208house/">mentioned earlier</A>, I gave 5 hour-long presentations at RMAF entitled "Hearing is Believing—Is Hi Rez Digital the Future of Audio?" To allow Showgoers to hear the differences between the hi-rez masters of my recordings and CD and MP3 versions, I used a system put together by <I>HiFi+</I> editor Roy Gregory for his demonstrations of system tuning&#151;Ayre A7-xe integrated amplifier, Avalon Evolution NP2.0 speakers (which I <A HREF="http://www.stereophile.com/floorloudspeakers/708ava/">reviewed in July</A>, Vertex AQ cables, Stillpoints rack and speaker stands, and Quantum QX4 "field generator"&#151;to which I added a MacBook running iTunes 8 driving a Wavelength Audio Cosecant USB DAC.

There's nothing like being greeted as the audiophile equivalent of the Messiah to either make your day or impel you to run for cover. In the case of Peigen Jiang's Eficion speakers, I'm glad I got over my embarassment and stayed.

After a short visit to the Daedalus room, during which time Peigen changed speakers and cables, I returned to hear the F200's big daddy, the F300 ($14,900/pair). This is a 3-way, 4-driver vented box, with a rear-firing supertweeter, Air Motion Transformer tweeter, and copper shorting ring on the woofer to facilitate tighter bass. Frequency range is 24Hz&#150;40kHz, sensitivity 89dB, and weight 158 lbs each. The speaker comes in two parts, so that the mid-and high-range unit can be used separately as a center channel with an impressive frequency range of 40Hz&#150;40kHz. Associated components were the same as with the F200.

As I walked into the E.A.R./Marten room, Nat King Cole's voice sounded as beautiful as I have ever heard it reproduced. Through the modest-looking Marten FormFloor speakers ($6500/pair) and Marten FormSub ($4500), Reference Recordings' triumphant version of Rachmaninoff's <I>Symphonic Dances</I> was so thrillingly full and colorful that I could not hide my amazement. On <I>Dialoghi</I>, a demonstration-quality CD from Bob Attiyeh of Yarlung Records that Robert Levi of the Los Angeles Audio Society urged me to play, the sound of Elinor Frey' cello was as warm and beautiful as anyone would ever want it to be. I was in love.

Lou Hinkley's Daedalus Audio teamed up with an old friend, Art Audio/Gill Audio, and a new friend, Manley Labs. Showcasing the Daedalus Audio Ulysses loudspeaker ($10,950/pair), now boasting new improved internal wire, the system's dark presentation was very well delineated, with impressively three-dimensional sound. The midrange was especially mellow and inviting.

Boy, is it hard to take a good photo when a company purposely leaves the shades behind their equipment wide open. But given that Darren Censulo of Avatar Acoustics (now relocated to Fayetteville, GA) had tuned the room with Frank Chang's Acoustic System International Resonators so that it would sound great with all that exposed glass, asking him to close the shades in order to snap a clearer picture was out of the question.