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"Concrete is toxic to the sound of speakers!" explained Mapleshade's Pierre Sprey, when I asked about the maple platforms and brass footers on which everything was standing in his room at Capital AudioFest. Pierre makes superbly natural-sounding recordings, but also lives in a world where everything matters when it comes to optimizing sound quality. The system comprised Sonist Concerto 4 speakers ($5895/pair), these a 97dB-sensitive design with a solid poplar front baffle, driven by a heavily modified vintage tubed Scott integrated amplifier. (Pierre has been buying up used examples of this…
Classic Audio Loudspeakers' John Wolff, along with his red shirt, the parrots that perch on his speakers, and the reproductions of Nipper he offers for sale, is a fixture at regional audio shows. When I asked him about this, he responded that he believes regional shows are the future of this industry. John was using Atma-Sphere tube electronics, including M-60 monoblocks, to drive his 4'-tall T-3.4 speaker, which uses a wood radial Tractrix midrange horn fitted with a 4" beryllium-diaphragm compression driver firing into a 2" throat, coupled with twin 15" woofers—one firing forward, the other…
Capital AudioFest organizer Gary Gill is a fine jazz trombonist, as I found out when we both sat in with Steve Davis's band at the Atlanta Axpona in April. To remind Showgoers what the real thing sounds like, Gary's quintet performed Saturday evening in the hotel's bar. This is Gary in full song, but not shown in my photo are the, not one but two Theremin players who sat in on some songs.
The Highwater Sound room at the Atlanta Axpona had been one of Stephen Mejias's favorites: "I felt as though I were in a concert hall, gripped by the music, by the space around me, by the physical motions of musicians striking, plucking, and bowing their gorgeous instruments. There was a certain sacredness to the scene, a sense that what was taking place should not and could not be disturbed," he wrote. Unfortunately, by the time I got to that room on Sunday, Highwater's Jeffrey Catalano was already striking the system, so I made sure I had plenty of time to visit the Highwater room at…
The engineer in me just doesn't get the products from AudioNote UK. Unprepossessing, two-way speakers that cost a lot of money; non-oversampling digital products that cost a lot of money; single-ended triode amplifiers that cost even more. But the musician in me makes sure I always check out the AudioNote room at an audio Show—a fine time is guaranteed for all!
Such it was at AudioFest 2011. When I walked in, David Cope (left) was playing a CD of the Rachmaninov cello sonata on the AudioNote CD4.1X player ($10,500). Amplification was being provided by the AudioNote Jinro integrated…
"The Voice That Is" is the name of a Newtown Square, PA, retailer and when I walked into their room, I had no idea what equipment I was listening to, as it was—again—totally dark! (I had to set my camera's "film speed" to a noisy 1600 to get a photo at all.) But the music playing, Stevie Ray Vaughan's "Tin Pan Alley," took me back a quarter century, when all you heard at audio shows was this cut. But it never sounded this good back then!
As my eyes accommodated to the darkness, I could make two pairs of Tidal speakers, the floorstanding Piano Diaceras ($37,690/pair) behind stand-mounted…
The larger of the two JS Audio rooms featured Wilson Sasha W/P speakers driven by Dan D'Agostino's new Momentum monoblock amplifiers. Source was either a Sooloos system or the Sound Devices digital recorder belonging to Wilson's Peter McGrath (pictured standing on that hotel carpet), both feeding data to Meridian's 808 Mk.3 CD player/digital processor, which also controlled playback volume. My hurriedly scrawled notes say that the Sooloos feed was via Ethernet, but don't hold me to that; the Sound Devices was definitely S/PDIF. The cabling was all Nordost Odin, which may well have cost more…
... may have been fairly small as these things go, with just 28 exhibitor rooms, which is way fewer than THE Show Newport Beach a month ago. However, that is still 6 more rooms than the Axpona NYC just two weeks ago, with about the same number of marquee brands, in a hotel with generally better-sounding rooms than New York's Affinia. Show organizer Gary Gill, shown here giving away the prizes at the first of the nightly raffles, took a big gamble moving last year's intimate show into a hotel venue, but it seemed to have worked: both exhibitors and attendees seemed very upbeat about the event…
Trumpeter-composer David Weiss calls his quintet Point of Departure, an intriguing but risky move from the get-go. That's the title, after all, of Andrew Hill's 1964 Blue Note masterpiece, one of the most appealingly adventurous sessions in post-bop jazz. In short, Weiss has set the bar high. The startling thing is, he clears it.
The band's new CD, Snuck Out (on the Sunnyside label), is a terrific album, one of my very favorites so far this year. Its melodic lines swirl in catchy cascades without quite settling into melodies. Its free-style rhythms are tethered to a structure of harmony…
In what is sure to be a win-win situation for both manufacturers and consumers, Fine Sounds SpA of Milan, Italy, owner of Sonus Faber, Audio Research Corporation and Wadia Digital, has acquired 100% of Sumiko manufacturing and distribution in Berkeley, CA. In addition to distributing Wadia Digital next month, Sumiko will continue to distribute Sonus Faber loudspeakers, REL subwoofers, Pro-Ject Audio Systems turntables and electronics, SME turntables and tonearms, Sumiko phono cartridges, and Okki Nokki record cleaning machines in North America.
With the acquisition, Sumiko's current…