RMAF 2012

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Jason Victor Serinus  |  Oct 19, 2012  |  1 comments
Todd Garfinkle of M•A Recordings was so busy cueing up music for visitors on the three headphone amps in his room that he barely had time to talk. I’m a huge M•A Recordings fan, finding their choice of music from all genres—there’s even a recording of music composed and performed by Stereophile Contributing Editor/Web Monkey Jon Iverson. Alternesia—and their sound quality on both CD and high-resolution discs unique and compelling. In the photo, Todd is listening to his latest CD, Résonance, on which Nina Ben David plays music from baroque to contemporary on viola da gamba.
Jason Victor Serinus  |  Oct 19, 2012  |  0 comments
Rob Robinson of Channel D (Pure Music and Pure Vinyl, left) and Paul Erlandson of Lynx Studio Technologies (right), along with Jeff Joseph of Joseph Audio (in absentia), had plenty of reason to smile. In addition to announcing that Channel D’s Pure Music 1.9 ($129, updated without charge for current owners) is due October 30, and Pure Vinyl 3.1 ($279) is coming out a week earlier, on October 23, the system they had assembled was producing wonderful sound despite its far less than stellar set-up. . .
Jason Victor Serinus  |  Oct 19, 2012  |  16 comments
Without, of course, wishing in any way, shape, or form for the title of his four seminars, “Just How ‘Absolute’ Is Recorded Sound?,” to be misconstrued as referring to a certain publication based on what I personally consider a dubious concept, Stereophile editor John Atkinson used everything from a drumstick to a cowbell, both sounded “live” and played back on the seminar room’s stereo system, to convey the message: “Nothing is real. How the recording art affects what you think you hear!” As John proceeded to point out that the brain combines information from separate left and right loudspeakers into a single stereo image, my own brain began to repeat the refrain, “30 or so more rooms in the hall, 30 or so more rooms, If one of those rooms should end up uncovered, your ass will be plastered far into the wall.” Hence I vamoosed, and now leave it to John to say more about the content of his seminar.
Art Dudley  |  Oct 19, 2012  |  7 comments
Perhaps I don't spend enough time at my local Apple store—which is, after all, only 70 minutes away—but I confess that I'd never heard the word thunderbolt in a high-tech context before RMAF 20212. Now, having attended the computer-audio seminar moderated by my friend Michael Lavorgna—of sister site AudioStream.com—I know that Thunderbolt is now the preferred interface for connecting a music-storage drive (or NAS) to a current iMac or MacBook. Seen here are panelists Rob Robinson (Channel D), Mark Waldrep (AIX and iTrax), Steve Silberman (AudioQuest), and Michael Lavorgna (left to right).
Jason Victor Serinus  |  Oct 19, 2012  |  0 comments
Steve (Sze) Leung, a neighbor of Stereophile’s Wes Phillips and a joy to boot, made my day when he played a 45 rpm audiophile pressing of Elvis’ “Are you Lonesome Tonight.” As the great one began to intone the chapters of this teenage melodrama with tongue-in-cheek sincerity, the sound was so vivid and lifelike that images of the night I tried to ask Ellen Schmidt to go steady flooded through my mind.
Jason Victor Serinus  |  Oct 19, 2012  |  3 comments
I’m afraid I hit High Water Sound’s room at the end of the fourth floor at a time when, overwhelmed by how many systems I had left to visit before show’s end, could only muster the words “very nice sound” in my notes. Clearly I owe you an apology, and Jeffrey Catalano’s high-end emporium a visit the next time I’m in New York City.
Art Dudley  |  Oct 19, 2012  |  0 comments
The German manufacturer ADAM Audio, whose high-frequency drive-unit technology is descended from that of Oskar Heil's Air-Motion Transformer, introduced their new Gamma loudspeaker ($22,000/pair), which is built around a 25mm-thick aluminum baffle: a departure from the honeycomb material used in elder ADAMs. Demonstrated with a pair of Cary SA 500.1 solid-state monoblocks ($4995 each), Cary SLP 05 preamp ($8495), and Cary CD 303T CD player ($6995), the Gammas were clear and distinctly articulate, with a pleasant balance overall—although I wouldn't have wanted them to be an iota lighter.
Jason Victor Serinus  |  Oct 19, 2012  |  1 comments
Squeezed into a small hotel room were the towering G’bell Epoque loudspeakers ($70,000/pair), driven by Artemis MK II monoblock amplifiers ($120,000), Stahl-Tek’s Opus DAC ($40,000) and Opus CDT ($37,000), with connections courtesy of Purist Audio Design 25th Anniversary cabling. How all this would have played out in a larger room, I do not know, but here, both period instrument and modern violins sounded edgy on different recordings, and bass was out of control on a third recording of a Mahler symphony.
Jason Victor Serinus  |  Oct 19, 2012  |  0 comments
The sound in the room from Arte Forma of Taiwan, represented in the US by Aire Audio, completely seduced me. Playing a wonderful recording of pianist Murray Perahia performing Handel, I was captivated by the presentation’s beautiful glow and air. It felt as though a light was shining from within the piano. This system portrayed the high treble delicacy of the piano’s strings like few others.
Art Dudley  |  Oct 19, 2012  |  1 comments
Robert Kelly of German Physiks strikes a pose worthy of a Kraftwerk album cover while showing off the company's newest loudspeaker, the Unlimited Mk.II ($13,500/pair). With the company's omnidirectional DDD driver handling everything above 200Hz, the Unlimited Mk.II had an unsurprisingly open and spacious sound, with the same sort of near holographic imaging I heard in the Nola room: very impressive.
Jason Victor Serinus  |  Oct 19, 2012  |  0 comments
Was it divine retribution that inspired Zu Audio’s Sean Casey to play The Evens intoning “Shut Up! Shut Up!” just as I entered the room? All I know is that, while I have been critical in the past of Zu Audio’s incisive sound, I never fail to find the room full of people digging it. More than that, Sean surprised me by playing Ella Fitzgerald, later in life, performing “Good Morning, Heartbreak,” and I too was digging it. Clearly Zu speakers, cabling, and cartridges are suited to jazz as much as raucous rock.
Jason Victor Serinus  |  Oct 19, 2012  |  0 comments
Tone Audio’s founder, Jeff Dorgay, seated in the center of the photo, made sure to bring his lava lamp to set the tone in his publication’s hospitality suite on the 5th floor of the Marriott Atrium. Enjoying the ambiance were Shelly Williams of GIK Acoustics and John Derko of Digital Audio Review. Tone Audio celebrated its 7th anniversary at RMAF, Stereophile its 50th!
Jason Victor Serinus  |  Oct 19, 2012  |  2 comments
Vanatoo is certainly giving other companies a run for their money with their Transparent One powered loudspeakers ($499–$549/pair, dependent upon finish). Deferring to Michael Lavorgna’s recent review on Stereophile’s sister publication, AudioStream.com, I can simply say that the bass and sheer energy coming out of these small speakers was extremely impressive. In fact, it was so impressive that the folks running the demo felt the need to frequently tell the large crowd that everything was coming out of the two speakers, without aid of a subwoofer or any other hidden device.
John Atkinson  |  Oct 19, 2012  |  2 comments
Taking a somewhat different, historical approach than my presentation on the same subject at the 2009 RMAF, HiFi Plus editor Alan Sircom, despite being jetlagged, forcefully showed how insensitive use of compression kills recorded sound.
Stephen Mejias  |  Oct 19, 2012  |  6 comments
My audiophile doppelganger, Music Hall’s Leland Leard, brought props to RMAF—a pair of bright, red glasses and a stuffed kitty cat doll—and asked attendees to smile for the camera.

I can’t help wonder whether one’s truest self is revealed when donning the bright, red glasses. Or, I suppose, while petting the kitty.