RMAF 2008

Could be. I saved my visit to the Audio Unlimited room almost for last on Sunday afternoon at RMAF. There was the pair of Focal Grande Utopia EMs that apparently had NY retailer Andy Singer dancing at their launch in France last spring. driven by a pair of Boulder 2050 monoblocks. Front-end was either Boulder's new 1021 disc player/music server or the Clearaudio Statement turntable. Cabling was all Tara Labs, including Mikey Fremer's reference The Zero interconnects. Musical Surroundings' Garth Leerer played me just two LPs for me to become awed by the 580 lb Focals: the Gary Karr transcription for double bass and organ of the Albinoni Adagio, which showed how effortlessly the speakers handled not just the spl but also the scale of the organ's sound, and Iona Brown's performance of Vaughan Williams' A Lark Ascending, which showed how well the speakers did delicacy.

I admit it. I have found YG Acoustics' hyperbolic promotional material off-putting. But having recently listened to the Colorado company's 4-way Anat Reference Professional speaker system in Wes Phillips' system—he is reviewing it for our February 2009 issue—I made a point of seeking the speaker out for a longer audition at RMAF.

RMAF was my first chance to hear the new McIntosh MT10 turntable ($9500) that had starred in our 2008 CES blog. But after I had listened to vinyl on the McIntosh system for a while—and very good it sounded, too—Ron Cornelius drew my attention to the MCD500 SACD/CD player ($6500) at the top left of the stack shown in the photograph.

Within minutes of running into Jeff Wells, new National Sales Manager for Spectron Audio, I found myself on the tenth floor of the Marriott. Playing my own version of pick a number, any number, I decided to check out the first room on my left. There, in a display sponsored by TweekGeek.com, I discovered two Spectron Musician III class-D amplifiers ($7195 each) driving SP Technology Revelation full-range speakers ($20,000/pair).

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.

As Jason mentioned earlier, 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 HiFi+ editor Roy Gregory for his demonstrations of system tuning—Ayre A7-xe integrated amplifier, Avalon Evolution NP2.0 speakers (which I reviewed in July, Vertex AQ cables, Stillpoints rack and speaker stands, and Quantum QX4 "field generator"—to which I added a MacBook running iTunes 8 driving a Wavelength Audio Cosecant USB DAC.

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–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–40kHz. Associated components were the same as with the F200.