Julie Mullins

Julie Mullins  |  Apr 29, 2022  |  0 comments
Fidelity Imports' second room showed on passive display the latest speaker from Perlisten, the three-way S5t tower, a smaller sibling to the Perlisten S7t in the active setup (and that Kal Rubinson reviewed in December 2021, bottom photo). A (forthcoming) new Aurender A15 music server/streamer with DAC (top photo) decoding full MQA served as the source.
Julie Mullins  |  Apr 29, 2022  |  3 comments
Toronto-based American Sound of Canada, with Angie Lisi at the helm, had a striking showing at AXPONA: Huge horns. If you saw and heard them, you'd remember them. It was a popular room, so I made an early first stop on Sunday when it wasn't crowded.
Julie Mullins  |  Apr 29, 2022  |  2 comments
American Sound presented a second demo in the suite's smaller room: Avantgarde Acoustics' Uno XDs, a smaller model soon to be upgraded to G3 status, driven by Japan's Phasemation amplification.
Julie Mullins  |  Apr 29, 2022  |  2 comments
When I heard Usher's "Yeah!" being blasted out from the, uh, Serenity Room, I wondered whether to go in or hang back from the crunk. Not hating on the song, but it was awfully early in the day for this. (It turns out there was someone shooting a video in there.) But the real surprise was that the bumping, club-worthy music wasn't coming from outsized tower speakers, but from a pair of stand-mounted two-ways with some innovative porting.
Julie Mullins  |  Apr 28, 2022  |  2 comments
It's a good sign that at least some AXPONA exhibitors showed systems that were more budget-friendly than most. On the door to room 666 (perfect, right?) was a piece of paper affixed with blue painter's tape. Handwritten in all-capital letters, it read: "WARNING! DO NOT ENTER IF YOU WANT TO SPEND A FORTUNE ON YOUR HIFI."

Behind that door I encountered a simple but really good-sounding system that didn't call for apologists to stumble over themselves 'splaining.

Julie Mullins  |  Apr 28, 2022  |  0 comments
The Rega room was one of two rooms the Sound Organisation, a distributor of several brands from the UK, had at the show. Their other exhibit in room 662 consisted of some recent gear from Chord Electronics, such as stacked racks of the Chord Qutest DAC, Huei phono preamplifier, etc. on static display. The active system was rather old-meets-new: It had BBC School Spendor Classic 2/3 speakers ($6100/pair, just over $7000/pair with stands) and a 180Wpc Chord Ultima 6 ($9200) stereo power amplifier.
Julie Mullins  |  Apr 28, 2022  |  1 comments
MoFi Distribution showed some classic hi-fi gear—tube amps and classic speakers—in two of their four rooms, suites 330, which I cover here, and 346 (report to come). A few products debuted, including tubed amplification from Mastersound, an Italian company with a rather un-Italian name. MoFi Distribution's VP of Sales & Marketing Jon Derda told me that Mastersound winds their own transformers in-house. The brand is new to MoFi's roster—and new to me.
Julie Mullins  |  Apr 28, 2022  |  0 comments
When I've visited the Zesto Audio room at different hi-fi shows in recent years, I've noticed that sometimes they've shown their tubed electronics driving modern loudspeakers from Lumen White, for instance. Other times, it's been vintage classics, such as Tannoys. At AXPONA, they chose very old-school Tannoy Kensington GR loudspeakers ($18,000/pair), which of course, showed quite different sound characteristics from, say, Lumen Whites.
Julie Mullins  |  Apr 27, 2022  |  21 comments
From a new company came a new loudspeaker design that was four years in the making—thanks in part to the pandemic. But COVID downtime gave Malbork Audio founder and designer Daniel Fajkis (above) one advantage: more time to refine his inaugural Malbork Warsaw loudspeaker design through more math and engineering and simulations, Fajkis told me.
Julie Mullins  |  Apr 27, 2022  |  5 comments
Peace and quiet at a busy audio show is hard to come by. I especially wasn't expecting mellow respite on a Saturday show day. But I found some lovely-sounding music and a chilled-out vibe in Vinnie Rossi's demo room 488. Only a couple of listeners came and went during that time. Control of the iPad—and Vinnie Rossi remote control—were mine.

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