John Atkinson

NY Audio Show 2014: Sunday Afternoon

Before I conclude our coverage of last weekend’s New York Audio Show, let me say that it was a pleasant surprise to find the Marriott’s corridors still busy before the show ended 5pm Sunday. While the show had a smaller number of exhibitors than I would have wished, the venue was excellent and the show was definitely a success and those manufacturers, distributors, and dealers who exhibited all had excellent traffic. Well done, Chester Group.
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NY Audio Show 2014: Saturday Evening

Sony's hot news at the New York show was the launch of what they called a "Walkman." However, this was no cassette player like the Walkpersons of 30 years ago but a hirez-capable file player with 64GB of RAM and a micro-SD slot for memory expansion. Priced at just $299 and beautifully styled, as you can see from the photo with David Chesky modeling it, the new Walkman makes my Astell&Kern player look clunky. But peculiarly, the new Sony player doesn't handle DSD files, just PCM up to 192kHz.
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NY Audio Show 2014: Michael Fremer's Turntable Seminar

Billed as “Michael Fremer’s Ultimate Turntable Set-up Demo,” the final seminar at the Brooklyn show once again revealed that the editor of AnalogPlanet.com and Stereophile columnist has, as you might say, “large attachments.” I find setting up a phono cartridge the most stressful of audio-related activities, and that’s in the quiet of my home, with no pressure and all the time in the world. By contrast, Michael does it in public, with the clock ticking, an audience watching, and a high-definition video system showing a close-up of every move on the screen above and behind him.
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NY Audio Show 2014: The Vintage Seminar

The Brooklyn show offered a full program of seminars throughout the weekend, and one of the best-attended was "The Virtues of Vintage," which took place late Saturday afternoon. Chaired by Stereophile's Art Dudley (far left), a panel of expert anachrophiles comprising (L–R) Steve Rowell (Audio Classics), Mike Trei (Sound & Vision), Jonathan Halpern (Tone Imports), Joe Roberts (Silbatone and once Sound Practices) and Herb Reichert (Stereophile) started off by examining what great components from audio's past had to offer.
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God Lives in the Details

Hunter S. Thompson once wrote, "If you work in either journalism or politics . . . you will be flogged for being right and flogged for being wrong." I was reminded of Thompson's words when I read a forum post on our website. "Why is Stereophile way behind the other magazines?" asked "rs350z," explaining that, among things, he objected to Stereophile's supporting its reviews with measurements. "why waste the ink on doing measurements on each product reviewed," he wrote, with a disregard for capital letters. "There is no need to. I don't care if the distortion is 0.00005 or 0.00007, nor do i care about all of the other tests you do. What i care about is the sound, quality, finish, looks."
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Triangle Signature Delta loudspeaker

The French do things differently. I first heard Triangle loudspeakers at the 1981 Festival du Son, in Paris. That was, of course, after I had obtained admission to the show, in a nonintuitive process in which members of the press obtained their credentials at a booth inside the show. But my experience of the Triangle speaker, a small, three-way floorstander, was positive: It sounded clean and uncolored, and nothing like the BBC-inspired speakers I preferred at that time. The Triangle wasn't as neutral as the English norm, but there was something appealing about its sound—something that, I later learned, Stereophile's founder, J. Gordon Holt, referred to as jump factor.
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Accuphase DP-80L CD player & DC-81L digital processor

389accu.promo.jpg$13,000! You could buy two Hyundai Excels for that kind of money. Or one 5-liter Ford Mustang. Or two-thirds of a Saab 900 Turbo. How could the purchase of this Accuphase two-box CD player be justified on any rational grounds? What if it did offer state-of-the-art sound quality? Would it really be 50 times better than a humble Magnavox? Would it even be 4.3 times better than the California Audio Labs Tempest II CD player? And would it approach the sound quality routinely offered from LP by the similarly priced Versa Dynamics 2.0 turntable?
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Joseph Audio Perspective loudspeaker

For exhibitors, showing off their products at audio shows is a crap shoot. The vagaries of arbitrarily assigned hotel rooms with unpredictable acoustics can play havoc with the sound of even the best-sounding systems. But over the years I've been attending shows, Joseph Audio's dems have always impressed me with how Jeff Joseph manages to set up his speakers so that they work with instead of against a hotel room's acoustics. Yes, Joseph's setup skills, going back to his days in audio retail, play an important role here. But his speakers, too, need to be of sufficiently high quality to benefit from those skills. And if they can be made to sing in a hotel room, they will also stand a better-than-usual chance of doing so in audiophiles' homes.
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Celestion 3 loudspeaker

666celestian3.250.jpg"Why does John Atkinson devote so much of his time to loudspeakers selling for under a [sic] $1000?" wrote a correspondent to The Audiophile Network bulletin board in August, there being a clear implication in this question that "more expensive" always equates with "better" when it comes to loudspeakers. While it is true that the best-sounding, most neutral loudspeakers possessing the most extended low-frequency responses are always expensive, in my experience this most definitely does not mean that there is an automatic correlation between price and performance. I have heard many, many expensive loudspeakers whose higher prices merely buy grosser sets of tonal aberrations. For those on modest budgets, provided they have good turntables or CD players, a good pair of under-$1000 loudspeakers, coupled with good amplification, will always give a more musical sound than twice-the-price speakers driven by indifferent amplification and a compromised front end.

End of discussion.

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