<I>Stereophile</I> hired good friend (and talented artist) <A HREF="http://www.jeffwong.com/">Jeff Wong</A> to cover HE2007 in his inimitable style. Jeff's three-page hand-drawn impression of the show will appear in the August issue.
"Have you heard the little Ushers?" I was asked Friday. "Have you heard the little Ushers?" I was asked repeatedly on Saturday.
I'm just here for the beer.
We trucked across the hall to the treated room which contained several sets of RPG Variscreen free-standing variable acoustics screen ($700/each), a Modex Plate ($1000)—which offers broadband low frequency absorbtion from 50–500Hz—and two Rives Audio Sub-PARC crossover/EQs ($4500/each). The system also boasted an extra pair of VAC Alphas—Richard Rives explained that he was using the Sub-PARCs as crossovers, bypassing their digital woofer amps to kep the signals equivalent from top to bottom.
Well, few people <I>have</I>. In a stunning collaborative effort, Rives Audio, RPG, Modex, Talon, VAC, Wadia, XLO, and Silent Running set up two rooms designed to demonstrate that even the best audio components need a little help from <I>intelligently applied</I> digital EQ and room treatment. Two rooms, almost mirror images of one another, with essentially the same system—only one room used EQ and treatment and the other didn't.
Here's the system rundown: Wadia 581i disc player ($9450), 100Wpc VAC Alpha integrated amplifier ($10,000), Talon Thunderhawk loudspeakers ($25,000/pair), XLO Signature 2 interconnects ($00/m). XLO Signature 2 speaker cable ($2700/2m), XLO Argentum XP3 power conditioner ($600), and Silent Running Craz Reference isoRACK ($6000, as configured here).
As American as Harley Davidson. They only use machines for the simple stuff.
The John Atkinson Trio had 'em dancing in the aisles. In fact, only mom Elizabeth Donovan's gentle persuasion kept Ms. Stuelke from dancing on the stage. I think we all wanted to join her.
I tried to get an arty shot of Bob Reina playing the Steinway. His chromaticism and inspired soloing made me aspire to a higher level of craft.
Allen Perkins absolutely <I>owned</I> "A Night in Tunisia."
I never miss the John Atkinson Trio's performances. I like to watch my friends play music and it's a great chance to bond with my fellow audiophiles for an hour or so. But this year wasn't like other years—the boys just flat-out smoked! Allen Perkins of Immedia, already one of my favorite drummers, has been studying with Peter Erskine for a few years and he has burned away any clutter (not that there <I>was</I> much) and is now even more purely <I>him</I> than ever. Bob Reina's regular gigging with Attention Screen has focused his strengths and, I suspect, freed him from having to express everything he has to say every time out. He's playing freer, looser, and tighter than ever. And JA (photographed here by Bob Deutsch), I suspect he's been woodshedding. With editing <I>Stereophile</I>, producing records, and measuring every component we review, where does he find the time?