Chesky Audio LC1

These small (about 1 cubic foot) stand-mount speakers come from the mind of Lukka Chesky, son of composer and recording engineer David Chesky. At $998 per pair, with good imaging and a rich tonal balance, the LC1s are definitely on our “must review” list.

Advance Paris

Advance Paris showed the MyConnect 250. This streaming integrated amp incorporates a CD drive. With the typical full-featured input and output array of Advance Paris integrated amps, the MyConnect looks like it really can be the complete center of a clean and attractive three-box audio system when paired with speakers. Or a 4 box system if you add a turntable or a TV, both of which are accommodated with the correct inputs. Price is $4299.

Magnepan MCR

Magnepan showed a new speaker that squeezes the wider bass/midrange panel and ribbon tweeter of the 1.7i into an LRS sized package. The MCR is intended for stereo in smaller rooms and also for Atmos multichannel systems. Magnepan showed the MCR as the left, right and height channels in an Atmos demo, and Atmos limitations aside, the sound had a noticeably smoother and more polished aspect than many theater-style demos. The price is estimated to be in the mid-$7000 range per pair.

PMC active Twenty5i speakers

For $6999, including electronic crossover and built-in amplifiers, the 22i version of these stand mount speakers sounded open and punchy. A nifty feature is that consumers can buy the passive version and then upgrade at a later date to the active version to gain the benefits of an electronic crossover and the compactness of built-in amplifiers. The premium for this is relatively modest.

With a streaming DAC with volume control, these could make for a high-performance 3 box setup.

Via Blue

German cable manufacturers Via Blue showed their nicely flexible cabling. Along these same “usability matters” lines, we inspected the ViaBlue cable lifters. The Rocket XL can hold and separate two cables with retention bands. The whole idea is to limit what ViaBlue calls “Kabelsalat” which is pretty straightforwardly translated to “cable salad” or we might say “rat’s nest”. Not only is KabelSalat ugly, proper dressing should reduce EMI. For $1310 for a set of 8 lifters, this seems like reasonable insurance for your expensive cable loom.

Unison Research 6S Black Edition with Opera Quinta speakers

These new products, from Italy, sounded rich and dynamic fed by an Aurender streamer. The Unison Research integrated amp is a fully tube design with 40 watts per channel and is priced at $6999. The Opera Quinta floorstanding speakers will be available later this year at a price in the $7000s per pair range.

Voxative Alberich Array System

These new speakers are a modular design. You can start with a pair of Hagen2 stand-mount sized speakers for $5900. You can then add more Hagen2 modules and/or add the Alberich2 active woofer module with 500 watts of integrated power. The Hagen 2 is a single-driver concept and the Alberich2 is an unusual Ripol dipole woofer design. The 100 db sensitivity speakers were demonstrated with the Voxativ T-211 integrated amp rated at 12 watts per channel. The sound was controlled and dynamic. The full array is priced at $30,900, but of course you can build smaller versions to keep the price down. Also note that the Ripol woofers are available separately, potentially for pairing with other speaker brands.

Acora Acoustics

Acora showed a new line of five speakers priced between $8k and $16k per pair. The sound of the entry MRB model, driven by VAC tube electronics, was dynamic, balanced and capable of high output. We heard the largest MRC-3 model with its high sensitivity of 92 db and it worked well with moderate tube power from VAC. Cabinets in this line are marble rather than Acora’s customary granite, but the base finish and optional versions seemed quite attractive.

Esoteric Class A integrated amplifier and 64-bit Streaming DAC

The Esoteric F-01 is a pure class A integrated amplifier that sells for $18,000. Pure class A is has technical advantages from the perspective of low distortion, but it is inefficient, which typically raises costs and lowers power. The F-01 is a 30 watt per channel amp, which is a good number for speakers over 90 db sensitivity.  When fed by the new Esoteric N-01XD SE network DAC ($22,000) the sound was crystalline and dynamic.

Audio Realignment Technologies

These EMF and RFI treatments were shown by Scott Walker Audio. The ART plates were developed by a former DoD contractor. We were treated to an A/B test of sorts, and the results were disturbing. The plates made a difference akin to comparing more and less compressed recordings. These are not inexpensive, so you would want to consider them only in highly-developed systems, but Scott Walker can demo them in your system easily (the plates are simply placed around your gear). Also note, this should be a once in a lifetime investment thanks to the simple setup.

Accuphase E-800 Class A integrated amplifier

The E-800 is a substantial and beautifully finished full class A, 50 watt per channel integrated amp. Priced at $19,975, the sound fed by an MSB DAC and playing through Stenheim Alumine Two.Five speakers was gentle, detailed, dynamic or powerful as fit with the music we tried.

AGD Productions

AGD showed a new streaming DAC digital preamp, the Andante MkII. Priced at $12,999, it has a new D/A converter design. As usual, the AGD room was sounding relaxed and clear, leveraging its GaN FET amplifier technology from the Audion mono amps that we have enjoyed. These were playing through single-driver speakers with open-baffle woofers.

Sound Lab

Sound Lab showed the G9-7C full range electrostatic speaker. This is a big speaker, which helps deliver low frequencies by reducing the dipole cancellation frequency. The height, which can be matched to various ceiling dimensions also gives acoustic benefits. Price is $65,900 per pair.

YG Acoustics with Bel Canto

YG showed the Sonja 3.3 speakers with the new Bel Canto Black DAC control system and MA 1200 monoblock power amps with 375 watts/channel. As you can see the speakers are quite large for the typical hotel room, and yet the sound was smooth and detailed. This is another example of needing to leave your expectations at the door.

Janszen

Janszen showed a new version of the Valentina hybrid electrostatic speaker. Designer David Janszen has added 3 full range drivers to the sides and rear of the speaker to open up the sound space. The key is that he has engineered a time-delay for these drivers so that the benefits of the directive electrostatic panel are maintained for imaging. We were skeptical, but the clarity and definition and soundstaging of a directive speaker, combined with a big sense of the recorded space, was very well done.

Dang!

Yes, these systems have very high prices. But the SQ also seemed very high.

Von Schweikert VR-30 with active bass

The VR-30 is a new design with passive midrange and high frequencies and three powered woofers. The powered section is adjustable to suit the user’s room and is connected to the high-level signal from the upper range amplifier. Shown in a beautiful Porsche Chalk Grey finish, these are priced at $59,000. Driven by Westminster Labs class A power and a Westminster preamp fed by a Lampizator Horizon 360 DAC, the VR-30 system was in the top tier of demos for sound quality with especially good imaging and bandwidth.

Audio Group Denmark

Borresen showed the new flagship of the T series loudspeakers, the T5. These contain an amazing bevy of technologies from the fertile mind of Michael Borresen, including ultra-thin planar materials, exotic metals and low-hysteresis motors. Priced at $225,000, and powered by the compact but mighty 300 watt per channel Aavik U-588 streaming DAC amplifier (also new and priced at $35,000), the sound was especially superb in terms of transient power and control. The sound was also quite well balanced.

Acora/VAC/SAT

Acora again demonstrated the big granite VRC speakers (priced at $218,000) with VAC Statement 450 iQ power amps and front end, fed by the new SAT turntable/arm with a Lyra Atlas Lambda cartridge on board. Note that the SAT arm was used on two of the top-flight systems in this section. Also, this is the best we’ve heard from the VRCs, with a spacious presentation, loads of detail and a lovely tonality. The dynamics on a Blood, Sweat and Tears LP from 1969 were in the “wow” category.

MBL/United Home Audio

MBL demonstrated the relatively new C41 network player, a streaming DAC with high resolution volume control. Priced at $11,000, the C41 was connected to the renowned 101e speakers powered by the giant 9011 monoblocks, making for a roughly $240,000 system. The sound was remarkable in its ability to create an image completely detached from the speakers. Jason said he tried as hard as he could to “see” the sound source and he just couldn’t do it. The clarity and dynamics were also impressive. MBL then demoed this system with copies of master tapes through a United Home Audio super deck. Holy schlemoly! A phenomenal reminder of how much farther recordings can go.

Tidal Audio

The Voice That Is had a world premiere of the Tidal for Bugatti MP1preamp and the North American premiere of the Tidal for Bugatti MC1 digital controller. These were connected via Tidal Ferios Monoblock amps and Turnbull cables to the Tidal Akira loudspeakers. The front end  saw Equitech Balanced Power and with a signal from a Dohman Helix One turntable, SAT CF1 arm and Air Tight PC-1 Supreme cartridge. The sound was a rare combination of audiophile impressive, with balance, dynamics and resolution, together with a musically “right” sensibility that is often missing in show demos. We’re critics and here criticism was hard.

I should mention that the MP1 preamplifier demonstrated a technology that I hope we see more of: the preamp offers passive switching of a DAC with a volume control (like the Tidal MC1 or the MBL C41 or many other DACs). This allows a lossless DAC volume control implementation to be uncolored by preamp circuitry, while also allowing the optimization of phono circuits from cartridge to amplifier. Volume control is handled by the respective boxes. Nice, and maybe the future.

Oldies But Goodies

We’re fond of saying that progress in audio doesn’t always proceed in some predictable, linear fashion as it does with Moore’s Law-powered industries like computing. So, we heard a few demos of products that aren’t new but still reminded us of why we were impressed in the first place.

Theoretica BACCH SP processor

Even in the “generic listener” mode, this spatial distortion reduction and acoustic correction system deals with problems inherent in the stereo architecture and real rooms. On the spatial front, there is very little else like it. Low frequencies from the Janszen hybrid electrostatic speakers were also surprisingly deep but not bloated.

On a similar front, in a different way, there are the…

Linkwitz LX 521.4 speakers

The LX 521.4 speakers are full-range dipoles and they utilize technology developed by the late, great Siegfried Linkwitz to enhance soundstaging beyond the norm. The LX521.4 gets the image off the speakers in a rare and desirable way.

Best of Show

Doug White, of The Voice That Is, arranged a live concert in the Wilson Theater on Friday evening of the show. Joe Block’s Open Heart Trio, with Joe Block on piano, Mikey Migliore on bass and Aaron Seeberg on drums played a series of variations on work by Miles Davis. They were musically inventive and the sound was impressive: natural and dynamic. Dynamic is really an understatement here. And this was reminder that we have some distance to go to generate the full feeling of the live performance. This was clearly the best sound of the show.

Ayre introduced the PX-8, its first new phono preamp in many years. Cost is around $6000 with add on modules for A/D conversion and a DS Audio optical cartridge equalizer circuit. Alexus Audio also introduced a DS Audio equalizer setting in its phono preamp and DS itself debuted the TB-1000 all-tube equalizer.

Sutherland introduced the new TZ Vibe trans-impedance phono preamp selling for $1400 and Belleson introduced its new $3250 Radiance Wi-Fi enabled phono preamp. that features a single input. It’s $8500 Brilliance offers two inputs.

Plenty of good news for vinyl enthusiasts! Curiously, vinyl seller participation was seriously down compared to last year, with many empty tables on the lower level floor. Not sure why.

It’s an hour long video that may tax the minds of short attention span YouTubers so for those, please watch as much as you can absorb at a time. I got a new microphone system and the sound is much improved! Another video coming soon to fill in what’s not here, much of it complete room systems and loudspeakers too.

Even if the crowds were down a bit (numerically and temperamentally), exhibitors were without exception pleased with CAF. That’s because, in the words of one audio exec, “the show was highly productive.” Translation: a lot of business was transacted. Companies took orders in high numbers, and that’s about the most welcome outcome they could ask for.

Because rooms at CAF are gradually transitioning from dealers to distributors and manufacturers, we’ve split up coverage a bit differently this time. To do justice to all the product introductions, Andrew and Alan focused exclusively on those intros, dividing them as usual between Inspirational (relatively affordable) and Aspirational (not so much). That freed Jacob to report on the best systems he heard at the show—and there were plenty of good-sounding ones.

So, without further ado, here’s what we found and heard at this year’s Capital Audio Fest.

My TAS colleagues, Alan Taffel and Andrew Quint, tasked me with writing about the rooms at Capital Audio Fest 2024 that I found most intriguing. Needless to say, I welcomed the challenge, but should confess that I did feel rather outfoxed, if not discombobulated, after I headed to the Command Performance AV room, the very first one that I visited. There disco music was blaring loudly enough to send you into sensory overload. Adding to the sense of confusion was the fact that Command Performance’s employees had donned fluorescent period wigs, rendering them almost unrecognizable. Good golly! For a moment, I was convinced that I really had gone back to the future.

Upon regaining my bearings, I was encouraged to discover that I had no trouble identifying one Michael Fremer, a longtime reviewer for TAS and full-time cognoscente of rock and pop music, who was, of course, well-suited to perform the eleemosynary role of DJ for several hours. He employed a beautiful J. Sikora Standard Max Supreme turntable ($38,500) paired with a Doshi Audio Phono Stage ($20,995). This union of Polish craftsmanship with American electronic wizardry produced some excellent audio alchemy. The Audiovector Trapeze Reimaged speakers, which retail for $19,950 a pair, displayed impressive punch and slam. Ultimately, I left the room shaken as much by the garb of Command Performance’s employees as by the dynamics.

A more soothing experience was provided by Jeff Catalano of the estimable High Water Sound located in New York. His Teutonic system—Cessaro Horn Acoustics Opus 1 SE loudspeakers ($55,000 per pair) coupled with two Opus Subs ($24,000 each)—sounded ravishingly sweet and inviting. Perhaps sweeter than the real thing, but who’s complaining? After playing an LP with tintinnabulatory effects, Catalano whipped out what I think was a Decca LP of Elgar that was more than a little enticing. His rig was not only a sonic treat but also an aesthetic one. He showcased the gorgeous TW-Acustic Raven LS-3 Copper turntable, which retails for $24,000, coupled with the Raven 12** tonearm ($6500) running into a. Raven phonostage ($25,000). It almost goes without saying that I was quite smitten by the sound.

At the other end of the spectrum was the Potomac Room featuring the Acora Acoustics VRC-1 at a not insubstantial $218,000 per pair, not to mention a passel of VAC Statement gear. The VAC Statement phonostage, which produces sublime sound, comes in at $82,000 as does the linestage. Add in the SAT XD1 turntable for $238,600 and a SAT CF1-09 tonearm at $71,100 (both the brainchildren of designer Marc Gomez) mated with a Lyra Atlas Lambda phono cartridge at $13,195, and you truly are talking about a statement system. And the overall sonic effect, as the music swelled and ebbed, was as prodigious as the nearby Potomac River.

Then there was United Home Audio’s demonstration of an MBL system. As always, I was taken by the ability of these omnidirectional loudspeakers to throw a marvelously stable, effortless and filigreed soundstage. The MBL 101 E Mk.II loudspeaker ($91,000 per pair) was coupled to MBL 9011 mono amplifiers ($64,1000 each). A new MBL C41 network player ($11,100) and the United Home Audio Apollo (currently in Jonathan Valin’s domicile, I was told by United Home Audio’s Greg Beron) analog tape deck supplied the musical goodies.

I only had a brief moment to pop into the superb gear that Elliot Goldman of Bending Wave and Jonathan Halpern of Tone Audio brought to the Jackson Room, but it was mouthwatering stuff, ranging from the Gobel Divi Comtesse loudspeakers ($60,000 per pair) and the highly touted Riviera APL-01SE preamplifier and AFM-100 SE monoblock amplifiers, respectively $51,995 and $82,000. Would I like to audition these remarkable electronics? You betcha. The hot new thing—the Wadax Studio Player ($38,800)—was also in situ.

Nothing seemed more ubiquitous than Stenheim loudspeakers, which I encountered in at least three separate rooms. The first was in the VPI room, the second at Alma Audio’s room, and the third at the House of Stereo’s room. I heard a few strains of the Janacek Quartet playing a Dvorak string quartet in F major on a Decca LP, but it was hard for me to make out what was occurring in the VPI room, at least musically, because there was some scuffling among reviewers far more important than yours truly about who was top dog. I made a hasty exit. In the Alma room, the Stenheim Alumine Five SE ($76,500 per pair) was on display along with Vinnie Rossi Brama Gen 2 monoblock amplifiers ($59,950) per pair) and a preamplifier from the same company at $38,995. It’s always hard to know exactly what you’re listening to in a show environment, but the Stenheims seemed to deliver alacrity and clarity. A knuckle rap indicated immunity to resonance above and beyond the call of duty. The Stenheims were also on display in the Lincoln Room where the House of Stereo paired them with a passel of Viva equipment, which has always appealed to me. Here it was with a Viva Audio Solista stereo amplifier ($30,000) and a Viva Audio Line preamplifier ($32,500). To my ear, Viva has always punched above its price class. But then again, I’m a sucker for the venerable 845 tube that the company likes to employ.

I don’t want to sound like I’m shirking the stern mandate that my colleagues gave me, but I can’t help concluding that the Capital Audio Fest isn’t really about deciding what’s “best at show,” or about drawing what the lawyers like to call invidious distinctions. If I had to pick a new product that intrigued me the most it would probably be the new Wadax Studio player, partly because of its cool looks and partly because it’s not priced in the stratosphere, at least by high-end standards. The room that, in many ways, I liked best is a simple one—the central atrium where various vendors were busily selling LPs, both ancient and modern. To me, it, more than anything else at the show, represents the essence of the hobby.

Even if the crowds were down a bit (numerically and temperamentally), exhibitors were without exception pleased with CAF. That’s because, in the words of one audio exec, “the show was highly productive.” Translation: a lot of business was transacted. Companies took orders in high numbers, and that’s about the most welcome outcome they could ask for.

Because rooms at CAF are gradually transitioning from dealers to distributors and manufacturers, we’ve split up coverage a bit differently this time. To do justice to all the product introductions, Andrew and Alan focused exclusively on those intros, dividing them as usual between Inspirational (relatively affordable) and Aspirational (not so much). That freed Jacob to report on the best systems he heard at the show—and there were plenty of good-sounding ones.

So, without further ado, here’s what we found and heard at this year’s Capital Audio Fest.

There were a surprisingly large number of new low-to-moderately priced items to investigate at CAF 2024. To allow for a somewhat more expansive description of what I came across, I’ve included just two dozen of them, omitting those that seemed less newsworthy—as well as those that weren’t actually new, despite insistence to the contrary from a manufacturer, dealer, or marketing person.

Most Significant

VPI Forever Series Model One turntable ($5250)

Many of the demonstration spaces on the lower floors of the Hilton—the largest rooms at CAF—were dark places with men in suits, wordlessly standing on the periphery and operating iPads to summon up a stream of impressive-sounding, if forgettable, music. Not in the VPI suite. The lights were full-up and Mat Weisfeld, dressed in shorts, was in constant motion, high-fiving his young daughters, playing LPs from all eras and genres, and exclaiming his optimistic vision for his company, the industry, the hobby. It was the show’s most joyous epicenter. As his father, Harry—the company’s founder—watched with pride and purpose, Mat introduced the first product in the new “Forever” line, the VPI Model One, to be followed by two subsequent turntable introductions, at Munich 2025 and next year’s CAF. The Model One sports a 20-pound aluminum platter and a subchassis with a great deal of flexibility—it can accommodate a linear-tracking arm, for instance. The $5250 price includes a VPI S-Tonearm and a hinged dustcover; there’s a 10-year warranty. The new product is definitely reminiscent of the venerable HW-19, and the vibe in VPI’s rooms evoked an earlier era in perfectionist audio when anything seemed possible, and spirits soared. Mat Weisfeld’s still do.

Acora Acoustics MRB-1 loudspeakers ($7990)

Valerio Cora launched his new MRC line of five loudspeakers, priced from $5490 to $15,990, considerably less than previous Acora products. These have marble enclosures, that material being easier to get out of the ground and machine than the granite, quartz, and quartzite utilized for other models. Creating quite a buzz in Rockville was the MRB-1 stand-mount—the “B” is for “bookshelf”—a small 2-way with a front-firing port, so it really can be placed on a shelf. For demonstration purposes, Cora had the MRB-1s on stands, positioned adjacent to the manufacturer’s 420-pound, $218,000/pair VRC-1, and many entering the room, me included, were astounded to learn we were hearing the modestly sized stand-mounts and not the big guys. With VAC electronics in service, Shostakovich, Gordon Goodwin, and the most exuberant sort of rock, blew most observers far, far away.

Theoretica Applied Physics BACCH-ORC room-correction software ($1000/$3000)

As usual, Dr. Edgar Choueiri’s room was a popular destination for audiophiles who enter curious or skeptical and leave incredulous after a demonstration of Choueiri’s crosstalk cancellation (XTC) technology. At CAF 2024, however, Theoretica was also introducing BACCH-ORC, a room-correction methodology different than any other currently on the market. Instead of having a listener place a microphone at several locations in a space and averaging the in-room frequency response, BACCH-ORC employs the same tiny in-ear microphones used to make an XTC filter to create binaural correction for an individual listener—it’s listener-based rather than room-based. Head tracking is performed by an optical or infrared camera system (the latter works in the dark) to prevent degrading of the room correction by a listener’s head movements. Especially with crosstalk cancellation also running, the sonic image with ORC was exceptionally convincing and stable. The $1000 price is the cost for adding BACCH-ORC to the BACCH4Mac product; $3000 is for adding it to BACCH-SP processors.

Qln One (v7) loudspeaker ($12,000)

Some things in audio really do get better over the time and the Qln One is a good example. The Swedish manufacturer presented the original version at CES in 1981, the world’s first “truncated pyramid” design. (Yes, five years before the WATT.) The v7 update has a proprietary 5.5** mid/woofer and a 25mm textile-dome tweeter with a large roll surround that’s said to result in exceptional off-axis dispersion. Powered by another notable new product, the Audio Hungary Qualiton 300B integrated ($11,000), orchestral sonorities were appealing and well-recorded rock/pop material had gratifying weight and punch. It was hard to keep one’s eyes off the gorgeous walnut burl finish of the pair at the show; stands add $850 to the asking price.

Volti Audio Lucera loudspeaker ($11,750)

Volti Audio introduced a new product to their line of horn-based loudspeakers, between the Razz and Rival models. The Lucera has a 15** dynamic woofer complementing two horns (the midrange sports a 2** compression driver mounted concentrically)—the speaker is specified as having a frequency response of 32 to 18kHz. At CAF, power was provider by a Cary Audio SLI-80 integrated, rated at 40Wpc in triode mode, though Volti feels that 8Wpc will do the job. If your belief is that large, wooden, super-sensitive horn speakers must sound colored and roughly diffuse, hearing the Luceras should cure you of that. With varied musical content, there were nuanced dynamics at both ends of the loudness continuum and quite natural instrumental sonorities. Though the company maintains a small inventory of completed loudspeakers, Volti has only two employees, other than owner/designer/builder Greg Roberts and his wife. You can get a custom finish but be advised that a wait time of three to six months may be required and there could be an associated upcharge. Such is the nature of bespoke audio.

Auspicious Debuts

Chesky Audio LC1 loudspeaker ($996/pair)

Lucca Chesky—son of composer/pianist/producer/HDtracks founder David; twin brother of rising jazz vocalist Paloma—has, at age 17, launched a new loudspeaker company, its only current product the LC1 Bookshelf Monitor. Lucca, a musician himself, spent time with audio scientist Edgar Choueiri at Princeton University. He built eight prototypes of his bookshelf/standmount before settling on a final design that utilizes a proprietary HD polymer for the cabinet material and a driver complement that includes a wide-dispersion 1** dome tweeter, a 6.5** bass/midrange, and two side-firing 8** fluid-coupled woofers. Chesky asked: “How good could I get it for under $1000?” and the answer seems to be “pretty good.” With familiar Reference Recordings material, the spatial presentation bordered on immersive when listening in the nearfield. The speaker will be sold directly by the manufacturer.

Eastern Bay Sound Southwind loudspeaker ($1459/pair)

Eastern Bay is a new Maryland company, located on the Chesapeake Bay that manufactures what they call “farm-to-table loudspeakers”. The cabinet is exquisite, utilizing locally sourced hardwoods: a pair on display in the hotel lobby attracted considerable attention. The Southwind is a small—8.5**(W) x 17**(H) x 12**(D) transmission-line design with a single Mark Audio CHR1P-90 full-range driver. Sensitivity is given as 89dB and frequency response is 45-20kHz (±3dB). There’s a matching subwoofer, the Skeg, available at $600 each, $950 for two. EBS expects to begin shipping product in the Spring.

PrimaLuna EVO 300 hybrid power amplifier ($7195)

Generating 100Wpc into an 8-ohm load (at CAF 2024, a pair of Harbeth M40.3 XD bookshelf speakers), the EVO 300 employs six 12AU7 input tubes in a circuit said to be quite responsive to experimentation. The power stage features factory-matched MOSFETs and hand-wound transformers, potted and otherwise thoroughly protected from mechanical sources of distortion. With orchestral music, tonal nuance and subtle dynamic gradations were preserved with playback of the best recordings.

Orchard Audio Starkrimson Mono Ultra Premium amplifier ($4999.90/pair)

Utilizing gallium nitride (GaN) power transistors, the Starkrimson Ultra Premium monoblock is an exceptionally refined sounding switching amplifier, delivering 250 watts into 8 ohms and 500W into 4. The amp’s linear power supply features a 1000VA toroidal transformer with 133,600uF of capacitance that the manufacturer says is responsible for its superior bass and transient performance. At CAF, the amps were driving various Philharmonic Audio speakers with excellent results up and down the loudspeaker line. Production will be limited to 33 pairs.

Wireworld Cable Technology Series 10 audio cables (price varies)

After five years of product development, Wireworld has replaced its Series 8 cables with a new range of Series 10 products—nine levels of analog interconnects (including five tonearm cable models), six levels of digital cables, twelve speaker cables, and several power cords. Series 10 wires feature additional strand groups, without necessarily an increase in the amount of metal, which Wireworld says reduces signal loss due to eddy currents. The company also reports utilizing an improved insulation material to lower triboelectric noise. If judgement of the audible merits of electronics—and even loudspeakers—is difficult at an audio show, it’s pretty much impossible with cables. Fortunately, Wireworld founder and product designer David Salz offered to replace the one Wireworld cable I use every day, the company’s previous top-of-the-line AES/EBU digital interconnect, with the Series 10 version so I can, in a familiar context, hear for myself any sonic advantages to using it between server and DAC.

Infigo Audio Inc. Streamer Model IS-1 ($5000/$7000)

The Canadian manufacturer Infigo Audio introduced a new streamer—two new streamers, actually, as the Model IS-1 is available in Signature ($5k) and Cryogen ($7k) versions. Both are designed for use with USB DACs, utilizing the interface that permits the highest sampling rates. The IS-1 has a built-in linear power supply to assure a very low noise floor and is supplied with an “armored” gigabyte fiber-optic cable connection that isolates the audio chain from network noise and jitter. Infigo’s streamers are quite versatile, with the capacity to operate as a UPnP endpoint, Audirvana server, Roon endpoint (or, in the case of the Cryogen version, a Roon core), and as an HQPlayer Network Audio Adapter. That pretty much covers the waterfront when it comes to commercially available music players. Infigo’s streamers are readily controlled with a network-installed browser.

Altec Lansing Iconic Series: I-1 loudspeaker ($13,000/pair) and Iconic 300B monoblock amplifier (initial price $3500/pair; subsequently $5000/pair)

Altec Lansing, in business with that name since 1941 and better known for its pro-audio products, has a new line of components for the home high-end market, but the segment of that market where the sky is not the limit, pricewise. For AL, the prototypical customer will be a household where “the wife is a schoolteacher, and the husband is a BMW technician.” (I wish that I could have been at the sales meeting when they came up with that.) The ported 3-way I-1 floorstander has a ribbon tweeter and a 12** woofer, with a 2** dome between them. It’s specified as having a frequency response of 29 to 40kHz and a sensitivity of 97dB—which makes it a good match for the Altec Lansing 300B amplifier that has a power rating in the 8–10W range.

In Other News

Yes, $6k is an expensive price point for headphones and the Audeze CRBN 2 headphones ($5995) could be considered an Aspirational product. But Alan didn’t get to hear them, and I did—and was very impressed. Since I was a teenager living with my parents who craved quiet, I’ve never been much of a headphone listener. But the experience of listening to familiar music of several genres through the new Audeze electrostatic CRBN 2s was pretty extraordinary. With these substantial but comfortable phones, orchestral weight and detail was as involving as a good speaker-in-front-of-you experience. When the time comes that my living situation necessitates some “personal audio,” Audeze will be a consideration.

Making its North American debut was the Vienna Acoustics Mozart SE Signature loudspeaker ($7495/pair). This two-and-a-half-way floorstander is the latest iteration of a design developed nearly 35 years ago. The current version employs three bespoke drivers—a hand-coated silk-dome tweeter, a midrange fabricated with the manufacturer’s proprietary XPP cone material, and a 6** version of VA’s “spidercone” bass driver. Driven by the Class D JAVA Hi-Fi Carbon Double Shot integrated amplifier ($12,995)—first heard in Munich this past May—the Mozart SE Signature’s tonal accuracy and soundstage presentation were excellent, even off-axis.

Philharmonic Audio, based in Maryland, showed two recently introduced loudspeaker models, the ridiculously inexpensive True Mini ($380/pair) and the Ceramic Mini ($850/pair), a 2-way ported design with a 1** ceramic-dome tweeter and a 5** ceramic woofer. Bass was nicely articulated, and there was plenty of “sock” to snare drum. On a favorite Bonnie Raitt cut (“Storm Warning”), I heard excellent separation of the lead vocal from the rest of the arrangement.

Triode Wire Labs introduced a new AC power cord, the Digital American II ($549).

It’s designed to lower the noise floor on any kind of digital electronics—DACs, disc players, servers, music computers. TWL reports an approximately 20% increase in the amount of conductor in the Digital American II, which helps ameliorate the usual culprit—electronic interference that can translate into audible hash accompanying the musical output from an audio system.

Belleson Audio Products is currently located in South Carolina and has, for some time, been manufacturing components, specifically regulators, for electronic devices; the company only built its first full-fledged piece of audio gear, the Brilliance phonostage, in 2023. The new Radiance Phono Stage ($3250) has both balanced and single-ended inputs, and with the Wi-Fi remote control, one can select cartridge type (mc or mm), resistive/capacitive loading, and gain, all from the listening chair. With a Rega cartridge, turntable, and arm, LTD electronics, Volti loudspeakers, and Anticable wires, vinyl playback had exceptional life and timbral accuracy.

MC Audiotech co-owner and sales/marketing manager Mark Conti, with a stern but affectionate glance in the direction of his engineer partner Paul Paddock, the inventor of the wide band line source (WBLS) driver common to all the company’s loudspeakers and a tinkerer bent on achieving perfection, told me that the TL-8 loudspeaker ($15,000 to $17,000/pair, depending on finish) could now be considered a “finished” product. Some fine-tuning of the crossover occurred, among other changes, and I can confirm that the current iteration of the transmission-line design is the best-sounding one yet—and it sounded pretty damn good to begin with. The manufacturer continues to build a dealer network and if one isn’t convenient, MC Audiotech will reimburse you for travel expenses to get to the Philadelphia suburb where the company is based, if you purchase one of its speakers. Details are on the website.

Gestalt Audio of Nashville, the importer and distributor of Wolf von Langa loudspeakers, known for their field-coil designs, was demonstrating the manufacturer’s newest product, the Serendipity loudspeaker ($9995)—their least expensive model, with Trafomatic Pandora monoblocks. Anne-Sophie Mutter’s violin sonority was exceptionally believable, and the joining of the attack of a piano note to the main body of the sound was as seamless as in life. Also imported by Gestalt are products from Cinnamon, a Portuguese high-end company. It manufactures a wide range of components, including speakers, a phonostage, a network transport, and two models of DACs—all technologically advanced and stunning examples of industrial design. The Galle DAC ($14,995) utilizes a “quasi non-oversampling scheme” that features a dual-mono 27-bit differential ladder with more than 430 precision-matched resistors. The signal path is short because an analog output stage is made unnecessary by the substantial voltages generated by the DAC engine itself.

SVS started life as a subwoofer specialist, but after Gary Yacoubian acquired the company in 2011, the manufacturer has expanded the range of products considerably. Still, truthful rendering of the bottom octaves is in SVS’s blood, and the SVS 17 Ultra R/Evolution subwoofer ($2499 sealed, $2999 ported), with a dual voice-coil configuration, four internal amplifiers, and plenty of DSP adjustability, provides meaningful output down to 10Hz territory.

Remarkably, one of the most innovative new products encountered at CAF 2024 was quite approachable in cost. The Ayre PX-8 phono preamplifier ($6500) will accommodate two cartridges with either balanced or unbalanced connections and allows for independent gain and load settings, controlled via the PX-8’s front panel. Two options that will increase the price of the unit are offered. One is to add a third input for a DS Audio optical cartridge, the other is an analog-to-digital conversion circuit that makes it a straightforward process to digitize and archive an LP collection.

Best of Show

Best Sound of the Show

What a difference the room can make at an audio show! I’ve admired Gershman Acoustics loudspeakers for years, but they were overshadowed by other large speakers deployed in the ballrooms and conference rooms. For CAF 2024, Elie and Ofra Gershman had a 1440 square-foot space to demonstrate their Black Swan 30^th Anniversary Edition ($95,000), and sound was commanding, detailed, colorful, involving…in short, it was music.

Best Sound for the Money

The word heard frequently in the big Acora room was disruptive. What else can you say about the Acora MRB-1 at $7990? To point out that these diminutive bookshelf/stand-mount loudspeakers “play big” is the audio understatement of the year.

Most Significant New Product

The VPI Model 1 turntable ($5250) isn’t just a well-built, good-sounding piece of gear; given the company’s history, that’s expected. It’s the spirit associated with the product—a respect for the past but also a positive vision for the future of the high end that all stakeholders, consumers included, should find uplifting.

Best Demo

Showgoers can always count on terrific sound when they visit Doug White’s room, demonstrating brands that he carries at his boutique dealership in Pennsylvania, The Voice That Is. But White went several steps further at CAF 2024 to offer an experience beyond simply playing top-notch, meticulously set-up audio equipment. In attendance were the principals from several of his brands: Mark Dohmann (Dohmann Audio), Jörn Janczak (Tidal), Joe Salvato (Equitech) and Nathan Vander Stoep (Turnbull Audio) were around to answer questions. Even more impressive was that Doug White sponsored a performance by a jazz trio led by pianist Joe Block in the Hilton’s Washington Theater after show hours. Talk about putting your money where your mouth is!

Most Disappointing Demo

The Listening Room, a dealer in Chestertown, MD, set up an all-Magnepan Atmos 5.1.4 speaker array in a small room on the Hilton’s seventh floor and, though there was a video screen operating, mostly played music and not movies. Unfortunately, they seemed to have little concern that they were streaming the highly compressed version of Atmos, Dolby Digital Plus, rather than the high-resolution Dolby TrueHD format. With an audiophile audience, skeptical and dismissive of immersive audio to begin with, this was a missed opportunity.

Most Notable Trend.

A growing impatience with/intolerance for classical music. Even requesting a Beethoven or Chopin “greatest hit” will clear a room within minutes, and some manufacturers will actually decline to play even a brief selection. C’mon guys: I listen to “Keith Don’t Go” and “Just a Little Lovin'” without grousing. Would it kill you to sit through a movement of a Brahms sonata once in a while?

Even if the crowds were down a bit (numerically and temperamentally), exhibitors were without exception pleased with CAF. That’s because, in the words of one audio exec, “the show was highly productive.” Translation: a lot of business was transacted. Companies took orders in high numbers, and that’s about the most welcome outcome they could ask for.

Because rooms at CAF are gradually transitioning from dealers to distributors and manufacturers, we’ve split up coverage a bit differently this time. To do justice to all the product introductions, Andrew and Alan focused exclusively on those intros, dividing them as usual between Inspirational (relatively affordable) and Aspirational (not so much). That freed Jacob to report on the best systems he heard at the show—and there were plenty of good-sounding ones.

So, without further ado, here’s what we found and heard at this year’s Capital Audio Fest.

Most Significant

VPI, a company that has always lavished attention on CAF, launched a turntable so new it didn’t have a final name. On Sunday, the company seemed to have settled on the Avenger Statement. It’s a top-flight direct drive table with improved materials and an acrylic/aluminum sandwich plinth. The price is $60k, including a Fatboy 12** tonearm that normally runs $6k on its own. At the show, the whole shebang was positioned atop the stellar-looking Vanquish modular stand, which, at $60–$100k, can cost more than the turntable. 

Burmester is trying to make its products more approachable. To that end, the company introduced the 232 integrated amplifier, which starts at a very reasonable (for Burmester) $21k. Add a DAC/streamer module and/or a phonostage and the price can reach $35k, which is still very competitive. The amp puts out 150Wpc into 4 ohms (an 8-ohm spec was not available) and bristles with the quality and beauty of all Burmester gear. One unique feature is a very cool haptic control knob at front and center. Its function varies depending on the screen currently being displayed.

Ever since Focal and Naim became sister companies, the industry has wondered when they would collaborate to create a powered speaker. Now they have. Indeed, they’ve gone a step or two further with the Utopia Diva. It’s a $40k/pair powered speaker with built-in room correction, a streamer, and a DAC. Being wireless, the only connections needed are power and internet. Each speaker incorporates four Class AB amps, a new beryllium tweeter, a sandwich-cone 6.5** midrange, and four 6.5** woofers. There are also a variety of wired inputs, including analog. Watch for Andrew Quint’s review in an upcoming issue.

Kharma, the Dutch speaker veteran, introduced its new $300k flagship: the Enigma Veyron 4D. Aluminum enclosures are anathema to old-world builders like Kharma, so the cabinet is made of extremely stiff and dense bulletwood. All drivers are made in-house, including the diamond tweeters and carbon/Kevlar midrange and woofers. With a 91dB sensitivity, the Enigma Veyron should be an easy load. At CAF the speaker’s sound was evocative and rich.

Tidal has initiated a joint project with car-maker Bugatti called Tidal for Bugatti. All the components in this line are gorgeously styled—and they sound good, too. At CAF, the $125k MP1 preamp made its debut. The flagship model is an all-out assault on linestage technology. For example, the highly complex volume control uses relayed resistors under digital and fiber-optic control. Paired with the MP1 was the also-new MC1, a digital controller that is a DAC and streamer with level control.

Auspicious Debuts

In the Bending Wave room one could hear, for the first time in the U.S., the Göebel Diva Comptesse. This is Göebel’s smallest and least expensive speaker (the company detests the phrase “entry level” because it implies a lower standard of parts and craftsmanship). The Comptesse has an 8** woofer and an AMT tweeter in a bass-reflex enclosure. At $60k, it’s a great way to get into the superb Göebel ecosystem.

Tubed electronics maker Viva introduced the Solista stereo power amp ($30k). Putting out 25 pure Class A watts/channel, the Cremona, Italy-built amp features all point-to-point wiring and a front-panel gain control. It was a superb match for the high-efficiency Stenheim Alumine 5SE. Dynamics were especially sprightly, and the tonal balance was beyond reproach.

Gershman Acoustics launched the latest incarnation of its Black Swan speaker, the 30^th Anniversary Edition ($95k). As in previous Black Swans, the woofer cabinet is within—but physically completely separate from—the midrange/tweeter enclosure. This both reduces cabinet vibrations and allows for time alignment of the drivers. But whereas earlier Swans also had a separate bass trap below the woofer module, the latest version combines those elements into a single cabinet. At CAF, the new speaker sounded spacious and neutral, and the bass was heroically deep. No subwoofer needed with these babies!

New to me was a company called Turnbull Audio, maker of bespoke cables. CAF saw the world premiere of the Prestige Line. The new cables feature unique methods for shielding, vibration control, and resonance breakup, as well as specialized conductors and dielectrics. Such research and exotic materials don’t come cheap. Interconnects run $9k–$13k per meter (depending on termination); power cords are $18,500 apiece; and speaker cable starts at $37k for 3 meters.

Designed in Switzerland and manufactured in Canada, the Master Fidelity NADAC C+D is a combination DAC and clock. The two functions are in separate chassis, but they’re sold together as a combo meal. The DAC is a 1-bit unit that converts all incoming signals to DSD.

High end turntable maker Thuono introduced a new intermediate turntable and tonearm system. The TH350 table (16,500 euros) has a magnetic suspension, and the motor sits on a detached marble pod to reduce vibrations. The TH12 carbon-fiber arm (5400 euros) is sold separately. Both products are made—and exquisitely finished—in Thiene, Italy, just outside Venice.

Bel Canto has come out with the Black MA 1200 monoblock amps at $40k/pair. Each delivers 375 watts into 8 ohms. The Black Series began with a 3-chassis integrated amp, but the Bel Canto has been moving toward separates ever since. The MA1200 monoblocks are the final piece. Among other features, they boast triple-shielded, ultra-low-noise transformer technology.

In Other News

Starting with electronics, the Alexus Audio EQ1 is a DS Audio-compatible phonostage. Besides DS Audio optical cartridges, the EQ1 will happily handle mm and mc models. The phonostage also offers multiple equalization curves, and there’s no need to set loading for mc devices. Made in Brooklyn, the EQ1 runs $19k. Meanwhile, DS Audio itself debuted its first-ever tubed equalizer, the TB-100 ($20k). At CAF, the unit was on static display, but we can expect to see functional versions soon, probably at AXPONA.

Speaking of tubes, Lampizator, maker of tubed DACs, showed the Horizon 360, an update to its Horizon model, which is now discontinued. The 360 features the latest in chips, programming, and power supplies. It can be yours for $62k. Also, EMM Labs has a new DAC/Streamer, the $35k DA 2I. What differentiates this iteration from the previous DA 2 are a switch-mode power supply and a reworked analog stage.

In speakers, CAF saw the debut of Von Schweikert’s latest, the VR-30. It’s a three-way floorstanding model with an optional built-in powered sub. The sub amp has a gain control to facilitate blending and room integration. The standard version runs $49k, while the speaker costs $59k when fitted with the powered sub. Finally, From Bayz Audio comes the new Courante 2.0 ($49k–$69k, depending on finish), the baby brother of the much more expensive Counterpoint 2.0 ($109k–$169k). The speaker is unique in that the midrange and tweeter are omnidirectional, and the latter extends all the way to 45kHz. Paper cones for the mid and bass drivers and a first-order crossover round out the specs.

Best of Show

Best Sound of the Show: Although there were many noteworthy runner-ups (Gershman, MBL, Acora), the Stenheim 5SE/Viva Solista pairing takes the prize. What this system offered that others didn’t was an airiness that gave the presentation a lifelike, effortless quality. That, combined with exemplary bass and imaging, made for the best sound I heard at CAF.

Best Sound for the Money : The Marten Duo/Gryphon Diablo 120/Aurender 815 system. Though not exactly cheap, this $30k system would be approachable for many audiophiles, and it delivered a gorgeously lush sound that didn’t lack for inner detail.

Most Significant New Product: Acora MRB Bookshelf Speaker. Val Cora wanted to see what he could do on a limited budget, and the result is stupendous. At just $8k/pair, the MRBs sounded so good they were frequently mistaken for the $218k flagships flanking them.

Best Joke of the Show: Michael Fremer and I were in a room (which shall remain nameless) that was playing a steady diet of electronic Krautrock. The exhibitor was discussing how the use of exotic metals had contributed to the sound, which was impossible to assess fairly, given the constant stream of beeps and blips that supposedly constituted music. I leaned over to Michael and whispered, “I think there’s too much Zirconium.” To which Michael replied, “The problem is it’s supposed to be a violin we’re hearing.”

Best Demo Tracks: Here’s a link to a Qobuz playlist with all the best-sounding demo tracks I heard in various rooms at CAF 2024: https://open.qobuz.com/playlist/26365652

High electro-mechanical eFiciency, coupled with low distortion ceramic drivers from Accuton of Germany, and hand-matched precision crossovers result in designs that oFer incredible dynamics, and the sort of lifelike spatial presentation normally found in much more expensive speakers.

The MR series consists of five models: 3 floor standing designs, and 2 compact models (one optimized for use horizontally or vertically in multichannel systems)

MRB-1 Stand Mount – ($7990 USD/$9740 CAD Pair) 2 Driver, 2-way design

MRC-1 Floor Standing – ($9990 USD/$12990 CAD Pair) 2 Driver, 2-way design

MRC- 2 Floor Standing – ($12990 USD/$16990CAD Pair) 3 Driver, 2 1/2-way design

MRC-3 Floor Standing – ($15990 USD/ $19990 CAD Pair) 4 Driver, 2 1/2-way design

MRM-1 Monitor – ($5490 USD/$7140 CAD Each) 3 Driver, 2-way design

*Prices listed are for the Botticino marble cabinet finish. Other stone options will be available for a premium.

All models are hand made in Ontario, Canada, and will begin shipping in December 2024

Etc. Etc.

This is a good thing, to a point, in that it allows refinement of these technologies to a very high degree. It is also a good thing because markets usually coalesce around good price/performance answers. It is a good thing because it allows investment in a supply chain that has some certainty of demand and ROI.

But, the possible issue here is this:

Some unconventional ways of approaching audio may have a hard time getting up to critical mass. Since unconventional means are not per se desirable, the issue comes when those unconventional means are needed to move the state of the art forward.

I think we may be at such a point, so I thought I would approach this show with a question in mind:

“do I hear, or hear of, new technologies, or old low market share technologies, that might be a key to future progress?”

In this video, I will review my thoughts some of those. This material is therefore somewhat speculative. It is not intended to declare that some different technology is “The Answer” or “The Future”. It is intended to give consumers some, possibly new, thoughts about technology they might investigate further.

Again, I am not judging that these technologies are breakthroughs or ready for prime time. I want to bring them to your attention so that you can do that. And I think new or distinctive technologies are interesting and fun.  I hope you do too.

Okay, let’s go over some of my technical highlights.

Theoretica Applied Physics: BACCH processor

We’re starting with this amazing device because it helps to start at the beginning. At the beginning, I think, is a common fundamental misunderstanding of the issue with stereo. “Stereo” here means the 2-channel recording and playback concepts we use to reproduce a sense of space and position.

I will try to keep this simple; for more detail check out Andy Quint’s review of the BACCH processor, and stay tuned for my upcoming coverage of the BACCH for Mac software version. Also check out my previous review of the Linkwitz speaker which aims at some of these same problems.

The Issue: The soundspace we hear from stereo recordings is not what it could be in terms of accurate rendition of the space or performer positioning.

The late Siegfried Linkwitz described the issue as being that our experience, and hence our objective with stereo, seems to be to create a miniature stage in between the speakers, where miniature performers are playing. I should add that this objective isn’t exactly easy to achieve, as often we actually get miniature performers who are playing inside the left and the right speakers.

The technical problem is that we seem to be stuck with improving a good but imperfect model of the soundspace. There would seem to be something in assumptions, or in our recordings or in our playback technology or all of the above that is limiting the results we can get.

Linkwitz, who started professional life as a Hewlett-Packard RF scientist, and Edgar Choueri of Theoretica, who is director of the electric propulsion and plasma dynamics lab at Princeton, have thought hard about how to address this issue. And my experience is that their answers are interesting. (Maybe we should replace the phrase “it’s not rocket science” with “it’s not audio engineering” to indicate problems that are simpler than the really challenging stuff, like audio?)

In reading some of their work, it strikes me that a fundamental common denominator of their work is borderline earth-shattering if you care about high-quality music reproduction. The earth-shattering idea, in my words not theirs, is that the data to place the performers in a realistic soundspace is on the stereo recording already. The work of the stereo system is not to screw up that data and/or it is to correct screwups that are inevitable.

Let me contrast that with common assumptions. One common assumption is that the stereo equipment in your listening room is critically responsible for additively creating a sense of spaciousness that is missing from the recording and therefore needs to be enhanced. Linkwitz and Choueri would say that is wrong. They say the data is on the recording already, you just need to present it properly to the listener.

Another sometimes common assumption is that we don’t have the complete data needed on a stereo recordings, so to really get the soundspace right, you would need a multi-channel recording (and playback) system. Again, these scientists say that stereo can get much of the job done, and in practical terms do a better job than multi-channel.

And, they point out that in any event most of recent musical history (1950-2023 and beyond) is encoded in two-channel recordings, so it would be preferable if we could work with those. Maybe Taylor Swift could re-record her work in another format, but we’re not getting Elvis or Cream or Bernstein or Miles back to do new recordings. And the music industry has a terrible history of deciding on new technologies.

I have the entry-level BACCH system on review right now, but I stopped by the Theoretica room at Capital Audio Fest to hear the big BACCH processor set up by Dr. Choueri playing through Janszen speakers. My system has Theoretica’s head-tracking customized to my exact listening position and for my head shape. Yes, that matters, but listening to the generic version at CAF still produced some of the amazing soundspaces that I hear at home.

What are we talking about when I say “amazing”? The generic BACCH can produce an image of a performer at 90 degrees left or right, well outside the speaker positions, with no problem. Or it can place performers pretty much anywhere else in between, if that’s where the performer was when the recording was made. Again, this is using standard stereo recordings. Just for reference, standard “between the speakers” stereo is plus or minus 30 degrees left or right from the listener. With BACCH at CAF, I heard plus or minus 90 degrees. That is a 200% increase in possible soundspace width. Now it is very important to note that the BACCH doesn’t force the soundspace to be that wide. It simply allows that (or wider). The recording engineers set the soundspace size. So, if the performers are in a 40 degree arc, they should be presented that way with BACCH. Or if recorded in an 80 degree arc, they should be presented that way. Come back for my BACCH review for a discussion of whether you want that soundspace with current recordings.

A simple explanation of what the BACCH processor does is easy to say, but not so easy to understand:

The BACCH processing system cancels certain acoustic crosstalk signals that were not in the mic feed but are automatically added when played back via two speakers. Remove that crosstalk and you hear something very much like what the mics heard.

On demo the result is almost shocking, especially if you come into the demo with the idea that stereo is set up to present an image spread between the speakers. Your reaction, I imagine, would be “how does it do that?” And if you don’t also have the idea that “the data on performer location is already on the recording”, you think the BACCH is additively faking it. Not so. It is subtractively getting back to the mic feed.

I will expand on this in upcoming pieces, but the BACCH software may be a key to a better future presentation of soundspace. I don’t think that is as simple as it sounds, but it is a source of hope in my mind.

Viva: Nuda Horn Loudspeakers

In the Audio by Oz room, a new speaker was on demo, the Viva Nuda Horn loudspeaker. This is a primarily horn design, with horns for the lower mids and upper mids and treble. Accompanying these two drivers are an active cone woofer and a super tweeter. The industrial design is also interesting in that the speakers, while large, are not super tall and do not take over the room as much as traditional wideband horns do. The Viva horns were, naturally, driven by Viva tube amplification. They produced a suitably dynamic sound on a variety of large-scale classical music, and they do make you wonder if the magic of horns is something that should be studied more.

When I say “the magic of horns”, I mean the frequent sense they give of realistic dynamic transitions, much of which is in the micro-dynamic or mid-dynamic realm.  Not everything is Mahler, though this thought applies to Mahler’s macro-dynamics too.

Horns in the old days were often derived from 1950s designs because then we only had low power amps and had to have high efficiency speakers. Materials technology then wasn’t even close to what we have today. Nor was measurement technology. And we have vastly bigger amps now. And better psychoacoustic science. So, it is interesting to contemplate what modern horns could do. This may be a good example of a technology that “the people” voted against 50 years ago, when the tech was limited and the high-end was tiny, but which now could work if only it could be developed. I am hopeful that the companies trying to move the ball downfield, like Viva and some others, get increased traction.

Von Schweikert: Active Bass Traps
Nemesis: Room Treatments

One obvious problem at Capital Audio Fest was bass. Actually, having measured many rooms, I would say that one problem with most real rooms is…bass. Rooms have walls and domestic dimensions and this means they have bass resonances that create peaks and dips and blur in musically important regions (e.g. 30-150 hz).

While being bugged by the resonances of hotel rooms, little did I know, Von Schweikert was showing their new VR-55 Mk II speaker with their upcoming bass trap system. Don’t confuse this with the active bass system, also optional on the VR-55.

I’m probably massively oversimplifying, but Damon Von Schweikert explained that they have designed a pair of separate woofers not to create low-frequency extension (which the VR-55 doesn’t necessarily need), but to be placed and operated to function as active bass traps. That means the VR-55 MkII will have an upgrade that can tame the inevitable peaks caused by room dimensions…without overwhelming the room with visually obvious treatments. The bass was about as clean as I heard at the show without seeming rolled off.

I believe Von Schweikert’s intention is to offer this active bass trap system with multiple models. The Von Schweikert active bass trap system should be available in the first half of next year with pricing tbd.

On this same subject, I have recently reviewed (upcoming on YouTube) the PSI AVAA C214 active bass traps and they work too. So, I am optimistic that this is a technology that could gain momentum partly because it helps with a real problem and partly because it fits with real living environments. I didn’t actually notice the Von Schweikert active traps when I entered the room, for example.

Another related example of such “hidden in plain sight” technology were the Nemesis diffusors. When I went into the Estelon and darTZeel room, I noticed a picture on the wall…of the Beatles. I thought “Oh, that’s a nice touch”, thinking it was just a big, dramatic photo. But no, the Beatles were printed on the acoustic surface of the Nemesis panels. These are designed to work at low frequencies, as are all bass traps, but Nemesis says they are focused more on diffusion than absorption. In the event, the bass was better controlled in this room than in most of the other small hotel rooms. Maybe the Nemesis panels work?

Larsen: Model 9 speaker

I got to hear the Larsen Model 9 in the Dr. Vinyl room. This is an interesting speaker that tries to solve a problem that almost no other current speaker in the high end really aims at, at least the way Larsen goes about it.

In simple terms, the Larsen Model 9 tries to remove the influence of the room on the sound. There are multiple ways the Model 9 does this, first by requiring a specific placement in the room: against the front wall and away from the corners. The drivers seem scattered about the speaker with only a tweeter really directed toward the listener. But, this is not randomness; Larsen is trying to get consistent spatial output across all frequencies (constant directivity).  By placing the speaker against the wall, bass is no longer omnidirectional (it has a quarter-sphere radiation pattern I believe) and the speaker-boundary interference response is eliminated or at least put at a frequency above where the woofer operates. The midrange is angled to create a very early reflection, inside the Hass window, from the front wall that your ear integrates and doesn’t hear as a reflection. Then there are three tweeters, two aimed up and one facing forward. Again, this complex system is designed to create uniform power response in the room. The placement of the speaker aids this goal and is intended to move many reflections either in or out in time so that they are not confusing your ear and brain.

My listening time was brief, but these speakers have something attractive going on. First, performers don’t seem to come from the speakers, rather, they are in the room. Second, my listening position was not at the apex of a triangle between the speakers as I would normally prefer with conventional stereo. And yet, the sound profile seemed balanced and was somewhat like sitting toward the side of a concert hall – not my preferred spot, but enjoyable.

To summarize: these are speakers that must be placed in a position that does not take over the room. Ideally, they require few or no room treatments. Their sound can be enjoyed by listeners outside the sweet spot.

Very interesting. Robert E. Greene reviewed these in The Absolute Sound and has more technical and listening thoughts at the link.

Diptyque: 140 Mk II planar magnetic speaker

Fidelity Imports demoed a new Diptyque speaker, the 140 Mk II. Diptyque uses push-pull dipole planar magnetic drivers. I’m speculating, but it would appear that the push-pull approach allows for enough excursion to extend the bass into the 50hz or maybe lower range. Alan Taffel was more circumspect than I was about the bass level, so I think this needs some additional investigation.

As a reminder, bass is hard with dipoles because they naturally have a bass roll off below a frequency set by the baffle width. This rolloff has to be compensated. At some combination of low enough frequency and high enough level you reach an excursion limit. And you reach it faster than with many traditional cone woofers because the compensation required is larger by the time you reach the mid-bass.

The Diptyque 140, like the larger Diptyque’s we heard at Axpona, delivered satisfyingly balanced mid-bass with good dynamics. The rest of the frequency range sounds pure and smooth. While not a small speaker, the shorter stature of the 140 might also make it a fit in more living rooms.

This is an impressive speaker, and at $25,000 seems potentially quite competitive.

Part of this thought comes from the comments I made at the beginning about the problem of stereo. Linkwitz was quite clear that constant or nearly constant directivity is an element of equipment design that helps render stereo soundspace more true to the data on the recording. Dipoles are one way to get closer to constant directivity than what is generally what occurs with cones in a cabinet. A typical cone speaker will have omni-directional bass and then more energy delivered forward at the top of each driver’s range. A dipole comes closer to having a figure 8 radiation pattern at all frequencies.

The weakness with dipoles tends to be the bass cancellation or roll-off effect, which has made it hard for dipoles to appeal to listeners who like the bottom few octaves to be realistic. You could get around that with very large panels, but that is unacceptable or impractical for many. Or you could add a sub, but constant directivity goes out the window. Hence, the Diptyque 140 is exciting because it brings the controlled directivity idea together with possibly satisfying bass that upsets room modes less than traditional speakers.

I hope we have a chance to review these.

Bacheaudio: 002 speakers

Bacheaudio was demonstrating their 002 loudspeaker. A semi-unconventional design, the 002 features an active 10” woofer with a bass level adjustment. A level control hardly seems like a breakthrough, until you consider the large variations in output below 100 hz experienced in real rooms with real seating positions. It practically defies logic that the low frequency output of a speaker should be held constant in all these cases. But, most speakers and electronics stacks do not allow this adjustment.

The woofer is crossed over to a 10” paper cone mid-woofer. The main driver is an 8” bamboo fiber midrange/tweeter which is run without any crossover. To support frequencies above 10 kHz, a Fostex super tweeter is used, and this also features a level control.

The goal is to create a high efficiency speaker with controlled directivity. Rated at 96db at 1 meter, the efficiency is high enough to allow use of SET or other low-power amplifiers. Bache demoed the 002 with a 15 watt per channel Alexus Audio SET amp.

The sound was nicely dynamic, with good balance and imaging. I was surprised at the smoothness of the response in the sweet spot. This speaker made me wonder about the potential for high sensitivity (as with horns) and controlled directivity (as with horns or dipoles or omnis) to mix dynamics with spatial accuracy. And to fully exploit the dynamic possibilities, it would be interesting to test speakers like these with bigger than SET power.

The Bacheaudio 002s are priced at $22,500 per pair including the bass amplifier and your choice of a variety of solid wood finishes.

Legacy Audio: Aeris XD speakers

Legacy Audio introduced the Aeris XD loudspeaker at Capital Audio Fest. There is so much interesting technology in this speaker, I probably can’t do it justice, but I’ll try.

The Aeris has a powered bass system, using two 12” woofers per speaker, with 750-watt class D amplification for each driver. So, to be clear, you have 1500 watts per channel for low frequencies. The remainder of the speaker is passive, with a 10” mid-woofer, 8” midrange, 4” AMT tweeter and 1” AMT supertweeter.

If you think about it for a bit, those are rather large drivers for their assigned frequency bands, but Bill Duddleston, Legacy’s chief engineer, is aiming for a controlled directivity pattern. What is particularly interesting is that he is designing for a cardioid output pattern. Cardioid means the speaker output is mainly to the front and drops off to the sides and rear of the speaker. But, I think, the big point for spatial performance is the controlled directivity goal, if you tie back to Linkwitz’ thinking that I mentioned before.

Now, achieving cardioid radiation is tough with cones in a cabinet, but Duddleston has used driver size, side radiation (as with a dipole) and his not-so-secret weapon, which is DSP. Legacy has long partnered with Bohmer Audio to create time-domain correction software. In this case, part of what the software is doing is cancelling the lateral and rear radiation from the speaker in areas where a pure acoustic approach is insufficient.

Legacy then uses their DSP system to do room correction in the bass because, as we’ve noted, bass is a big problem in real rooms. Duddleston showed me interesting measurements of bass wave propogation over time, and you can see in those charts that normally the timing of bass arriving at the listener is, to put it mildly, wrong. Which means delayed relative to the input signal…and delayed in a complex way. Unless it is corrected, likely in a complex way, as with DSP.

On a track I know well, from Shelby Lynne’s Just A Little Lovin’ album, the Aeris XD demonstrated a remarkable combination of bass power and detail.

Then, touching on the last element in our trifecta of issues, the drivers Legacy has chosen for the Aeris lead to high sensitivity. In this case, the sensitivity is 95 db for the standard 2.83 volts @ 1 meter. I don’t know that this sensitivity is critical to dynamic realism, but it seems to help. That help may simply be that realistic amplifiers can deliver high dynamic range. That is, the dynamics of sensitive speakers may not be something inherent to high sensitivity per se. To put that in perspective, I recently did a calculation that some low-efficiency systems would require 4 kilowatts of power to produce certain dynamics. As I said then, “not going to happen”. So, high sensitivity may allow real amplifiers to produce high dynamic range.

The Aeris XD is priced at $23,400 per pair with the Wavelaunch DSP processor. You can upgrade to the full Wavelet II preamp, crossover, processor as well.

The Aeris XD checks all the technical boxes, so I would very much like to hear it in residential surroundings with low background noise and ample time to explore a variety of music.

MBL: 101e MkII speakers with MBL 9011 amplifiers

This room was full of products that have been around for a few years. But I stopped anyway because I wanted to see if the rapid progress of the industry in the past 8-10 years had left MBL a bit less special. Not really, to put it mildly.

I suspect MBL has made more improvements along the way than their model numbering indicates. In any event, the sound in the MBL room was glorious in a way that could be the envy of many.

Since we are talking in this report about spatial presentation and the problems of stereo as commonly practiced, let me say that a standout thing in the MBL room was the ability of the 101 speakers to place an image in virtual space in a way that is at least unusual and perhaps unmatched except by the bigger MBLs.

Now, I should add that my view is that some intuitive explanations of how the MBLs do this are likely wrong, although I stand to be corrected. If you think about the theme of controlled directivity or constant directivity, you instantly recognize that a true omnidirectional speaker might be the ticket. Bass with cone drivers wants to be omni, so why not build omni midrange and high-frequency drivers? Most other approaches to constant directivity are only going to get part way there.

MBL has gone all the way with the 101, at least in the lateral plane, and it seems to work like a charm. The driver system in the 101e Mk II has been under development for over 30 years, which may explain why it is unique. There are, of course, other ways to do a full range omni.

But the attractions don’t end there because the detail of the 101e sound is excellent and the tonal density is well above average. The bass definition is also pretty high (though this was not the ideal room for bass and yet the 101s were top tier among show demos on the tracks I heard). There is no obvious tech underpinning to this, as there is with some other systems we’ve discussed, however. Execution still matters.

The other area we’ve talked about that the 101e Mk II doesn’t offer is high sensitivity. MBL has a solution, it would seem, which is to use the giant, ultra-wideband MBL 9011 amps. From past experience, these amps are an important element to the overall impressive and beautiful result.

The MBL 101e is priced at $91,000 per pair. The 9011 amplifiers are $128,200 per pair.

Personal Best of Show

For reasons I’ve touched on, I don’t like the best of show idea. It is illogical. At a show, rooms are different from each other. OEMs don’t all have the choice of rooms sized properly for their equipment because rooms are chosen by historical precedent. Noise levels vary. And noise levels are almost always high (about 15 db above my listening room for example). Seating positions vary when we are there. My brain and ears vary based on what I just heard 5 minutes before. I don’t have time to hear the 100 or so tracks I regularly use for reviewing. I don’t get to visit every room or anything like it.

And then there is the issue of what is best for you? Is a Porsche 911 GT3 the best? The best off-roader? If you have small room, is the XVX Chronosonic the best speaker? If you have a large room and low sensitivity speakers, is a 100 watt tube amp ideal?

You get the idea.

However, I understand that some people would like some sense of a “winner”. Football has a winner. Politics has a winner. So, reminding you of all the issues I just rattled off, I’ll get off my high horse and pick two personal winners:

• First, the Fidelity Imports room where they demo’d the Q Acoustics 5050 speakers with the Unison Research Unico Nuovo class-A integrated and Innuos streamer/dac. Potentially coming in around $6500 for the entire system, I liked the sound and the price point. At a show where “big” is a draw, there aren’t a lot of demos in this price category, but this system just sounded musical and seemed like an outstanding value.
• And I was impressed with the MBL room. We have awarded similar MBL systems best of show in the past, so my choice is hardly insightful. But, as a listener who prizes a sense of virtual reality, the MBL system goes as far in that direction as anything I heard.

Now back to our regularly scheduled sanity, or insanity, depending on your interests.

A Simple Summary

In my view, the industry is to be praised for a relentless pursuit of musical accuracy. In the last 15 years, progress, in what would seem to be a mature field, has taken off in meaningful ways. This direction is, perhaps, more appealing to those with a connoisseur’s mindset, but it is an artistically-motivated endeavor and one that I find admirable.

At the same time, audio faces some challenges in advancing the state-of-the-art. I think the Capital Audio Fest showed that work is being done in areas that might move the ball way down field. And, perhaps most positively, it showed that the massive historical recorded library of musical artistry is in a technological form that could be the backwards-compatible platform for huge strides forward.  I certainly hope so.

Day 2

Alan Taffel, Michael Fremer, Lance Profyt and I recently travelled to Washington, D.C. for the Capital Audio Fest. In this video, I’ll be reporting on the interesting products and sounds I heard on day 2 of the show. This is a big show, so it isn’t close to possible to cover everything; as a result we concentrated on U.S. product introductions. I don’t intend to rank things here in any overall sense and I am reporting on one day of activities at a time to increase my ability to remember the sound that I heard. Check for additional coverage here and in the magazine where Alan Taffel will be your humble servant.

Okay, let’s go over some of the highlights.

Introduction: EMM Labs MTRS Stereo amplifier

In the Now Listen Here room, I heard the new MTRS stereo amplifier from EMM Labs. This is a massive amplifier, which incorporates circuit refinements to the basic design of the EMM mono blocks. Rated at 200 watts per channel into 8 ohms and 400 watts into 4 ohms, the MTRS was fed by a full EMM Labs stack, including the DA2 DAC, which received streams from an Innuos Pulsar and Zen. An EMM PRE then led to the MTRS amp which was driving Joseph Audio Pearl Graphene speakers. The sound in a very large room was spacious, with potent bass and a lovely mid to treble transition region.

The EMM MTRS amplifier is priced at $65,000.

Introduction: TAD Grand Evolution One loudspeaker

TAD is a storied brand dating from 1975. With new distribution in the U.S. that encompasses TAD’s pro audio and high-end consumer products, TAD demoed the new Grand Evolution One floorstanding speaker. The speaker features a coincident source midrange/tweeter driver. The midrange to woofer crossover is set at a rather low frequency of 250 hz and the 7” woofers have a complex, multi-layer and multi-material layup to help with the low to mid transition. The Grand Evolution One is bottom ported to minimize port noise.

The speakers were driven by a TAD D700 DAC, TAD C600 preamp and TAD M700 power amps rated at 350 watts into 4 ohms. The speakers were bi-amped and so driven by 700 watts per side.

The sound we heard was absolutely top-tier. When we listened, we knew nothing about the technical aspects of the speakers. What stood out was the clarity and proportion of the critical 300-800 hz region. The Grand Evolution also had a marvelous ability to float an image, with superb midrange detail, above a powerful and deep bass foundation. The TAD room was oddly shaped and, like almost all the rooms at Capital Audio Fest, had some room modes in the mid-bass due to hotel room dimensions. Despite that, the Grand Evolutions were very engaging.

The Grand Evolution One is priced at $65,000 per pair.

Introductions: Goldnote Turntable and Goldnote Streaming Integrated

Fidelity Imports showed the new Goldnote IS-10 streaming integrated amp. This very compact device delivers 90 watts per channel into 8 ohms, 140 watts into 4 ohms. The amp can be bridged for 280 watts per channel into 8 ohms, with the IS-10 delivering one channel and an additional of PA-10 companion mono amp delivering the other channel. The IS-10 is Roon-ready and has an onboard AKM DAC for high-res PCM and MQA streaming. This packaging is just about ideal for many real-world environments.

The IS-10 is priced at $3499

Fidelity also showed the new Goldnote T-5 turntable. This includes an arm but gives the user a choice of any cartridge, which allows the choice of an MM, MC or even an optical cartridge.

The Goldnote T-5 is priced at $1199

Demonstration: Amped America electronics, Acoustique Quality Passion Fever speakers, Wireworld cables

Boris Meltsner, major domo at Amped America, put on an impressive demo. First off, his U.S. built AAP-1 preamp and AMP2400 power amp driving Acoustique Quality floorstanders, sounded balanced and clear and imaged nicely. Boris chose to set up his equipment to suit the small hotel room, with a compact arrangement, but this avoided the bass bloat on demo in more than a few rooms. I must add, since the 400 watt per channel power amp is class D (using Pascal modules), I was impressed with the smoothness and lack of grain in the overall sound. Steven Stone recently reviewed this $5000 amplifier in The Absolute Sound and you can check out his thoughts there.

Boris also did an interesting A/B comparison of a standard, generic power cable to the WireWorld Stratus 7 power cable he normally demos with. A simple switch of the power cable to a generic one brought on a more than subtle change in the sound. The easily noticed change was a shrinking of the soundstage when the WireWorld cable was replaced with the generic cord. Cable doubters will want to explain this away, but the open minded might conclude “why take the risk?”

The Wireworld Stratus 7 power cable is priced at $160 for a 2 meter length.

Introduction: Estelon Aura loudspeakers with darTZeel LHC-208 mk2 streaming integrated amp

In one of the Alma Music and Sound rooms, the new Estelon Aura loudspeakers were on demo. The Estelons were fed by a darTZeel streaming integrated amp, creating a demo of a simple system (one box, two speakers, a few cables) that would fit in many living rooms, if the design is to taste.

The sound was quite nice, with detailed mids and smooth treble accompanying solid bass from the downward facing woofers. To keep the bass balance right, Alma was forced to allow a bit of lower midrange scoop, a wise tradeoff in my view, and a choice that few setups made or perhaps could make. Very interesting Nemesis low-frequency diffusers were also used to aid in the process of getting proper bass balance in the time domain.

The Estelon Aura speakers are priced at $19,995 per pair and the darTZeel LHC-208 is $25,310. This makes for a complete system at just above $50,000, which is not a budget price point, but which avoids much of the complexity of a server, streamer, dac, preamp, amp architecture and the attendant cables. It would be easy to spend $5000 on each of the elements of the electronics system, which might seem more reasonable, but in the end would cost more.

Introduction: Michell Orbe SE turntable with TecnoArm2 and Levis feet

Michell showed us the new Orbe SE turntable. This features familiar Michell features like an inverted bearing for better oil distribution and perimeter weighting for higher polar moment of inertia and resulting stability. The Orbe SE is a sprung suspension turntable, but Michell has added special new optional isolation feet, called Levis, which feature magnetic repulsion and nearly complete contact isolation from stand to turntable.

The Orbe SE with TecnoArm 2 is priced at $10,999.

Michell also showed us a new packaging approach they are using which is designed to facilitate easy setup for the dealer or the end user. Very convenient and welcoming.

Demonstration: Pear Audio Blue turntable with DS Audio Grand Master EX cartridge

Dr. Vinyl, who is a turntable setup expert, was showing the Pear Audio Blue Odar turntable with an Integriti Tru Glider arm and DS Audio Grand Master EX cartridge. REG has praised the Pear Audio Blue turntables in The Absolute Sound, and the new diamond cantilever DS Audio cartridge was intriguing as well. The sound was super clear and dynamic, with rather neutral balance, although we were in a less than ideal seating location. I should mention that this was one of the few rooms where we heard vinyl that sounded right, a reminder that setup and equipment choices are especially important for playing LPs.

Introductions: Q Acoustics 5050 speakers and Unison Research Unico Nuovo integrated amplifier

This was one of the more interesting demos at the show. The Q Acoustics 5050 speakers, driven by a new Unison Research integrated and an Innuos streamer sounded very good: balanced, with good imaging and clarity. But the kicker is that the 5050 speakers are $1999 per pair and the 95 watt per channel Unico Nuovo amp is $2999. With an Innuos PulseMini streamer, you would have a full high-quality system for under $6500. A system like this doesn’t have the transparency of systems at 10x the price, yet it is still quite satisfying.

Introduction: Valve Amplification Company Signature 202iQ amplifier

Kevin Hayes, the head of VAC, was on hand for the debut of the Signature 202 amps. To make a big impression, he had four of the amps running in mono mode to bi-amp a pair of Von Schweikert Endeavor speakers. The sound, in a very large room, was clean, tight and open, with fine imaging and deep bass. This was among the best demos we heard.

The 202iQ amps can be run in mono or stereo mode. As monoblocks, they offer 200 watts output from their KT88s. In stereo mode, you have 100 watts per channel on tap. They are priced at $22,000 per amplifier.

VAC also introduced a small form factor preamp and compact mono amps.

Introduction: Acoustic Energy Corinium speakers

Fidelity Imports launched the Acoustic Energy Corinium speakers, driving them with Soul Note’s A-2 integrated amp and D-2 DAC along with an Innuos Statement streamer. The sound was warm and quick during our brief listen. I would rate the optional British Racing Green paint as outstanding, but other colors are possible if you’re not an Anglophile.

The Acoustic Energy Corinium speakers are priced at $7499 in three standard finishes.

Introduction: Stenheim Alumine Two.Five speakers

Stenheim was demonstrating a new speaker which is smaller than we are accustomed to from them. Their mega-speakers are really impressively large. The smaller Alumine Two.Five, on the other hand, is a 37-inch tall floorstander, with two ported 6.5 inch woofers and a 1” tweeter. The package is compact, but each speaker weighs 100 lb. demonstrating the seriousness of the design.

The Alumine Two.Five is priced at $23,500 per pair.

Introductions: Cyrus TTP turntable and Spendor Classic 100 speakers

In the days of my youth, I was told what it means to be an audiophile, and that included experience with the Spendor BC-1 speakers. 50 years later, Spendor has launched a new member of the classic range, the model 100. This one has no connection to the Spendors of yesteryear except that, in concept, it is like the BC-3 and it uses high quality drivers in a carefully designed and finished cabinet. The Classic 100 has a 12” ported woofer and a 7” midrange, along with a 1.2” tweeter. The midrange driver is set up to avoid crossing over in the vital midrange, with the woofer crossover located at 490hz and the tweeter crossover at 3.6k. Sensitivity is 89 db.

The Classic 100s are priced at $14,800 per pair.

Cyrus had a full range of half-width product on display, but the new item shown was a turntable. The TTP has an electronically controlled DC motor, precision main bearing, damped aluminum chassis and low-friction 9” arm. It can also be upgraded with a standard Cyrus external power supply, compatible with other members of the line.

The TTP is priced at $5800.

I hope you’ve enjoyed this show report. Please check out Part 1 and also our third report which covers the some of the special technologies on display at Capital Audio Fest 2023.

I should add that this was the first of several rooms that used various Joseph Audio speakers and they sounded consistently good, which is quite an achievement at a show.

Speaking again of prices, the Cronus Dark integrated is priced at $4495.

Introduction: Synergistic Research Voodoo Streamer/Server

Synergistic had their new Voodoo streamer on demo in the Scott Walker Audio room. In fact, they had two Voodoos in the demo system so that one could be dedicated to Roon implementation and one could be dedicated to streaming per se. The Voodoo doesn’t have to be used this way; you can run Roon and streaming on a single box, but they claim that allocating more processing power to each function is sonically advantageous. In addition, they have implemented many proprietary learnings from their ethernet router and Ethernet switch, along with ideas built into the Galileo PowerCell, into the Voodoo.

The demo, which included a wide range of other Synergistic products (cables, grounding, racks, acoustic treatments), sounded very good (more on this later). But the most interesting part of the demo was that they have implemented the ability to switch the proprietary circuit features in or out. Listening to a comparison of the two modes, the soundstage was clearly deeper and more open with the special Synergistic elements in circuit.

Pricing for the Voodoo isn’t completely set, but should be under $15,000 with a Synergistic power cable or under $12,000 with no power cable (allowing you to use a cable you already own).

Introduction: YG Acoustics Carmel 3 speaker, Vinnie Rossi Brama Preamp, Vinnie Rossi Brama Stereo Amp

I heard the new YG Acoustics Carmel 3 in the Alma Music & Audio room. The Carmel 3 is new and was presented in a beautifully machined metal finish. YG clarity and transparency were on full display. The Carmel 3 also exhibited ample but balanced bass in the relatively small demo room. It is easy to imagine this size speaker fitting nicely in a real living space and if that space is relatively compact (under 3000 cubic feet) the bass balance of the Carmel 3 might integrate better than that of larger speakers.

The Carmel 3 is priced at $29,800 per pair in the U.S.

The Carmel 3s were driven by the new Vinnie Rossi Brama preamp and stereo amp. The preamp is especially interesting because it uses 300B tubes, which are normally though of as a power tube. Designer Vinnie Rossi points out that the 300B is simply a very linear tube and thus is ideal for a preamp. In addition, you can switch the way the 300B plays in the circuit, allowing some voicing adjustments to be made. The voicing choices are memorized by the preamp per input, so you can voice, say, digital and phono differently and have the preamp automatically use your preferred setting.

Coupled with the Brama solid state stereo amp, which has 300 watts rated output per channel, and an MSB Premier DAC, the Brama pre sounded detailed, and to my mind, not obviously like tubes. Again, natural detail and clarity were the order of the day.

The Brama preamp and power amp are each priced at $33,995.

Introduction: Von Schweikert Audio VR-55 MkII speakers powered by Westminster, Sonore and Lampizator

In the Hear This room, I heard the new Von Schweikert Audio VR-55 MkII speakers on demo with their intriguing active bass system. The front end had a Sonore streamer and a Lampizator Horizon DAC running into a WestminsterLab Quest preamp and WestminsterLab Rei amplifiers.

The sound in this room was clean and dynamic, but I was immediately impressed by the deep and well-controlled bass. “Maybe it’s the room” thought I, because the rooms in hotel vary in size and shape quite a bit. The VR-55 MkII that I heard had two special Von Schweikert bass technologies. The active bass version has amplification on board for the woofers. You connect your power amp to the speakers and it powers the midrange and tweeter, and that high level signal is also used to derive the signal for the onboard bass amp.

The VR-55 MkII is priced at $65,000 or $75,000 in active bass configuration.

ampsandsound Yellowstone Preamp and Arches monoblock amps

ampsandsound was demonstrating two very interesting electronics products. The Yellowstone preamp and Arches amps were fed by a VPI Avenger Direct turntable and drove Acora QRC-1 speakers via Cardas Clear cables. The ampsandsound philosophy is that there are classic tube circuits that are difficult to improve except by using modern parts where those have advanced. Consistent with this, the Yellowstone preamp is based on the Marantz Model 7 circuit. Substantial attention to detail in updating the model 7 includes an extremely complex volume control with optical encoding and a relay-driven resistive ladder network. The Arches mono amps are based on the Harman/Kardon Citation II amplifier circuit, although arranged in a dual mono configuration. The transformers are custom wound and a pair of amplifiers sports 6 transformers for improved power supply performance. The Arches are rated at 80 watts per channel.

The Yellowstone preamp is priced at $35,000 and the Arches amplifiers are $50,000 per pair.

Goebel Divin Marquis Speakers with Wadax Atlantis Server and DAC and Riviera Preamp and Power Amps

Perhaps the most impressive sound on day 1 was in the Bending Wave room. The dynamics of this system were notable, with percussion sounding especially lively. Soundstaging on the right tracks was also large and especially unusual in that some images extended well beyond the left or right speaker on streams capable of revealing this. The sense of textural integrity extending into the bass was also a rare event. Was this the speakers? Robert Harley had a good experience with the larger Goebels he had in his room, so I suspect the speakers helped. But the tendency to blame or praise the speakers alone for system sound is, frankly, illogical. I have talked to Robert about the Wadax digital gear and he repeatedly reminds me that they do things that other digital in his experience can’t quite manage. And then we have the Riviera amps, which are a proprietary mix of tubes, MOSFETS and bipolar transistors in class A arrangement. The Riviera circuit is based on research about the ear/brain system’s impact on perception, which at least makes it potentially distinctive. I was slightly uncomfortable with the playback levels in this rather large room, so I would very much like to hear more of each element in the chain in a more typical domestic setting.

The Goebel Divin Marquis speakers are priced at $90,000 per pair. The Riviera amps are priced at $82,800.

Very intriguing.

Introductions: Gryphon Diablo 333 integrated amp, J Sikora Standard MAX Special Edition, Aidas Mammoth Tusk Gold SE cartridge

The Command Performance AV room had ample new items and sounded excellent. The new J Sikora Standard MAX SE was the front end in the system when we were there. The SE takes the Editor’s choice winning Standard MAX and adds a choice of 30 or more finishes. The J Sikora was fitted with an Aidas MC cartridge whose body is made of mammoth tusk, which is said to be more molecularly consistent and ecologically friendly than more “modern” organic materials. Here is Jesse from Notable Audio, the importer, describing the cartridge:

The J Sikora/Aidas rig was running into the Doshi Audio Evolution phono stage and then to the new Gryphon Diablo 333 integrated. This rig drove the recently introduced Magico S3 speakers.

The Gryphon Diablo is a beautiful beast of an integrated. It weighs 112 lb and offers 333 watts per channel into 8 ohms and 1100 watts per channel into 2 ohms. You can order it with an optional built-in phono stage or a DAC module using ESS DAC components.

This room was definitely a contender for most natural sound. As I said, I can’t rank the rooms absolutely, but it is pretty easy to tell what the philosophy of the equipment and setup is. This is a room where most elements of the sound were quite accurate and where the distortions and subtle indicators of artificiality were minimized. I should also say I heard the excellent Magico S3s in several rooms and this was probably the best they sounded (but remember: different rooms and seating positions).

The J Sikora Standard MAX SE is priced at $23,000

The Aidas Mammoth Tusk Gold Special Edition is priced at $8650

The Gryphon Diablo 333 integrated amp is priced at $24,990 without the two optional modules

Introduction: Boenicke W13 SE+ loudspeaker

The Swiss Boenicke W8 is an impressive, diminutive floorstander we covered at Axpona. So I had high hopes for the big brother, called the W13, which was being introduced at Capital Audio Fest. I wasn’t disappointed, although for $57,000 per pair, expectations should be high. The W13 sound is detailed and the imaging is good, despite the fact that seating was not ideal while I was there. The W13 uses some complex cabinetry and unusual cone materials. Alma Music & Audio gave every advantage possible to the W13s, with Nagra Classic amps and preamp, MSB Select DAC and Innuos server.

Introduction: TIDAL Audio Contriva G3 loudspeaker

The Voice That Is room demoed the new Tidal Contriva G3 speakers driven by the Tidal Contros digital streamer/DAC/preamp hooked up to a Tidal Intra stereo amplifier. This is a beautiful and compact set of electronics that would make sense in a real living room. The Contriva G3 speakers are fairly large, but because their volume is mostly in the depth dimension, and they are very nicely finished, they were not visually overwhelming. Again, this might work in certain shared living rooms.

Whether you have a dedicated room or a multi-purpose living room, you might want this system because the sound is so pure and neutral. The musicians just seem to perform in the room with minimal artifacts and resonances. And yet, when more rip-roaring music is played, the dynamics are strong and the bass goes deep. Very natural sound appropriate for musicians and those who know and appreciate the sound of live music.

The Tidal Contriva G3 speakers are priced at $79,000 per pair.

Introduction: Berkeley Alpha DAC Reference Series 3 with Estelon XB MkII speakers, JMF preamp and JMF stereo amplifier

The Berkeley Alpha DAC Reference Series 3 was on demo in several rooms. I got the best chance to listen in the Scott Walker Audio room. The lack of grit and edge and other digital nasties was impressive. Imaging was also well-rendered. I do think the Estelon XB speakers and JMF electronics contributed to the very engaging, dynamic, transparent sound that had tasty bass and a certain rightness to it. Note that Berkeley has spent huge efforts on the ear/brain perceptual elements of digital, so that may be at work too.

The Berkeley Alpha DAC Reference Series 3 is priced at $28,000.

As evidence of CAF’s stature, consider the plethora of new product introductions from all over the world at this year’s event. A slew of lesser-known brands, like Treehaus Audio, Mon Acoustics, Belleson, Q Acoustics, and many others took the opportunity to bow new flagships or line additions. At the same time, many of the industry’s biggest hitters—YG, Gryphon, emm Labs, TAD, Technics, Rega, and Tidal, to name a few—chose CAF to showcase important new models.

As the only TAS attendee to spend all three days at the show, my hands, to say the least, were full. There was no way I could give as much time as I would have liked to all 130 rooms; so, inevitably, I missed some systems and some news. I apologize in advance to any manufacturer or dealer I might have inadvertently slighted. Even so, my notebook brimmed with scribble about new gear and the sound of every room I entered. I’ve whittled all that down and hereby present the most significant new products and bewitching systems I encountered.

Top 5 Best-Sounding Rooms (In no particular order)

1. Fidelity Imports/Magnepan. Fidelity Imports doesn’t handle Magnepan, but it turned over one of its nine rooms to allow the venerable speaker firm to showcase its new model, the 2.7i. (See Auspicious Debuts below.) Driven by the Audia Flight FLS 10 integrated amp and an Aurender streamer, the sound on the first two days was incredibly realistic in a way that few besides Magnepan can muster, and the bass was shockingly good. Things got even better on the third day, when the Magnepan folks upgraded the speakers to ‘X’ status. Total system price: $22k/$26k.
2. As usual, the MBL room was a highlight of the show. This year the company opted to forego the X-Tremes and stick with the “plain old” 101 E Mk II’s, which turned out to be more than satisfying. Indeed, the sense of being in the presence of the musicians and recording venue imparted by these speakers is spectacular. This was the most “3-D” presentation I heard at the show. Even choirs, one of the toughest tests for an audio system, sounded realistic. MBL sometimes gets knocked for playing too loudly at shows, but I was treated to many softer pieces, where the 101’s showed off the delicacy of which they’re capable. Total system price: $318k.
3. Acora/Audio Research/VPI. Although the presence of Acora on the list of best-sounding rooms may be getting monotonous, the sound these speakers make is anything but. Once again, Val Cora brought his $220k VRC-1 flagships; but this year he swapped out VAC electronics for ARC because, you know, he now owns the company. Rounding out the system was a VPI Titan Direct turntable and a van den Hul The results, as ever, were glorious. In particular, these were by far the most revealing speakers at the show, and bass wasn’t just deep and tight but conveyed the character of the instrument playing. Total system price: $500k, including Nordost Oden 2 cables.
4. Bending Wave. For four years, Bending Wave’s Elliot Goldman has had the same large room at CAF. There, he’s experimented with various combinations of components, always featuring German speakers by Göbel. This year, he hit it out of the park, ironically with Göbel’s “entry-level” offering, the $90k Divin Marquis. Fed by Riviera electronics and a complete Wadax digital array, the system created a huge soundstage, with plenty of detail and air, excellent transients, and thunderous bass. Most importantly, it unfailingly got to the heart of the music. Total system price: $555k.
5. Quad/Java. What’s this? A new Quad? (See Auspicious Debuts below.) Playing loudly? That’s right. The surprise of the show was being driven to perfection by a Michell Gyrodec SE table and Java Hi Fi Single Shot integrated amp, and the result had all the virtues of Quads of old—lack of edge, infinite coherence, speed, and transparency—plus newfound traits of terrific dynamics and bass. Did I mention they were playing loudly? Manna from heaven. Total system price: $42k.

Top 20 Auspicious Debuts

Speakers

Vertically integrated Japanese manufacturer TAD introduced the U.S. to the Grand Evolution One ($65k). This is the big brother to the Evolution One TX ($30k) reviewed favorably by Andy Quint. The extra cash buys dual 7** woofers, as opposed to five-inchers, and a bigger coincident tweeter/midrange driver. The former enable the speaker to hit 30Hz. As played by an all-TAD system (naturally), the GE1 had a lovely sound that nonetheless did not lack for naturally rendered detail. In this room, it easily reached the deepest depths. TAD also introduced a new preamplifier, the $25k C1000.

Any new Magnepan is cause for celebration, but the latest may be even more so than usual. That’s because the new 2.7i ($6k) and upgraded 2.7X ($10k) not only come in at a very attractive price point but are also big enough to be full range, while not being so large as to overpower a room. They include a true ribbon tweeter, too. Their sound at CAF was impressive (see Best-Sounding Rooms above). I predict the 2.7’s will quickly become one of Magnepan’s top sellers.

Lowther, the British speaker builder, introduced the Edilia model ($25k+ depending on options). As part of a growing trend, every speaker ordered is customized to the buyer’s wishes. Options include aesthetic flavors such as grille-cloth color, as well as sonically impactful choices like driver size. The driver complement is a coincident tweeter/midrange, a super-tweeter, and a woofer—all horn-loaded. Interestingly, there is no crossover on the main driver. Efficiency is an astonishing 97dB, which explains how the Edilia could sound so capable when driven by a Triode Amp integrated with just 35Wpc.

Another horn speaker making its U.S. debut was the Cessaro Wagner 2 ($65k). Driven by a 6-watt tube amp, the sound was what you expect from good horns: lively with extraordinary dynamics. Unlike many horns, though, the Wagner 2 was surprisingly coherent. There was no bass in this outing, but that probably was the fault of the room.

One of the most “inspirational” premiers of the show was the Q Acoustics 5050. Though only $2k, the speaker’s design showed a great deal of thought. For instance, the driver configuration is MTM, and the mid/woof’s cone shape is designed to optimize both extension and tweeter integration. Both attributes were clearly audible, as was bass that was simply unbelievable at this price.

Diptyque has been building out its line of handsome full-range planars. The latest is the DP140 Mk II ($17k), which sits in the exact center of the range. (The line runs from $8k to $50k.) Unlike many full-range planars, the Diptyques don’t need gobs of power. At CAF, the DP140 was driven by the exquisite Soul Note A3 integrated amp, which makes 120Wpc into 4 ohms. The sound was highly dynamic yet natural, though the speakers lacked for bass.

Jeff Joseph may be the most underrated and unsung speaker designer in the industry. But the man knows his stuff, as illustrated by his latest, the Joseph Audio Perspective 2 Graphene ($17k). Though a modestly sized floorstander, when driven by Doshi hybrid electronics with a Berkley Audio Design digital front-end at CAF, it evoked a sense of ease and scale that eluded many other systems.

I heard The Living Voice RM80 in Munich, where it was much lauded, and have been awaiting its U.S. arrival. Now it’s here at a price of $54k. As in Europe, the sound at CAF was warm and highly musical. The RM80s’ 93dB sensitivity enabled them to be driven by a Border Patrol tube amp putting out just 16Wpc.

For the first time in the U.S., Kroma was showing the Atelier Turnadot ($220k–$240k) in finished form. The speaker features two AMT tweeters, two 6.5** midrange drivers, dual 12** woofers, and a crossover that makes extensive use of Mundorf components. The total package weighs 460 pounds! As driven by Aavik electronics, the sound was as beautiful on a Rubinstein piano piece as it was beefy on Dylan’s “The Man in the Long Black Coat.”

I was impressed with a new-to-me company called Mon Acoustics. At CAF, it released an upgraded version of the Supermon Mini ($2k). Compared to the old version, crossover revisions have improved both coherence and bass output. But what’s so striking about these little guys is the quality of materials (aluminum cabinet, Mundorf parts) and innovative design touches (Isobaric woofers) you wouldn’t expect at this price. Sonically, they definitely punch above their weight.

CAF was my first opportunity to hear the Stenheim Alumine Five SE—driven by DarTZeel separates, no less. Either due to the room or the setup, the sound was disappointing. However, just down the hall I encountered the welterweight Alumine Two.Five ($23,500) making its first North American appearance. Slotting, obviously, between the stand-mount Alumine Two and the slightly larger floorstanding Alumine Three, the Two.Five has got that loads of that Stenheim magic. Indeed, they sounded simply wonderful: open, full of timbral detail, and dynamically impactful. At CAF, they didn’t plumb the depths, but they produced solid bass circa 45Hz. For me, the latest Stenheim was one of the stars of the show.

CAF was also host to the world premiere of the YG Carmel 3 ($29k). Successor to the beloved Carmel 2, the 3 incorporates the company’s latest technology and manufacturing techniques. These have resulted in a more complex and effective tweeter waveguide, custom caps in the crossover, tweaks to the tweeter, and a thinner yet stronger cone for the mid/woof. Playing with Vinnie Rossi electronics, the new 3 was extended both high and low, with a touch of newfound richness.

As already noted (see Best-Sounding Rooms above), there’s a new Quad in town. It’s called the 2812X, and it lists, according to the rep at CAF, for $10k. That seems strange, since the current Quad 2812 runs $15k. We can but hope the new price is real. In any event, the 2812X is essentially a massively upgraded ESL63. In addition to the metal frame and other tweaks we’ve seen before, the latest iteration has a re-designed protection circuit that allows it to be played loudly with safety. Let me tell you, walking into a room and hearing Quads, with all their usual splendid virtues, playing at nearly uncomfortably loud levels induces cognitive dissonance. But it happened, so I’m a believer.

Electronics

Belleson, a company known among industry insiders since 2010 for its high-voltage regulators (which are found in many a high-end component) has moved into finished products. At CAF, it introduced its first: the Brilliance phonostage ($8500). The unit has three gain stages, of which the first two are current rather than voltage gain, which is said to reduce overall distortion. There are two inputs, each of which can be set to either mm or mc. The niftiest feature is an app that allows complete control of the inputs from your listening seat. For instance, in real time you can adjust resistive and capacitive cartridge loading on the fly.

Famous for its take-no-prisoner powerhouses, Gryphon toned things down a bit with the world premiere of the 333 integrated amplifier ($25k). The unit incorporates trickle-down technology from the far more costly Apex and Commander separates. Though an integrated, the 333 still manages to put out, well, 333Wpc into 8 ohms. Sweetening and already sweet deal, in first quarter of 2024 there will be optional DAC and phonostage cards.

VAC loves CAF, and as is its wont, used the occasion to inaugurate several products. First and foremost was the 202iQ stereo power amp ($22k). The baby brother of the more powerful (and more expensive, at $42k) 300iQ, the new model delivers 100Wpc; it can also be configured as a 200-watt monoblock. According to VAC’s Kevin Hayes, the two sound “like peas in a pod.” In the VAC room, four 202iQ’s running in mono mode were bi-amping a pair of svelte Von Schweickert Endeavor Special Editions ($27k). The combo proved up to the challenge of filling the huge room, evoking a large, fulsome soundstage. Dynamics and detail were nothing to sneeze at, either.

VAC also fleshed out its entry-level Essence Series, which have a smaller footprint and lower price point than traditional VAC gear. As of 1Q24, the Essence Line ($9k) linestage and Essence 80 monoblocks ($10k each) will be joined by the Essence Phono ($9k). The new component features support for two cartridges and front-panel load selection.

Another world premier was the emm Labs MTRS stereo power amplifier ($65k). The hulk, designed and manufactured in Canada, delivers a healthy 200Wpc into 8 ohms. Its technology trickled down from the MTRS2 monoblocks, but the new model is a single-ended rather than a balanced design. Notably, emm says the MTRS will drive speaker loads down to a single ohm! At CAF, it was behind the estimable Joseph Audio Pearl Graphene, with excellent results.

Sources

Technics has replaced the SL1200 GR ($1800) turntable with the SL1200 GR II ($2200). This was the latter’s first public showing. Two changes differentiate the models. First, the GR II has a beefier power supply. Second, the new version has an improved “Delta/Sigma” digital-drive control system for the coreless direct-drive motor. Together, they help remove micro-vibrations from the drive train, resulting in a quieter background and greater resolution.

Turntable specialist Rega has been gradually moving upmarket. The latest evidence, and the company’s new flagship, is the Naia, which dips into five-digit territory at $13k, or $17k with Rega’s Apelion 2 flagship cartridge. Distinguishing the Naia from lesser Regas is a plinth made of sandwiched graphene-impregnated carbon fiber and sand. The titanium arm and bearing, and the alloy subplatter, are all new, as is the ceramic platter with a concave bottom (to shed weight). Though similar in appearance to the Rega Planar 10, the Naia is clearly much higher tech.

2023 marks Linn’s 50^th anniversary, and to commemorate the occasion it has released a 50^th anniversary edition of the venerable LP12 turntable. The new table is dubbed the LP12-50 and is sold as a package, complete with Linn’s top goodies—arm, cartridge, phonostage—for $60k. Aside from minor, though unquestionably-attractive cosmetic changes, the main distinction of the LP12-50 is a plinth made of layered beechwood and bedrock. Oddly, at least to me, the table can be ordered with a phonostage that outputs a digital signal. Fortunately, good old analog is available, too.

Other Notable Introductions

Wells Audio has a new integrated amp, the Majestic II ($6k), which outputs 150Wpc. Ampsandsound, which was previously focused on power amps and headphone amps, showed two new preamps: the Yosemite ($25k) and the Yellowstone ($34k). The two are similar, but the Yellowstone has a remote and a more sophisticated volume control. Both include built-in phonostages.

Rogue Audio revealed two new models. The RP-5 V2 ($4k) is a preamp with much of its circuitry borrowed from higher models. Though tubed, it includes a solid-state phonostage. The Cronus Dark ($4500) is the company’s new flagship integrated amp. Everything is upgraded compared to the standard Cronus. It sounded mighty fine driving the Joseph Audio Pulsar 2 Graphene speakers.

Legacy had a busy show, introducing a new speaker and two new power amps. The Aeris XD ($23,400) is an Aeris with greater low-end extension and includes active woofers. The IV2 ($3850) and IV4 ($6k) are two- and four-channel Class D amps, respectively. Both use ICE modules and put out a staggering 660Wpc into 8 ohms.

Acoustic Energy got a lot of buzz around the show for its Corinium speaker ($8500), new to North America. It has a slotted port, MDF cabinet with aluminum front baffle, a synthetic silk tweeter, carbon-fiber mid and dual woofer drivers, a second-order crossover, and a splendiferous finish.

Among the many other speaker intros was Tidal’s Contriva G3 ($79k). As mentioned in the Munich reports, the speaker is gorgeous. Treehaus Audio upgraded its flagship model, the Phantom of Luxury. (Let’s hope Rolls-Royce doesn’t sue.) It costs $32.5k and features an open-baffle field coil driver, Iconoclast internal wiring, a newly upgraded woofer, and a transformer-attenuated super-tweeter said to have superior impedance matching with the other drivers.

There were relatively few DAC introductions at CAF. One was the Geshelli Labs Dazzy ($1300–$1700, depending on options), which employs an AKM 4499EX chipset. Another was the Linear Tube Amplifier Aero ($3600) non-oversampling DAC boasting an ARM front-end processor, six power supplies, and a David Berning-designed output stage. In other source news, the VPI Titan Direct ($60k) made its world debut in the Acora room.

Finally, among the cable introductions were three new power cords from Triode Wire: the Digital American 2 ($549), 9 Plus ($499) and the entry-level 11 Plus ($299). All are cryo-treated. All prices are for 5-foot lengths. Siltech debuted the Royal Crown series (prices vary).

Best Sound of the Show: Competition was fierce, but in the end the very best sound could be found in the Acora room—again. Listening to the VRC-1 after hearing virtually any other speaker is like switching from LP to mastertape. It’s that revealing. Which makes it mesmerizing.

Best Sound (for the money): The Q Acoustics 5050 ($2k) speakers, paired with a Unison Primo integrated amp ($2k) and Uno CD player ($3k), made for a supremely accomplished combo. Not the most extended on top, but otherwise you’d never know you were listening to a $7k system.

Most Significant Trend: “Bespoke” components. That is, components that, like a Bentley, are tailored to the individual customer’s preferences, both aesthetic and sonic. I saw half a dozen brands offering this service; some are doing it exclusively.

Most Significant New Product: A tie between the new Quad 2812X and the Magnepan 2.7i/2.7X. Both are full-range planars, comfortable in size and price, and both are sonic knockouts. 

Best (Non-Humorous) Anecdote: Late Saturday night, in a packed Acora room, the Audio Research preamp temporarily crashed. The hotel’s meager power (would you believe only 94 volts?) triggered its protection circuitry. Problem was, it wouldn’t immediately come back up. VAC’s Kevin Hayes was there, and asked Val Cora, who now owns and runs ARC, VAC’s biggest competitor, if there was anything he could do to help. “I’m not sure,” said Val, “but if worse comes to worst, I might need a preamplifier.” To which Kevin unhesitatingly replied, “Whatever you need, you will have.” That’s what I love about this industry; everyone is pulling for each other. (The ARC preamp came back to life a few minutes later.)

Best Humorous Anecdote: The quick-witted Andy Quint couldn’t make the show this year due to Covid, so this space shall remain blank.

Improvements to the RP-5 v2 include:

• Lower noise floor
• Better volume control borrowed from the RP-7 and RP-9 preamplifiers
• Improved phono stage borrowed from the Triton II dedicated phono stage
• Upgraded headphone section borrowed from the RH-5 headphone amplifier

The US list price for the RP-5 v2 is $3,995 and it is available with black or silver faceplate. The Cronus Dark upgrade includes the following upgrades:

• 25% greater capacitance in the power supply
• Hexfrd high speed diodes in the power supply
• Upgraded signal tubes
• Upgraded coupling caps
• Upgraded binding posts
• Upgraded OP Amps in the phono stage
• A package of caps and resistors in key spots

US List price for the Cronus Dark integrated amplifier is $4,495 and the standard Cronus Magnum III will still be available for $3,495.