Countdown to Axpona 2016

[MylesBAstor]

Technics once again had a presence at Axpona 2016 demonstrating a range of products aimed at the high-end audio market including a range of speakers, electronics and digital front-ends as well as sponsoring the Akiko Jazz Trio on Friday night. My attention, however, was most drawn to the debut of their recently released Grand Class SL-1200GAE “50^th Anniversary Turntable.” A descendent of the original DJ table, the SL-1200GAE features a coreless direct-drive motor to overcome the cogging effects of the original table, a precision motor control derived from Blu-Ray devices and a three layered turntable platter. What I found more interesting wasTechnic’s parochial attempt at rewriting the history of turntables in the literature accompanying the SL-1200GAE. To wit:

1. Contrary to Technics literature, turntables never disappeared, albeit it briefly as they claimed, from the market due to the introduction of CDs;
2. Their [turntables] warm sound is bringing them back? Me thinks there are far better reasons here. In fact, if I got a dollar for every time that I hear that “warm sound” cliché, I’d own a million dollar system;
3. They had requests to “revive” their turntables—totally forgetting Technics originally and disastrously decided to drop turntables at a time when turntable sales were experiencing a renaissance;
4. Yes, DJs loved their direct-drive tables but sound quality certainly wasn’t one of the reasons;
5. Audiophiles acclaimed the direct-drive turntables? Maybe now, with tables such as the Dobbins but no audiophile that I know uses as stock direct-drive table. But truthfully, the sound of the early direct-drive tables drove audiophiles to belt drive tables;
6. I also get the feeling that Technics has concentrated all their effort on the speed control and motor and not realized that the sound of the direct-drive table drive system has other factors that are extremely important;
7. Are belt drive tables cheaper to build as Technics claims? Dubious claim at best. Questionable or maybe for entry level turntables?
8. After reading the literature, I just get the feeling that the tonearm was an afterthought;

That said, I’d love to hear what the new table brings to the market in that price range and certainly with all that money behind them, what Technics could do with a real high-end audio turntable.

[MylesBAstor]

The best of the GTT Audio rooms featured Audionet solid-state electronics including the Max Mono amps ($30,500), Pre G2 preamp ($23,500) PAM G2 Phono ($10,100), the Kronos Pro turntable ($38,000) equipped with Black Beauty arm ($10,000) and Air Tight Opus cartridge ($15,000) and the YG Hailey 1.2 speakers ($42,800). Cabling was as usual from Kubala-Sosna. Axpona 2016 was the best balanced sound—being neither too thin or too rolled off—that I’ve heard from Audionet electronics. The system really excelled at neutrality, resolution and transparency on the couple of albums that I played in the room. My main reservation and where the system fell a little short of ultimate lie in the area of dynamics. Here the system was just a little too reserved and just never broke loose.

[ack]

What do you think of Audionet? I've been meaning to listen to Raidho driven by them, and something's holding me back

[MylesBAstor]

The Audio Union room with Thrax electronics from Bulgaria including the Teres 250 wpc hybrid monoblock amplifier ($28,900), the Orpheus LCR tube phonostage ($19,500), Dionysos tube preamplifier ($19,500) and Thrax Lyra 2-way stand mount speakers ($$19,500) sounded dramatically better at Axpona than several months ago at RMAF. Of the various pieces of Thrax electronics, it was their phono stage, however, with its custom low impedance LCR RIAA circuit (comprised of inductor, resistor and capacitor to form a low impedance network to compensate for RIAA playback standard) that caught my eye. There are now several phono stages out there using LCR RIAA compensation such as WAVAC, Allnic, Ypsilon, Aurorasound just to name a few. Why use a LCR network? LCR circuit designers feel that this network allows for better and lower level signal transfer that high impedance R/C RIAA networks may lose. In addition, the Orpheus comes with a Lundahl cobalt amorphous SUT, programmable gain, loading and absolute phase, balanced and single-ended input and output.

For me the star of the room though was Mark Dohmann’s ex-of Continuum, Helix 1 turntable ($37,500) outfitted with the Schroeder CB ceramic bearing tonearm ($4000) and standard output Lyra Atlas cartridge ($11,995). The Helix 1 is a belt drive table that incorporates several unique technique to minimize plinth resonances in addition to the incorporation of the Minus-K isolation technology (0.5 Hz vertical/1.5 Hz horizontal). Oh, and make sure the turntable platform is capable of supporting 140 lbs!

Cabling was provided by EinKlein and Stillpoints ESS stand, Ultra 5 and Aperature panels (interestingly the same person responsible for Sonex designed the Aperture panels allowing him access to materials not available to other room treatment designers) were liberally sprinkled around the room. Unlike Axpona where the sound in probably a room probably way too large for the speakers that was thin, washed out and unfocussed sounding. The smaller Axpona room, except for that extremely noisy AC duct in the room, proved more friendly to the system. In Chicago, the system’s sound was very expansive, fuller and with considerably more detail. The little stand mounted speakers really disappeared and instruments just hung in the stage. The main issue was a tiny bit of congestion above a certain level most likely due to the room.

[MylesBAstor]

Paul Manos of High Fidelity Services decided to shift gears somewhat at this year's Axpona show and bring along to Chicago some of the entry level gear from the companies he’s currently distributing in the United States. This included from the UK NEAT Acoustic’s small floorstanding Motive SX2 speakers ($2395), from Italy the 75 wpc Audia Flight FL Three S integrated amplifier with phono option ($3995) and from the UK the Analogueworks TT Zero turntable (produced ex-Nottingham turntables employees and shown for the first time in the US) plus Jelco SA-750DB arm ($1995 for the package) and Ortofon 2M Black cartridge ($2729). The TT 1-12 features a low torque motor and an extremely quiet single point, leaded bronze bearing. A motor controller for the tables is in the works. Jeff Whitlock’s Unity Audio cables were used throughout the system ($1450) and power cables/power distribution was handled by products from Vibex.

The sound was very satisfying if just a touch light in the bottom end. For a small speaker, there was plenty of image height and musical information without exaggeration. Mari Nakamoto’s voice on the Three Blind Mice recording Mari Nakamota III maintained its delicacy and at the same a nice sense of room presence. So we are talking roughly a $13,000 investment (one can if desired substitute a 24/192 card for the phono section) for the entire works and a good jumping off point for a high-end system.

[MylesBAstor]

I’ve had a love affair with Martin-Logan speakers for quite some time and it goes without saying that my interest is piqued anytime they release a new electrostatic speaker. This year, Martin-Logan displayed the newly released Renaissance ESL 15a hybrid electrostatic speakers ($24,995/pair) at Axpona 2016 to continuously packed houses. Power was certainly no problem with McIntosh’s 1200 wpc (into 2/4/8 ohms) MC1.2KW amplifiers ($24,0000/pair), their most powerful single chassis amplifier, driving the electrostatics. The rest of the system consisted of a McIntosh MB100 media bridge ($6000) and McIntosh C52 stereo preamp ($7000). Power line conditioning was provided by AudioQuest’s hot new Niagara 7000 power conditioner ($7995).

The Renaissance ESL 15As with the larger and wider panel akin to the older ML panels are crossed over at 300 Hz to two 12-inch laser-engineered low-distortion aluminum cone woofers in independently enclosed compact chambers, using Martin-Logan’s exclusive Powered Force Forward™ bass alignment technology per channel. In addition, the new CLS™ Transducer woofer section is powered by new dual 500-watt Class-D amplifiers and controlled by a 24-Bit Vojtko™ DSP Engine and ARC™ (Anthem Room Correction). There was a lot to like here though I’ve heard their hybrids sound more seamless and the bass much tighter. The new Rennaissance 15As were extremely agile and fast and effortlessly resolving harmonic content produced by instruments without sounding thin. In addition, the panels had that unmistakable clarity and transparency that Martin-Logan electrostatics are famous for.

[MylesBAstor]

Paragon Sight and Sound, one of, if not the largest Wilson Audio dealers in the country, premiered the brand new $109,000 Alexx speakers at this year’s Axpona show. In addition, Paragon Sight and Sound was named the official authorized dealer Wilson Audio for the Chicago market. Having been to the grand reopening of Larry Marcus’ store Ann Arbor back in November of 2015 to present on reel-to-reel tape, Chicago audiophiles and Wilson Audio are in good hands.

Rounding out the super system was Nick Doshi's newest line of electronics including his 180 wpc Doshi Audio V3.0 KT150-based monoblock tube amplifiers ($29,000), the Doshi V3.0 line and V3.0 phono stage ($16,999 each). No expense was spared either when it to selecting the front-end sources. On the digital end, the newly released DCS 2.0 Vivaldi stack ($115,000) was playing back digital files including some new piano, organ and percussion recordings from Peter McGrath. On the analog front, the Brinkman Balance turntable ($22,000) plus Ront power supply ($4190), 12.1 arm ($5890) and Koetsu Azule Platinum cartridge ($10,995) played back those not quite yet obsolete 12-inch black discs (see http://positive-feedback.com/Issue77/koetsu_azule.htm) while a Studer 807 reel-to-reel machine outfitted with Flux Magnetics extended response heads along with Nick’s outstanding V3.0 tape preamp module ($16,999) handled 15-ips, reel-to-reel tape. Cabling was courtesy of and included all top-of-the line Transparent Audio Opus cabling.

In addition, Larry hosted a evening Q&A and listening session with Dave Wilson. Dave discussed his and son Daryl’s underlying design philosophy and decisions that went into the building of the new Alexx speakers (this makes four speakers in four years for Wilson Audio with one still in wings).

Some of the highlights from Dave’s presentation.

First, it’s hard to believe that Wilson Audio has been in high-end audio business going on 42 years. Next—and slightly off topic-- the Wilson Audio WAMM Magnus Opus are after almost four years in research and development nearing completion (anyone who ever heard the original WAMMs has to be curious about this new all out effort!). Dave has the sound he wants; now what’s left is nailing down the final pieces to the puzzle. Third, the new Alexx’s are definitely no lightweights when it comes to either sound or weight. Each speaker tips the scales at 452 pounds per channel.

Now for some of the more salient points on the Alexx’s design. Dave and Daryl worked tirelessly to work on the speaker’s settling time, resolution of low level information as well as the ability to move between dynamic levels in their newest speaker effort. This included refining the materials used in speaker enclosures. The speaker enclosures are primarily fashioned from the latest version of X-material but the midrange baffles use S-material. In addition, the Alexx uses a new third material specifically developed for the WAMM project—W-material—that combines extreme rigidity with good damping characteristics. The W-material is used in midrange module transfer point in the Alexx array superstructure to optimize the coupling of the midrange module to the cabinet. (It is painted a special silver to designate its role as Wilson’s latest foray into cutting edge composites). In addition, two drivers handle the midrange frequencies putting less stress on the tweeter. Now the Alexx does has one dip in its frequency response at 2.5 K to 1.5 ohms but Dave added it comes with a +8 degree phase angle that is inductive rather than capacitive and thus easier for amplifiers to handle. Finally, the new speaker employs the new bass drivers developed for the forthcoming WAMMs giving the speaker better and deeper low end response than the MAXX.

How did the super system sound? Well despite some room issues say in the upper bass area (I remember what Tidal importer Doug White ripping his hair out trying to get his speakers to sound good in this room the year before), attendees certainly got a glimpse of the sound of this new Wilson Audio product. Big. Dynamic. Quiet. Resolving. Effortless. Not to mention, most attendees were amazed that a lowly tube amplifier could drive these Wilson speakers! But the Doshi V3.0 is no ordinary tube amplifier either. I for one, definitely want to hear the new Alexx’s under better circumstances because I don’t think we came close to hearing the capabilities of these new Wilson Audio speakers!

[MylesBAstor]

Only a few rooms left to cover, then interesting new products at the show, most surprising sound at the show, best new product, five best best sounding rooms and product (s) I'd like most to bring home.

[MylesBAstor]

Though somewhat larger than the upstairs exhibit rooms, the boardrooms on lower level of the Westin always have had problematic acoustics. Many a good system has been brought to their knees by to these problematic rooms and this year was no exception. Despite that, the Kyomi Audio room managed to beat the odds and produce some satisfying sound. This super system was based around the latest Marten Coltrane 3 loudspeakers ($100,000/pair) and electronics from Convergent Audio Technology including the new 200 wpc Convergent Audio Technology JL7 triode monoblock amplifiers ($32,000 /pair) and CAT SL-1 Rennaissance preamplifier. Axpona attendees were also treated to the first US consumer showing of the newest and more affordable Tech Das Air Force 3 turntable ($27,000) and Graham Phantom Elite 10-inch arm outfitted with a special version of the van den Hul Colibri cartridge ($7995). Oh and that Colibri was the biggest cartridge I’ve ever seen this side of an Ortofon SPU!

To top things off, none other than the renowned AJ van den Hul, with a smile plastered across his face, was playing DJ and spinning tunes in the Kyomi Audio room. Now I know AJ wasn’t quite as impressed with the sound of the Decca Phase 4 recording of The Film Music of Bernard Herrmann as I but the frown quickly turned to a big smile when he placed Elvis ’57 from Chad Kassem and Acoustic Sounds on the Air Force 3. The newest Air Force 3 shares much of the technology developed for the current top-of-the-line Air Force 1 including the air bearing and vacuum hold down as well as air injection decoupling of the disc. The stock platter is made from high mass aluminum but like the Air Force 1 other platter materials are being developed. Finally, for the audiophile who must have everything--and we don't know anyone fitting that description do we--the Air Force 3 can accommodate up to four tonearms.

The sound? Well for one, I’ve always felt the Martens are highly underrated speakers and really fly low under the radar for many audiophiles. Even in this difficult room, their qualities showed through too as well as the magic of tube electronics. Elvis (and the Jordanaires) was firmly placed within the soundstage proving without a doubt that Elvis was still alive. Each member of the Jordanaires was clearly separated from each both spatially and tonally. Yes, that baritone voice on "Peace in the Valley" on side four is something to behold on really great systems.

[MylesBAstor]

One more room to go, some special mentions, and show wrap up to go. Coming tomorrow! Stay tuned.

[MylesBAstor]

Last but not least—and another system sounding far better his year than last—was the Tidal Audio room (last year, Tidal occupied the room used by Paragon Sight and Sound this year). Gone this year was the thinness and mechanical quality that really bothered me about the Tidal exhibit at Axpona 2015. The super system in The Voice That Is room consisted of all Tidal electronics including the $64,990 Tidal Impulse monoblock amplifiers, the $77,990 Presencio preamplifier ($77,990) and finally the $109,000 Agoria speakers. No analog front-end was used here but the $9995 Bricasti Design M1se DAC and $17,600 Aurender W20 Reference Music Server (along with the new Playback Designs digital gear) produced some of the best and satisfying digital playback heard at the show. Rounding out the rest of the system were Dynamic Design and Purist Audiocables, Stillpoints and a Silver Circle Tchaik 6 power line conditioner.

There’s a lot of technology and work that goes into the Tidal Agoria speakers. For example, the Agorias are Tidal's first speakers with cabinets constructed from Tiralit, a material, “made from several organic and polymeric layers, compressed with different glues and tons of weight to an extremely hard and yet resonance damping material.” Another features of the Agorias is the ease of which the speaker’s frequency extremes can be adjusted to compensate for different listening rooms. Also of technological note are the 1.2-inch diamond tweeters in a decoupled metal alloy housing found in each speaker. Next, the Agorias are amplifier agnostic being easily driven by either tube or solid-state amplifiers. Finally, the speakers can interestingly be driven in either passive or active mode.

The sound? It can only be described as effortless and smooth as a baby’s behind. Not fatiguing as other digital systems want to be especially under show conditions. Best of all, the Agorias had the ability to produce a big sound and even under show conditions a semblance of a concert hall or club experience. No doubt that the Agorias could do an even better job under real world conditions.

Finally a big shout out to Doug White of The Voice That Is and importer of Tidal products! As things turned out, Sunday turned into a free for all trying to hear all the rooms remaining on my list. By about 11 AM Sunday morning, completing that task was looking really dismal so in a last ditch effort to complete my rounds, I decided to skip lunch and just plow ahead. But someone was looking down on me that day! By pure chance, lunch was being delivered at the exact moment I entered Doug's room; upon hearing my plight, Doug most graciously shared half his sandwich and some fries with me. What a life saver and that gave the energy to complete the rest of the day! Thanks a million Doug and won't forget your generosity!

[MylesBAstor]

AXPONA 2016 SHOW WRAP UP

Incomplete grades and would like to listen to again due to various issues:

(1) Endeavor Audio E-3 MkII Speaker System, $8000: The Endeavors sounded so much better last time heard them at a show.

(2) Essential Audio: Could never get a good listening seat since room was always packed.

System consisted of:

AudioKinesis Bienville Suite loudspeaker system ($12,000)
Kuzma Stabi S turntable ($2156)
Kuzma Stogi Ref 313 CE VTA tonearm ($4640)
Kuzma CAR-30 moving-coil cartridge
Atma-Sphere UV-1 preamplifier with low output MC section ($2900)
Atmasphere M60 Mk.III.2 OTL amplifiers with copper foil V-cap option ($7700/pr)

Interesting debuts and new products:

Focal Sopra No 2 speakers, $14,000/pr.

DS Audio Master 1 cartridge $20,000 with electronics (static)

High Fidelity cables, Magnetic adaptors, $299 pair (entry and experiment with magnetic technology.)

AMG 12 JT Turbo Tonearm, $850

Musical Surroundings SuperNova III phono preamplifier, $3000

Atlas Aesthetix Atlas Mono Eclipse amplifier, $25,000

Playback Designs Merlot DAC, $6500

Playback Designs Syrah server, $6500

Playback Designs IPS-3 integrated amplifier, $13,000

Master Built MB Ultra interconnects and Signature speaker cables

Five Best Sounding Rooms:

(1) MBL/United Home Audio

(2) Magico/Convergent Audio Technology/Kronos/ZYX Universe Premium cartridge (also hottest room award!)

(3) NOLA/Playback Designs/Studer-Revox

(4) Joseph Audio/Jeff Rowland/VPI/Ampex

(5) Kyomi Audio: Marten/Convergent Audio Technology/Air Force 3 turntable/vdh cartridge

(honorable mention) GTT Audio: YG/AudioNet/Kronos/Air Tight Opus Magnus cartridge

Most Surprising Sounding Room:

Merrill Audio/Divergent Technologies

Most Improved Show Sound:

(tie) Audio Union
(tie) Tidal Audio

Product (s) I'd Like To Take Home the Most:

Doshi Audio V3.0 tape preamplifier
Air Tight Magnus Opus cartridge
Playback Designs Merlot DAC

Best New Software Releases:

Tape: Jason Roebke: Shimmering, International Phonograph, Inc.
LP : Alan Parsons: I Robot, MOFI, 45 rpm

Most Exciting Show Announcement:

Acoustic Sounds to begin releasing 15 ips reel-to-reel tapes

[bpw]

Myles, thanks for the (incomplete) mention. Had you stopped by Sunday morning or were interested in listening outside of show hours, it would have been possible. You know me, and you would have been left alone. As I recall you came by on Saturday during one of the busiest times.

[MylesBAstor]

[bmoura]

Yes, a very well done edition of AXPONA.

http://positive-feedback.com/show-reports/report-axpona-2016/