This year the exhibit of The Audio Association, which is the dealer for Evolution Acoustics, darTZeel, Wave Kinetics and Durand Tonearms in the Los Angeles and Orange County areas, was presided over jointly by Kevin Malmgren, the Director of Operations and Product Development at Evolution Acoustics, and Joel Durand, the Proprietor and Designer of Durand Tonearms. These gentlemen were substituting for the traditional Master of Ceremonies, Jonathan Tinn.
Leslie Brooks, of Analog Audio, also was missing because he is in the middle of a business relocation in Florida.
Kevin was demonstrating the same Evolution Acoustics Maestoso loudspeaker he debuted last year ($18,900 per pair). Electronics by darTZeel consisted of the NHB–108 stereo amplifier ($39,000) and the NHB-18NS preamplifier with integrated phono stage ($44,000).
The vinyl front-end consisted of the Wave Kinetics NVS turntable ($45,000) and the Durand Tonearms Tosca prototype (price to be determined) on which was mounted the brand new ZYX UNIverse Optimum cartridge ($16,500). This exhibit was the world premiere of both the Tosca prototype tonearm and the UNIverse Optimum cartridge.
The cross-over for the Maestoso loudspeaker continues to be the most unbelievably impressive-looking cross-over I have ever seen.
Overall the sound of the system was terrific: transparent, dynamic and natural. There was not a hint of excessive brightness anywhere. I liked the sound very much!
This was the first time I had an opportunity to speak with Joel Durand, and his unveiling of the prototype Tosca was a good excuse to initiate contact. The Tosca is Joel’s first tonearm design with a gimbal bearing.
Visually, the Tosca reminded me of the SAT tonearm. But the Tosca looks even more solid than does the SAT.
The Tosca has what looks like an intermediate connector (that black piece) to attach the headshell to the armwand. Joel said this allows the user to adjust azimuth easily. But I am wondering if I would prefer, at least in theory, a more solid junction between the headshell and the armwand.
Since I am planning a second tonearm/cartridge combination I was very intrigued by the Tosca. Having heard Joel’s Telos Sapphire in Mike Lavigne’s system, I asked Joel what are the sonic differences between the Telos Sapphire and the Tosca. Joel replied, coyly, “We will have to wait and see.”
With the Tosca looking more massive than his unipivot designs I asked Joel if the Tosca has a higher effective mass than his unipivot tonearms. Joel answered that the Tosca has approximately the same effective mass as the Telos.
I think it may fall to Mike Lavigne to figure out the sonic differences between the Telos Sapphire and the new Tosca!
Leslie Brooks, of Analog Audio, also was missing because he is in the middle of a business relocation in Florida.
Kevin was demonstrating the same Evolution Acoustics Maestoso loudspeaker he debuted last year ($18,900 per pair). Electronics by darTZeel consisted of the NHB–108 stereo amplifier ($39,000) and the NHB-18NS preamplifier with integrated phono stage ($44,000).
The vinyl front-end consisted of the Wave Kinetics NVS turntable ($45,000) and the Durand Tonearms Tosca prototype (price to be determined) on which was mounted the brand new ZYX UNIverse Optimum cartridge ($16,500). This exhibit was the world premiere of both the Tosca prototype tonearm and the UNIverse Optimum cartridge.
The cross-over for the Maestoso loudspeaker continues to be the most unbelievably impressive-looking cross-over I have ever seen.
Overall the sound of the system was terrific: transparent, dynamic and natural. There was not a hint of excessive brightness anywhere. I liked the sound very much!
This was the first time I had an opportunity to speak with Joel Durand, and his unveiling of the prototype Tosca was a good excuse to initiate contact. The Tosca is Joel’s first tonearm design with a gimbal bearing.
Visually, the Tosca reminded me of the SAT tonearm. But the Tosca looks even more solid than does the SAT.
The Tosca has what looks like an intermediate connector (that black piece) to attach the headshell to the armwand. Joel said this allows the user to adjust azimuth easily. But I am wondering if I would prefer, at least in theory, a more solid junction between the headshell and the armwand.
Since I am planning a second tonearm/cartridge combination I was very intrigued by the Tosca. Having heard Joel’s Telos Sapphire in Mike Lavigne’s system, I asked Joel what are the sonic differences between the Telos Sapphire and the Tosca. Joel replied, coyly, “We will have to wait and see.”
With the Tosca looking more massive than his unipivot designs I asked Joel if the Tosca has a higher effective mass than his unipivot tonearms. Joel answered that the Tosca has approximately the same effective mass as the Telos.
I think it may fall to Mike Lavigne to figure out the sonic differences between the Telos Sapphire and the new Tosca!
