Sound Lab/Atma-sphere (new transformer really transformed these monsters; can be driven by more modest amps and didn't have that "typical" SL dark, sluggish and boring sound.) (...)
LAMM/Wilson MAXX-only for digital (The Origine CD player from France was the best digital that I heard at the show. It sounded so much like tape on the Fairfield Four that it was scary!)
Quick tease of best sounding rooms:
Balanced Audio Technology/Aerial 7T (the room to go if you wanted to hear music. Yes, there were systems that were more full range, more dynamic, etc. but none sounded more like music than the BAT room. Note: I would have liked to hear Michael Kelly's top of the line 20Ts driven by the BAT electronics!)
YG Sonja/D'Agostino (the best sound to date from both Dan and YG. These amps are far better than anything Dan churned out during his days at Krell)
NOLA Concert Grands/ARC Ref 75 (Want a full range speaker? Plays LOUD, plumbs the depths, sounds big and will set you back $197K.)
Vandersteen 7As/Aesthetix (All analog and all music. Is there a more laid back person than Richard V? Also showed a prototype of a new push-push amp to specifically drive the mid and tweeter. Can you say "active" speaker?)
Genesis Technologies/Viola Labs (Effortless was one word that came to mind. Loved that arm! Now let me hit the lotto.)
LAMM/Wilson MAXX-only for digital (The Origine CD player from France was the best digital that I heard at the show. It sounded so much like tape on the Fairfield Four that it was scary!)
Bully Sound/Vivid speakers (Bret's amps continue to sound better and he showed a prototype of his first preamp)
Most improved sound at show:
Aida/Audio Research Ref.250 top/450 bottom (better than last year eg. no lower mid suckout but still didn't move me. Still prefer the sound of the Aidas at Ivans with the Burmester electronics.)
Sound Lab/Atma-sphere (new transformer really transformed these monsters; can be driven by more modest amps and didn't have that "typical" SL dark, sluggish and boring sound.)
Disappointing:
Constellation/Magico Q7s (Probably did everything technically right but did nothing to thrill me--especially considering the system's price tag)
MBL 101 Extreme/MBL electronics (Guess it's just me because sure the critics will rave about the sound. Cold and mechanical. Hi-fi-ish.)
Most interesting new product:
Revel subs (Blast away! 2 kW self powered with lot's of fancy software to help optimize the sub to your room and main speaker)
Most interesting trend:
The increasing number of DACs and CD players that will support 2X DSD. And not all stratospherically priced.
YES! Now, we/I -- hehe -- need a location recorder that will record DSD128, i.e., 2X DSD, and allow native DSD128 to be passed to an external DAC for playback...sort of a combo between a Korg MR-2000s -- capable of DSD128 recording -- and Tascam DV-RA1000HD -- capable of passing DSD64, but not DSD128, via SDIF connectors. I think the bottleneck is Sony...sighQuick tease of best sounding rooms:
Balanced Audio Technology/Aerial 7T (the room to go if you wanted to hear music. Yes, there were systems that were more full range, more dynamic, etc. but none sounded more like music than the BAT room. Note: I would have liked to hear Michael Kelly's top of the line 20Ts driven by the BAT electronics!) Oh, boy -- now, I'm in trouble
Genesis Technologies/Viola Labs (Effortless was one word that came to mind. Loved that arm! Now let me hit the lotto.) Congratulations, Gary!
Sound Lab/Atma-sphere (new transformer really transformed these monsters; can be driven by more modest amps and didn't have that "typical" SL dark, sluggish and boring sound.) Congratulations, Ralph!
Most interesting trend:
The increasing number of DACs and CD players that will support 2X DSD. And not all stratospherically priced.
Most interesting trend:
The increasing number of DACs and CD players that will support 2X DSD. And not all stratospherically priced.
Digital Party pooper .....
Sound Lab/Atma-sphere (new transformer really transformed these monsters; can be driven by more modest amps and didn't have that "typical" SL dark, sluggish and boring sound.)
Is anyone saying anything about not continuing to destroy the music in the mastering, then? Or will it still be used to play information that fits in 10 out of the 16 bits on a CD?
Myles
Have you heard Vladimir's new LP1 Signature Phone stage
Yes, that's what was being used in the system.
You are welcome. (It was a combination of things) (one being a set/loom of cables that are the only type in the world to perform the trick of both fundamental forms of wave propagation)
I think your comment just now did inifintely more in that regard; I just asked a couple of questions I was hoping the person reporting from CES had good, positive news about.Why don't you take this to a separate thread and not destroy the CES thread?
so you weren't impressed