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TRELJA & Friends in New York, 2007

It’s hard for me to believe, but these annual audio shows in the past tense are really piling up. Not really sure how the time goes by so fast, but it does. With that, I submit to everyone our 2007 edition of “TRELJA And Friends in New York”.

Of course, I want to be clear that though the opinions I put out there are purely mine, there is no doubt this is a team effort. I could never do this alone. A lot of people help along the way, and their feelings somehow amalgamate with mine to produce what you see here. Of course, as this is a “discussion forum”, your opinions are most welcome. The end goal always is to both generate dialogue that enriches the experience of all of us, as well as to provide those not fortunate enough to be in attendance some flavor of what actually was there. Feel free to agree, disagree, or whatever. As I always say, that’s why they make vanilla AND chocolate – and also, blueberry cheesecake. A few things to keep in mind in forming impressions are the music being played when one encounters a room, room, playback volume, how many people are/not in the room, and on and on.

Also, take everything in this thread with whatever grain of salt inherent in this statement in the interest of full disclosure – I am the current importer/distributor for Opera Audio/Consonance products in North America. Does that impact my ability to talk about the show in an open and honest (objective/subjective – take your pick, to me, it’s subjective) way? Well, only you can answer that for yourself…

It was certainly an interesting and unique show. Each year is a different experience. We had our first “fuhgeddaboutit” by 7AM when we inquired where to get something to eat with a hotel employee, “Ah outside, fuhgeddaboutit, you got Delmonico’s at 41st and Lex…” Special thanks to my compadres for the day: Joe G (Slipknot1), Dennis (Badboss429 – should have NEVER sold that Boss 429, big man!!!), and The Doctor (Mechans – who missed the boat with us early in the morning, but finally caught up), as well as everyone else I spent time with yesterday and consider to be friends. The day was capped off by a more than obscene feast at Churrascaria Plataforma, a true Brazilian rodizio (bar b que), replete with caipirinhas, that would satisfy the most insatiable of carnivores, followed by a Mr. Softee ice cream cone on the way back to the car. Overall, the scale of the show seemed smaller than in year’s past. And, while I heard most people talking about liking the Grand Hyatt a lot more than the Hilton, I cannot offer up nearly as much insight. Did I like the Hilton? Yes. Did I like the Grand Hyatt? Yes. Do I have a strong feeling yet as to which is better? Not really. I also must say that apart from a pleasant surprise here or there in terms of components or systems that displayed incredible value, there weren’t any rooms that I considered off the charts great. Good rooms certainly seemed to be the norm, but there definitely was some really bad sound to be found.

While probably anti-climactic, I’m going to throw out my “Best of Show” Award first. Mainly, because starting out on the top/16th floor show-wise, and being located right across from the elevators, the Merlin/Ars Sonum room was the first we encountered. The Merlin VSM and Ars-Sonum Filarmonia, along with the Audio Aero Prestige digital front end, system was amazingly simplistic in both scope and implementation. Yet, the sonic results should serve as a yardstick for most of the exhibitors. As opposed to turning out a dizzying number of components, both companies choose to produce one or two components, and focus their efforts towards unceasingly maximizing their performance. Through my use of the description “simple”, the Merlins and Filarmonia define the term in the best possible sense. Simple, classic designs, properly executed with the care and passion of these men to present the soul of the designer and the music to the listener. I sincerely believe the Merlin VSM is THE most ideally representative loudspeaker in the high-end audio industry, suiting the widest spectrum of audiophiles, bar none.

Also, I know I’m not alone in my feelings, but Bobby Palkovic is perhaps the classiest individual I know in the high-end audio industry. It seems so natural that he’s aligned himself with Ars-Sonum, as Ricardo Hernandez is cut from the same cloth. Both are the consummate gentlemen, and I believe their incredible wisdom and success are no accident. They understand that the true key to the city is synergy in both the component and the system. An unbelievably simple, yet utterly profound philosophy; yet one lost on the vast majority of this industry, despite whatever lip service provided. Bobby perpetually seems both relaxed and self-assured at these shows. It’s because he and his partners have this down to a science. I’d like to both congratulate and thank Bobby and Ricardo for showing that this hobby does not have to be about size, complexity, or bluster. Bravo!

Coming in at the closest of seconds was the Jadis room. Being a Jadis fanatic, I personally felt incredibly proud to see and hear the Jadis presence this year. I hope this show serves to propel the brand back to the position it once held as one of the most highly regarded in the hobby ala putting the brand in front of people that have unfortunately not been able to see, hear, touch it for far too long a time. I have never encountered components that capture the essence and soul of music in the way that Jadis does. They are also just as beautiful physically. However, beyond being a pretty face, move in closer to examine the fit and finish, or try to lift it up and you’ll discover substance actually precedes style. Fitting a trend of equating the quality of the product with the quality of the individual behind it, Jadis is most fortunate that Pierre Gabriel represents the marque to us. Pierre is completely passionate and dedicated to the products, and toward providing the customer a level of service and care that I believe is the difference between whether one should or not enter into buying a component.

Again, the system was the model of simplicity, execution, and enviable result. Honestly, can it get any easier than assembling a system around a Jadis CD player, DA50S integrated amplifier, and a pair of ProAc loudspeakers? Perhaps my sensibilities don’t mesh with most others, but I’m not sure how a music lover could ever really need or want any more. The only thing I can put out there in closing is that I consider my own Jadis DA60 a lifetime purchase. In my case, it ended the typical audiophile pattern of always thinking about what was next. If you happen to be looking for a component that fits this category, you would do well to strongly consider a DA30, DA50S, DA60, or DA88S.

I found the Moscode room, partnering with Joseph Audio loudspeakers to present yet another ideally simple and surprisingly good sounding package. The more I think about it, the more sense the Moscode amplifier makes to me. Definitely check this well-constructed, flexible amplifier.

The Rives, VAC, Talon rooms presented a most interesting package. Not one, but TWO rooms, just across the hall from one another. One room was treated, the other untreated, to demonstrate the differences between the two. Supposedly, the systems were the same otherwise, and though that may have been true, I must mention the treated room had two amplifiers I noticed were running, where the untreated room had only one amplifier. I was at the show very early, and perhaps that setup, etc. was not finalized. Initially, I felt the untreated room to be superior, but I’ll readily take the criticism if my perception was incorrect, as I was doing things in a haphazard way, and once I got my legs under me, and redid the test in more parallel terms I definitely have to say that the treated room then appeared to have far more clarity and energy, and ability to follow the pace of the music without becoming blurred or congested. Again, I must put forth some serious mea culpa here. The true way to go about this is to take a far more serious route than I did via several parameters. In retrospect, I’d like to have another go at it. On to a different track, again I will offer up that Kevin Hayes of VAC is one of the finest people one will encounter in high-end audio. And, the point I made of factoring in the person behind the product being a far more serious part of the equation than too many admit rings true with VAC. You are buying a product that I guarantee will be supported by a true gentleman, who will view you as a part of the family.

I cannot stress how uniquely creative the Salagar 210 powered loudspeakers are without asking you to take a look at a picture of them. Pretty nice sound in that room, in my opinion.

Though I spent WAAAAAAAAAAAAAAAAAAAAAAAYYYY too much time talking to my good friend Sean of Zu loudspeakers, I later returned to actually listen to the system. I had to hand it to them that it was easily the best sound I’ve ever heard them put on at a show. In the past, I think their show performance probably went a fair way towards explaining why the discussion of these loudspeakers becomes so controversial and polarizing. I must mention that in comparing impressions with other people I talked to about it at the show, my opinions on the room sounding good were the lone voice in the wilderness. As always, listen and judge for yourself, and don’t ever let anyone tell you what you hear or don’t, or what you like or don’t.

Likewise, my opinion on the Audio Space room conflicted with that of my friends. They liked it, I was nonplussed. We all agreed the Reimer speakers disappointed. I just happened to not hear things I like in the Acoustic Zen loudspeakers that everyone went nuts over at CES2006. But, that’s documented in my 2006 “Near NY” VTV Show Report. However, as one can probably neither of the speakers really allowed me to let the Audio Space amplification off the hook. I can’t be anything but impressed with their good looks, though. I will be clear that they deserve me giving them a listen in a different system before I say much more about them.

The Gershman Black Swan/Simaudio was pretty decent, though I think one can do a lot better considering how much this system cost. My biggest disappointment is that the Opera Sauvage again didn’t make a show appearance, which I discussed with them. I understand their position in the boat shaped loudspeaker being extraordinarily expensive to build, and has more or less been discontinued. Still, I pine for these beautiful loudspeakers more than one would expect. Another lower-cost Gershman/Simaudio system seemed to warrant a little more consideration, but I’m not sure I listened to it in a finished state, which is to say I probably thought it could get better.

I’m quite well known for not being a fan of multichannel sound, so take my not hearing anything good in the Lipinski room in that light.

Small $250/pair powered Audioengine loudspeakers made an awful lot of sense to me. The tiny $200/pair little brothers less so. Both are made in China, and considering their ridiculously low prices, one would expect them to sell.

Speaking of small and cheap, believe it or not, Silverline, showed up with a pair of $600 monitors, and $1200 floorstanders. Both powered by a $129 chip amp the size of a transistor radio, driven by a CD player Alan Yun told me he bought at a garage sale for $5 or $10 (I forget which). Obviously, I’m not going to shock anyone when I say it didn’t win the “Best of Show” award, but I can’t heap all that much criticism on a system of this modest an investment. Again, along the lines of components I missed were the 805 amplifiers Silverline showed up with in 2004. Now, THEY really impressed the heck out of me.

Please don’t allow me sounding like a broken record in lauding good individuals in this business take anything away from Rogue’s Mark O’Brien. He truly is one of the really good people in audio. One of the best, in fact. A real, down to earth, genuine person; unlike the carnival barkers and folks of that ilk. I felt the Rogue equipment may have been the best partners I’ve heard with the Eggleston speakers. Now it’s time to get on my soapbox, but I refuse to accept the argument that American companies cannot compete with the Chinese manufacturers. The fact that you can buy an integrated amplifier for $1795 from a company like Rogue, from an individual like Mark O’Brien should be the answer that cannot be countered. Along the same lines, as the Chinese gear continues to creep farther and farther upward in price (sometimes, far beyond this little gem of Rogue), I have to question the justification of the price of this foreign equipment, or wisdom in buying it.

I happened to like the sound in the Red Wine/Omega/AudioPath a lot. Interesting equipment, fitting the simple, small package paradigm I laid out earlier.

While I am talking about interesting equipment, apart from the loudspeakers that I felt were the bottleneck in the system, EVERYTHING coming out of the Soundsmith room really impressed me. The strain guage phono cartridge leading the way, but the amplification components simply must not be missed.

The Concert Fidelity/Continuum room wasn’t bad, but at these prices, I’m not really sure how they could not disappoint.

I personally think Cayin is the most beautiful and interesting of the Chinese audio equipment. Cosmetic, fit and finish are all first rate. Don’t ever accept the argument that the build quality of Chinese components lags behind that of North America, Europe, or Japan, because Cayin proves otherwise. Great sounding stuff, as well. Again, the disconnect between the ribbon and woofer in the Aurum Cantus speaker bothered me to the point of not being able to truly appreciate all the Cayin EL34 monoblocks were giving me, but I hope to rectify that at some point. The Silver Circle power condition sounded like it was really providing the music with the type of foundation one buys this type of equipment for, and I must recommend further investigation to anyone in the market. I am tremendously impressed both Steve Leung of VAS (importer of Aurum Cantus and Cayin) and Dave Stenard of Silver Circle. Though, my roots with them is not so deep, they came across as the type of people you want to support and see succeed in this business.

The Totem room was one of the bigger surprises to me in the day. I’m a well-known Totem supporter, and really feel their loudspeakers offer tremendous performance and value. Over the past few years, I’ve also lauded them for having well decorated and thought-out rooms in the show. Well, this year, I think they’ve crossed the line of going over the top in terms of focusing on the room at the expense of the sonics. In all seriousness, the sound was overly forward and bright, while sounding both thin and boomy on the bottom. I must say that it’s time to take a step back and remember that you’re an audio company. If you want to do a fashion or home show, fine, but then maybe it’d be better to choose a different show venue. I’m hoping Totem takes my advice, and that next year proves different.

I felt the Oracle room, using Usher monitors probably left a lot on the table in terms of performance. A bigger loudspeaker possibly would have paid serious dividends.

All of the people in my inner circle felt the same way about the Reimyo room. So much money for so little performance. Again, I understand minimonitors ,but when such expensive systems disappoint, the negative effect is magnified.

Creek/Epos/Music Hall did a bang up job in their room, and deserve the highest of praise in my book. I’m not going to say they’d win the “Best of Show” award, but I won’t tell you they weren’t in the top 20%, either. When value equipment produces this level of sound, it’d normally merit a “Best Value of Show” award, but not so fast, friends, read on…

Most interesting product of the day may have been the Bolzano Villetri loudspeakers. I’m always curious when a loudspeaker comes to market that uses novel technology, and I pretty sure not too many of us have seen something like this design before. I liked the sound a lot more than others I spoke with, who found them too bright.

Another Chinese manufacturer producing low-cost tube integrated amplifiers is Omaha Audio. This show was my first exposure to their products. They seem to mesh with my pricing structure for where the Chinese integrateds should fall into; $1000 for the EL34 variant, $1200 for the KT88, and $1400 for the 300B. The biggest concern I have with this type of company is what happens if/when it breaks? Who do you turn to? I think many overlook this point. Time will tell, yes?

Vying for the most interesting product of the day were the enormous, spherical Cabasse loudspeakers, which we felt came straight out of something like Doctor Who. Think of a globe, which instead looks like a gigantic eyeball, sitting on artistic stands that evoke the electron rings of the older atomic era. All of the drivers for a point source, including what I believe is an 18”(yes!) woofer. We all seemed to kind of like the sound. WAF? OK, let me stop laughing enough to try to say, only if you married a Martian. Bel Canto gear drove the speakers. Not sure why you don’t see the Bel Canto tube gear much, but you don’t. The smaller Cabasse speakers weren’t conventional looking either, but were only on static display during our time there.

I can’t remember the name of the eye-wateringly expensive French horns, but I heard someone say, “There are these horns on the 14th floor that sound like cardboard boxes. All I can say is one word, exactly! You wonder if some people actually think we are that stupid.

Lots of people liked the Magico floorstanding loudspeakers. And, initially, I could be counted among them. But, for whatever reason, the longer I listened to them, the more that feeling went away. Not sure why, but they grew increasingly a bit bright and boomy. Now, I want to make clear that it wasn’t obviously so, but I left feeling I’d need to spend more time with them before putting a real handle on them.

Jeff Joseph is always pleasant, and another very good person, in my book. But, it seemed like the energy level of his room was far less than it has been in years past. Don’t get me wrong, this wasn’t bad sound, but he usually does a lot better on the presentation side in terms of going all out. Perhaps, EveAnna Manley not being there had something to do with it? I predict he won’t win the usual “Best of Show” awards he normally takes home.

It’s no secret that I think John Rutan is quite possibly the best high-end audio dealer in North America. He is a real, genuine person, someone interested in making sure his customers are served in the absolute best possible way. You won’t find the typical smoke and mirrors, snake oil, or BS in anything John does. His rooms included. Of course, with Richard Vandersteen watching things over from the back of the room, did anyone expect there was going to be snake oil? You can just say “ditto” for everything that I said about John when it comes to Richard. He’s the antithesis of what the high-end audio hobby has evolved into. Thank God he’d established himself before things went off on their current course. These men put together honest to Pete high-end audio systems that can fit people of any budget. Oh, that’s actually a most incorrect statement. If you want to spend crazy money, they really can’t fit you. Sorry! The carbon fiber on the Vandersteen 5A Signatures something I didn’t expect, though let’s make this clear that whatever finish you want on your 5A Sigs, whether he feels it makes sense or not, you can get. At any rate, I felt this was some of the most compelling sound at the show. Things were a bit polite with the music that was playing when I was in the room, but I have already heard these components play some rock and roll, so I have no worries whatsoever.

The Dynaudio room had a pair of speakers playing at such a low volume, I was taken aback. Obviously, how do I put forth any opinion on the sonics? The speakers and Simaudio stuff looked nice enough.

Those TAD loudspeakers sure are big and wide. I kind of liked them, though the music was unfortunately more along the lines of something I’d expect to hear on a Victrola.

The KEF room was a lot better than I expected. A nice surprise.

I’m sure the huge black Haniwa horn will engender a whole lot of attention. Horns are an interesting animal, and people seem to love them or hate them. I found them to do very well on saxophone, a lot less so on drums.

In 2005, the Ascendo loudspeakers impressed me as one of the biggest surprises of the show. I still liked them yesterday, but I liked the Behold amplifiers not as much as what they were using in 2005. These are really serious loudspeakers. On a lower budget, Ascendo will be introducing a much smaller, less expensive loudspeaker, that was only on static display.

I previously mentioned the “Best Value of Show” award. Well, here it is. DCM! Yes, the DCM Time Window is back. $1000 for the big speakers, $700 for the smaller floorstanders, and $500 for the monitors. Incredible! With a $1400 Jolida 801 and a Jolida CD player, the combination was simply off the charts good. I mean, one of the better sounding rooms of the day. I’ve always been a huge fan of the Jolida integrateds. For anyone interested in lower-priced components, this combination are not to be missed.

The BAT/Wilson WATT/Puppy combination was among the best I’d ever heard the WATT/Puppy.

Usher BE10 loudspeakers are marvelously finished and beautiful. Obviously, a big speaker, and can produce big sound. There was some disconnect between the tweeter and midrange that bothered me, but no one else noticed what I was talking about. I could never buy these speakers, but that’s just me.

Jeff Catalano’s Highwater Sound is an outfit that I recommend to everyone. Particularly, because he is the distributor for the Horning loudspeakers I am so over the top crazy about. Beyond that, Jeff is another one of the best, most genuine people in the business. The Raven turntables are among the best values in the business; $10K for the big turntable and $5000 for the smaller variant. Many I talked to were stunned regarding that pricing structure.

Another room in which I heard the Wilson WATT/Puppy loudspeaker sound better than I’d normally become accustomed to was Lamm, though I’d probably give the edge to the BAT/Wilson room.

While I’m talking about “best I’d ever heard them”, the MBL room fell into that description. It seemed as if they’d finally gotten the room size/speaker model ratio worked out for them this year. Normally, they seem to put far too much loudspeaker in whatever room they exhibit in. Again, we got a laugh, as we noted The Doctor’s dubbing them the “pineapply speakers” several years ago. I still have an issue with the looseness in the bass, and being a tube guy, I am not so sure I’d marry a loudspeaker that is so demanding from a perspective of power, but they deserve credit. Nice job this year!

And now on to a company that, like Wilson, some people consider the manifestation of the evil empire in high-end audio, Krell. Yes, I found the sound “boom and sizzle” for sure. But, if you’re buying something like a Krell, you should be insightful enough to be someone who thoroughly auditions the equipment, and decides if it is right or wrong for you, and how you will build the system synergistically. We’re all big boys here, yes? Well, sadly, I hear all too often products from these two companies are sold to people who have others do the shopping for them. Dan D’Agostino and his former wife (who still maintains a very visible role in the company) were exceedingly nice. I spent about 10 solid minutes speaking to her, and she approached me. Say what you will, making people feel welcome goes a long way towards getting them to take the next step.

My own personal opinion on Krell, which I don’t normally talk about much, is this: I consider them among the pioneers of what the high-end audio hobby is, and their styling has pretty much always been one or two steps past everyone else. Kind of like the answer Wayne Gretsky gave in response to why he felt, despite being on the small, slow, less aggressive, less skilled size from a measurements (some analogy to what a lot of us like can be drawn there) standpoint, he was the best player in hockey, “Most people skate to where the puck is. I skate to where the puck is going.” Think about it.

And, last but certainly not least, the Soundlabs room. I freely admit, I have not had a ton of exposure to Soundlabs loudspeakers. But, my description of what I heard yesterday – truly glorious! Two thumbs way the heck up. I see why Albert Porter was a long-time owner and advocate.

I didn’t do any of the Sound By Singer rooms. Nothing against them, I just didn’t want to stand in line for the organized demonstrations. Other companies did this type of show as well, and I didn’t visit them either.

In heavy rotation, Cardas cabling and Usher loudspeakers. I’m not nearly the Usher fan most people seem to be. Not hardly.

Unlike other years, the music I heard seemed to avoid to the “me, too” patterns that frankly becomes tiring through the course of the day. Yes, it can provide some frame of reference across disparate systems, but when more than half of the room reacts through body language or groans upon hearing the first note or two of Louis Armstrong (St. James Infirmary) Allison Krauss, Patricia Barber, Jacintha, or Diana Krall, understand the cumulative effect may serve to do more harm than good. Thankfully, I didn’t notice any of this yesterday.

Lots of MIA this year: Atma-Sphere, Brand X, Coincident, Focus, Hyperion, Manley, Quicksilver, Thiel, Walker, and this list could probably grow pretty large. Please add whoever you missed.

Many thanks!
Joe


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Topic - TRELJA & Friends in New York, 2007 - Trelja 08:45:56 05/12/07 (9)

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