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CAS 0214: final thoughts

Posted by the old school (A) on August 23, 2014 at 21:36:18

As usual, it is hard to evaluate the sound of equipment at shows. Aside from poor rooms, there are two other big problems: the optimal matching of equipment and different SPLs.

Three examples of the importance of matching audio components to each other:

(1) I finally got to hear the Audio Note Es in their full glory. At previous shows, the AN Es sounded far too mellow with little impact and with colored sound. Here they were alive, dynamic, with correct tone and touch. I am talking about a HUGE difference. I suspect that the different cartridges (mm vs mc) accounted for most of the difference. Also, the AN Es were positioned away from the corners at this show.

(2) My favorite room at the first CAS was the one with Teresonic speakers driven by a Teresonic SET amp and sourced from a tt with a Benz Ruby 3 cartridge with a Fosgate phono (with Mullard NOS tubes). At that show, the Teresonics were wonderfully alive with nary a hint of brightness. At this year's show, the Teresonics were far too bright (and far too loud). The analogue source at the first show probably accounted for the stunning difference.

(3) Whereas, at last year's show, the KEF LS 50s were second only to the Vivid speakers IMO, here they sounded unimpressive, even with an analogue source. Here they were being driven by a ss amp and, unfortunately, added a sub which resulted in a non coherent, muddy sound. In my experience, the 50s sound their best when driven by tubes (preferably SET amps) and scans sub. Another night and day contrast.

Examples of SPL problems:

(1) In the Music First room, my "Chet" track sounded far better via the cheaper system number two than via system number 1, both IMO and in the opinion of the demonstrator. Yes, he was playing the cut at 8 dB higher on system 1, resulting in a bright, etched sound.

(2) in the Sound Lab room, the sound was dreadful, with little macro dynamics and impact. They were playing at about 70 to 80 dB. Others told me that when the system was played louder it compressed and/or overloaded the small room. IMO, the King speakers are the best electrostatic speakers under current production.

(3) Many rooms were playing too loud, resulting in bright, overly etched sound. The YG room was playing at levels over 100 dB. IMO, that is good neither for the quality of the sound or for the health of your ears.

My favorite rooms:

(5) Zu Audio. Yes, the host was very happy and helpful. The ideal demonstrator. And, yes, he was playing at correct levels IMO. At previous shows the Zu speakers were only average, but here, either when driven by a tube SET amp or by a ss SET amp (each about $10,000), the Zu system was detailed, balanced, with correct attack and decay of notes. I preferred the tube amp which was more vivid than the ss SET amp.

(4) Music Lovers Audio room with Wilson Sasha II speakers and Audio Research tubes. This system could play a symphony at live levels without distorting or compressing. Imaging was the best I have ever heard. I would love to hear this same system with an analogue source.

(3) Burwell and Sons. Yes, the sound was still beautiful and mellow as at previous shows, but, here these beautiful speakers were also detailed and alive. A big improvement. Only the Teresonic speakers are more beautiful looking IMO.

(2) Margules Group. Yes, this room featured inexpensive (compared to most other rooms) components, but the sound was as impressive as any system on several of my vinyl tracks. Miles' trumpet was reproduced better than I have ever heard: clear, immediate with a beautiful burnished tone, and with more than a hint of sadness. My Billie Holiday cut "I didn't know what time it was" was even more beautiful than via the Music First room. Here the sound was breathtaking, and after the track ended, several others in the room begged me to play more of this record. The gracious host played three more tunes from this great record. I admit I was shocked at the effortless beauty of this system. I wish AD or Jack Roberts would review the interesting Margules U280-SC amp which is Class A with active servo bias, ultra linear or triode operation, and with zero feedback.

(1) Music First, Triangle Art, and Audio Note. I have already commented on this room's wonderful sound. When playing at reasonable SPLs, this system had unlimited macro dynamics, detail, impact, and touch. Micro dynamics were also outstanding. You could see (hear?) Pepper Adams moving his baritone sax on his solo. Herbie Mann and Bill Evans supported with subtle shadings which were perfectly reproduced. Lots of components were of interest to me: the AN E Lexus ($8,772), AN Empress parallel single-ended 2A3 amps ($7,200/pair), AN M2 phono ($4,087), Triangle Concerto tt ($3995), the Triangle Art mc ($3995), the Music First step-ups, and the Music First preamp.

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