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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.
Follow Ups:
What the Heck. I bought the AN E today. I was going to wait a year or so to buy a higher end model but DUH you can upgradethem later! You can start with a lower model. W5 for trickle down and buy the premium drivers later. Besides the wait list is ridiculous for ALNICO versions. 6-12 months and the prices are kinda killer. So the AN E/Lx Hemp is enough and not too crazy in price. Then in a few years maybe change the drivers and cabling to SPX and AlNico. Or use the money saved on a preamp or turntable. source first.
Well, you were right about the AN Es being world-class. The Music First room, with the E as their speaker, could play anything, pop, jazz, folk, trance or classical with lifelike dynamics and vanishing distortion. Check out that "affordable" SET AN amp the Music First boys were using. Those AN Es only need a few SET watts to really bloom. I bet the Es will be your reference for several decades!
I am using an overkill Line Magnetic 219IA 24 watt SET integrated which can be used as a dual mono power amp. Although it is strikingly good on its own - later I can add an AN preamp to it. The strength of the integrated amps is usually the power amp section. An AN M3 phono preamp and possibly an M6 if the budget allows are the front runners.
But the key is a turntable. I had to sell my turntable in Canada because of the frequency and voltage in Hong Kong. Plus shipping the vinyl to Hong Kong is pricey - so pricey it may be better to bring over the selection I listen to most and just buy new vinyl. I can't believe how many places here sell vinyl. HK is the Pearl of the Orient and super super high tech but then vinyl is sold in mainstream shopping centers.
There was an entire HUGE section of vinyl at HMV of all places. And you can get tons of classical and Jazz on audiophile labels. It is depressing in the west where the Jazz and classical share three small shelves in a store. And when they do sell vinyl it is the billionth re-release of the Beatles.
I like the upgrade ability of the AN E. They all use the same cabinet - so it makes sense to start at or near the bottom because it may be "enough speaker" such that spending more won't be necessary.
I also agree - I think when I go Vinyl again it will have to be MC. The MM from AN is pretty darn good but it's just outclassed dramatically by MC and may ultimately what is separating the merely average from star quality.
Most of my favorite rooms at the CAS shows have been based on SET amps. I hope to check out the Audio Note Empress 2A3 8 wpc tube amp and the Margules U280SC Triode with no feedback. Unfortunately, it's hard to find a dealer here that caries an SET amp.
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(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."
You should read Jason Victor Sernius's review in Stereophile:
http://www.stereophile.com/content/cas-2014-day-1-lift
I've read it. An extremely surprising review as he listens to music at extremely high SPLs (well over 100 dB). I wonder how much hearing he has left. The "Stolen Moments" track from "Blues and Abstract Truth" via the Sound Labs sounded dull as Muzak! Considering how well recorded that track is, I was stunned at the muffled sound. Halfway through this sensational track, the demonstrator put on a Country and Western tune (also dreadfully dull). Classical music fared no better IMO. The room was way too small for these HUGE speakers. Bass was bloated, and the sound had no life. Check out the King speakers if you are considering electrostatic speakers.
As the exhibitor I had many many attendees state clearly they considered it to be the best room at the show. Many came back again and again, and stayed long periods of time with eyes closed and smiles on their faces. Lovers of planar speakers are said to be a minority in the audiophile community, approximately 15%. Clearly you are not part of that group. Sound Labs are considered by many to be the finest of all electrostatics.JVS's status as a very credible and respected reviewer is undeniable. Accusing him of being deaf is absurd.
I will agree with you that the room was much too small for the Majestics. They would have done far better in a much larger room. Additionally, the almost square dimensions (20X21) are considered awful for good sound reproduction. Placing the speakers on a diagonal, with the seating at the opposite corner helped tame the pronounced slap echo of the room, but still was far from ideal.
Edits: 08/24/14 08/24/14 08/24/14 08/24/14 08/24/14
Well, what do YOU think listening at 100+ dB does for your hearing? Lots of people at the show agreed with me about the dull sound in the Sound Labs room. I suspect that the digital source and horribly small room were responsible for the poor sound. Yes, of course, IMO. Actually, I have always loved planar speakers like the Magnepans and the King electrostatic. I admire the way planar speakers, at their best, can image. BTW, YOU admit that the room was too small and of poor dimensions. I have heard "Stolen Moments" hundreds of times, and it never sounded boring before. I'm sure the Sound Labs can sound vastly better than they did at the show. See my comment above about the necessity of matching room dimensions and associated equipment.
Here is another point of view which should be read:
http://parttimeaudiophile.com/2014/08/23/cas-2014-ayre-and-marantz-join-9-of-sound-lab/
I heard the Sound Labs on Friday and Sunday mornings. The sound was similar: dull, bloated with no touch or impact. Perhaps it was the room, the time of day or the source (were they playing compressed digital?). Whatever, I hated this room. But remember, my second least favorite room at the 2013 CAS was based on an Audio Note E speaker. This year my Favorite room was based on the AN E! The sound in these two rooms could not have been more different. In the 2013 Audio Note room the sound was very similar to what I heard in this year's Sound Lab room. In this year's Music First room, with an AN E speaker, the sound was similar to the Teresonic room at the 2010 CAS (my favorite room at that show). Jack Roberts has said that the Music First people actually reenforced the walls of the room to improve the sound! It goes back to my list of potential problems at audio shows: poor rooms, less than ideal matching of components, and hearing music at widely different SPLs. Add to that less than ideal source material, especially crapy digital. I suspect that the Sound Labs would sound much better given a much bigger room (with better walls) and a good analogue source.
As for what some audio critic says, think about the tiny number of times you read a review that slams a piece of equipment.
Excellent over view. Thanks! for sharing.
I am happy they got the AN speakers to sound better this time around because at CAS 2012 they had all kinds of issues. Corner loading is all well and good but it only works if the walls aren't made of absolute junk.
The Hong Kong AN dealer is the biggest seller for AN gear apparently and they have the speakers away from walls! If you can live with a little less bass take a look at the J/LX which is something like $4,600. You give up an octave and some sensitivity.
The moral of the story is hotels are hit and miss. The AN and the KEF are prime examples. Both sound better away from hotels.
I notice that the Music First, Triangle, AN combo was well regarded at a previous show very highly and they took it further by creating their own wall - cause hotel rooms suck.
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Beatnik's stuff http://web.me.com/jnr1/Site/Beatniks_Pictures.html
Best I've heard the AN Speakers sound at any show.
Even CES with Peter Q. in attendance.
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