The Classic Audio Reproductions room has, year after year, troubled me. Their speakers are, in many ways, precisely what I favor: Vintage design with wide-baffle cabinet, compression drivers, tube -friendly. Each year I go into the room really really wanting to like them, and each year I walk out disappointed. This year I entered the room expecting more of the same and was immediately struck by a sound seemingly much better than that in previous years. “What’s going on?” I wondered, as the speakers and amplification (from Atma-Sphere) seemed the same as previous years. Upon questioning the owner/designer, I learned that the TAD drivers - of which I have never been a fan  - used previously had now been replaced (in both the Hartsfields and T1 Reference) with newly designed field coil drivers. Rumor has it that the drivers are sourced from the same manufacture as are the file coil drivers used in Edgarhorns. Irrespective of their origins, the speakers are much improved in terms of clarity and lack of harshness; unsurprisingly, the price has risen considerably to the range of $26,000-$28,000 per pair. While still not my exact cup of tea, it is nice to see (hear) such a dramatic improvement.

It was wonderful to see Roger Sanders back in action with his Model 10A hybrid electrostat speakers. As with the previous iteration sold under the Inner Sound brand name, the 10A features a large ‘stat panel, beneath which is a transmission line-coupled powered woofer. The system retails for $12,995, which includes the x-over and bass amp. The speakers are lighting fast with incredible dynamics and detail, and an almost uncanny blending of panel and transmission line. The speakers have a narrow sweet spot, and can be a bit tizzy on top, but represent one of the true bargains in high-end audio.

 
A quite different sound was that in the price-no-object- Audio Note room. This system featured AN-E SE Signature speakers ($51,000), Kegon Balanced 300B amplifiers ($95,000), M9 preamplifier with Phono ($115,000) and TT2 Turntable (($1925) and Arm three ($1925). I stopped in just before leaving the show, and didn’t have nearly as much time to listen as I would have liked, but what struck me was the same basic property I have come to expect from Audio Note systems, namely a coherent, balanced sound to which one could listen for hours.

 
I have recently begun looking into a PC- (or Mac-) based system for my CDs, and so I made a point of paying a visit to the Wavelength Audio room to speak to Gordon Rankin. The electronics consisted of a MacBook driving the new Balanced Crimson USB DAC with Numerator DAC module and cobalt copper transformers ($10,000, excluding the Mac), Royal preamplifier ($7500), and Cardinal Ag amplifiers ($30,000), connected via Nirvana Audio cables. Speakers were the Vaughan Zinfandel ($6000),which use an 8” Fostex wide range driver, supplemented on top by a ribbon tweeter and below, by a 12” side-firing woofer and passive radiator. The system had good tonal balance, was almost devoid of digital glare, didn’t call attention to itself, and was easy and pleasant to listen to. All-in-all, a very nice sound.

I first heard the Maxxhorns at the first (or was it the second?) RMAF, when I was writing for another publication. I was immediately impressed with the speakers and wanted to review them, but my editor exercised editorial privilege and did the reviewing himself. Darn. At last year’s show the Maxxhorns were shown with Feastrex drivers; while it was of course not possible to remember just what the system sounded like previously, not to mention the myriad other unknown variables, my sense was that the Feastrex represented a considerable step up from the previously used drivers. The folks at Maxxhorn obviously felt the same, as the Maxxhorn is now being offered with a choice of Feastrex drivers, and the horn’s internal geometry has been modified to better accommodate those driver’s sonic characteristics. This year’s showing featured the Lumination cabinet with the Feastrex D5 monster alnico ($28,00 per pair). The sound was absolutely glorious, exhibiting coherence, energy, punch, without being at all fatiguing. All-in-all, a system that honored the music, rather than audiophile checklists. I hope one day to be able to try a pair in my listening room.

One of the most enjoyable part of audio shows is stumbling upon an impressive system about which one knew nothing. As chance would have it, this occurred at the last room I visited at the show. In a large (but acoustically challenged) room in the Hyatt was a system featuring Mastersound 845 amps, a Lessloss DAC, and a pair of modest-looking floorstanders. The speakers I learned were the German-made Kaiser Kawero’s, a three-way design featuring a midrange near the top of the front face, a Raal ribbon tweeter perched on top of the cabinet, and two woofers on the back (MSRP approximately $55,000). Speaker wires were from Echole, and were themselves price-no-object. As the speakers were pulled way out into the room, the soundstage was(not surprisingly) very deep. Regrettably, the image size was grossly exaggerated in the lateral and especially vertical planes, due I suspect to the room’s poor acoustics. (The room narrowed to the rear, had glass on one side, but most significantly had walls which were not solid - they were actually dividers which allowed the room to be opened up to adjoining rooms). Despite this, the system made glorious music; detailed, vibrant, and alive, with only a trace of edginess. I think we will be hearing much more about this system in the future.

Honorable Mention

For years I have watched and heard the evolution of the Rethm speakers. While these had some great sonic properties, their deficiencies were obvious and non-trivial. About two years ago designer Jacob George came to terms with the fact that there is only so much bass one can get from a Lowther driver, and so he went back to the drawing board (being an architect, he might actually have a drawing board!) and added a separate bass module to his speakers. These modules feature woofers of his own design in what I believe is an isobaric arrangement, and a self-contained woofer amplifier and adjustable cross-over. I heard the Saadhana speakers at the New York show last year and while they showed great promise they were, in my opinion, not quite there. Jacob continued to tweak them and I am delighted to report that I think that they are indeed now “there.” The sound was fast, punchy and coherent, with superb integration between the DX55 and the woofers. I would be remiss if I failed to point out that interestingly, the speakers were not powered by a SET amp but rather, by the excellent-sounding AMR AM77 amp, with the AMR CD77 CD player serving as front end. Darren Censullo of Avatar Acoustics, importer of AMR gear, is now going to handle US distribution of Rethm speakers. If ever there was a case of good synergy, this was it. I hope I can get a pair of Saadhanas (and AMR gar as well) for review!

Jonathan Weiss of Oswald’s Mill Audio is well known for the yearly “tastings,” an invitation-only get-together featuring vintage gear (especially RCA) , DIY, and high-efficiency speakers. Jonathan recently began manufacturing his own line of products, and distributing others. RMAF was the first formal public showing of his first speaker, the AC-1. The AC-1 is a large speaker, standing over 6 feet. On the top is a conical horn designed by Bill Wood, into which fires a vintage RCA compression driver. The horn sits, via a metal support, on beautifully crafted solid wood cabinet, the front profile of which approximates an inverted “V.” Near the cabinet top is a RAAL ribbon, beneath which is a 15” woofer in an Onken-type enclosure. Remarkably, the speakers sonics did not over-power the room, always a concern with a horn-based system in a relatively small hotel room. Integrating a ribbon with a horn is not an easy task but the AC-1 performed admirably in this regard; not as coherent as single or two-way driver system, but pretty darn good, especially considering the proximity of the seats to the speaker. The system had very good dynamics, with a presentation that erred more on the side of smoothness than of heightened detail. Due to a last minute change of plans Jonathan used a borrowed amplifier that, I suspect, didn’t let the AC-1s sing to their true potential. The retail price of the speakers is $53,000; my guess is that they will appeal mostly to those who want not just great sound but equally, a visual work of art. Last but not least, the front end was the brand new Saskia, a slate-based idler wheel ‘table, with Schroeder arm.

Seigfried Linkwitz is held in high regard in the world of audio, as are his Orion speakers (or more accurately, speaker system, as the system includes an active cross-over and amplification). For years I have wanted to hear them and this year I finally got the chance. The Orions are not the kind of speaker I generally favor - they are of low efficiency, and are driven by solid state amps - yet I was most favorably impressed. Though somewhat dynamically impaired and less resolute than I would like, they were nonetheless a pleasure to listen to. At their price point of approximately $6,500 for the complete package (prices vary depending on cabinet choice) they represent an outstanding deal, and are truly a testament to the abilities of their designer.

Well, that pretty much sums up my highlights. There were of course many other rooms that I enjoyed - some quite a lot - and some that I didn’t, but what made the show special was the people. I saw old friends, made new ones, had lots of laughs, broke bread and raised a glass, and listened to some wonderful music. All-in-all, RMAF 2008 was a clear success.