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 February 1, 2006
At the conclusion of the 2006 Consumer Electronics Show, my esteemed colleague John Crossett made an interesting observation: the vast majority of great-sounding exhibits graced the Alexis Park, an official CES venue, and not the ("renegade," "parasitic") T.H.E. Show held concurrently and next door, at the St. Tropez Hotel. Besides echoing my own sentiments, John’s comment struck me for two other reasons. First, if a large proportion of exhibitors have found ways to overcome bad sound conditions at the Alexis, then a major reason for preferring the St. Tropez’s sound-friendlier rooms was no longer valid. Second, if the debilitating, time-consuming exercise of running between hotels has little payoff, why do it? In my opinion, the sponsor of the T.H.E. Show should launch a separate convocation of high-end manufacturers at a different time of the year. After returning home, I found that the exertions of covering both the CES and T.H.E. Show had so weakened my Anglo-Polish constitution that I suffered my worst case of influenza since the closing days of the Korean War. That did it for me. Next year, I’ll take one pass at the T.H.E. Show and then not go back. All that running between hotels weakens one’s resistance. A special Silver Award If my show coverage was more rigorous this year (sure felt that way to me), I owe a debt of gratitude, along with a silver statuette, to my good friend and first hi-fi mentor, Otto Holmberg, of Dallas, Texas. An expert on chamber and solo-piano music, Otto came along as my reality checker. He brought with him two excellent CDs to test systems of promise: pianist Jeno Jandó’s compelling cycle of Schubert’s Impromptus [Naxos 8.550260]; and Eugene Istomin, Leonard Rose, and Isaac Stern’s performance of Beethoven’s Piano Trio in B-flat Major, Op.97, the "Archduke" [Sony SBK 53514]. It was amusing to see, each time Otto cued up one of his classical discs, how quickly a large room full of noisy revelers would dispel. By comparison, most of the CDs that kept showgoers anchored in rapture featured electronic mood music. This is no complaint against synthesized pop; I listen to Buddha Bar, myself. However, I do wonder how one assesses the sound of synthesizers when going from room to room. In order to grasp a system’s reproducing capability, shouldn’t one use as a reference the sound of acoustic instruments played in a proper concert venue? Surprisingly, a number of elegantly appointed speaker systems held up quite well to the onslaught of a grand piano played with passion. I had expected such beauty to be skin deep. On the other hand, some big-buck systems buckled under the strain, inducing several manufacturers to betray their chagrin by complaining that Schubert’s Impromptus had been "too closely miked." Otto helped in another meaningful way. On the first day of CES, he correctly pointed out that from time to time I would miscalculate, spending too much time in bad rooms and merely drifting in and out of good ones. His admonition became a mantra: "Don’t drift, Jim." I thus feel confident that this year’s Jimmy Awards derive from the tightest focus I could bring to bear for three and a half days. On the other hand, if I missed any good rooms, it’s Otto’s fault. What are friends for? Gold Awards 22. KEF
The best A/V surround-sound system of quite a few was KEF’s tiny KHT3005 system, on display at the Hilton. This official CES venue is an excellent exhibition space that deserves wider consideration from manufacturers who don’t like to mingle at the Alexis Park. Forcing press members and distributors to spend time and treasure to reach such out-of-the-way addresses as the Mirage or the Monte Carlo seems to me an inconsiderate habit that needs to stop. Those 20-buck cab rides add up. The KHT3005’s four matching satellite pods and oblong center-channel use KEF’s patented Uni-Q driver configuration to fill a large room with a continuous soundfield; the subwoofer sports a 250W amplifier. In high-gloss black or silver, the full 5.1 array sells for $1650, including a pair of stands. This may seem a lot to those looking to buy a home-theater-in-a-box for chump change, but to someone who’s heard a number of such systems, the extra vig KEF gets for the 3000 series seems well worth it. 21. Firebird Sounds In our increasingly mobile, hands-free society, room-to-room runs of speaker cables are an anachronism. Firebird Sounds, of Tempe, Arizona, showed a prototype of a wireless digital amplifier-speaker stand that makes installing a second or third zone as easy as moving a pair of loudspeakers onto an amplified base -- no wires to lay or run through conduits. As soon as I got home, I contacted Firebird to order a sample, only to learn that no stock was available. If the powered bases don’t materialize within three months, this provisional Jimmy Award goes up in smoke. 20. Kaleidescape The Kaleidescape System Entertainment Server, a 78-pound data-storage medium, has so much input and daisy-chaining capacity that its owner might never again have to touch a CD or DVD. The only problem is that this "purpose built" (as opposed to "computer-based," I assume) wonder boy sells for $25,000. I hope Kaleidescape sells hundreds of them. Perhaps, if this new technology catches on, competition will bring prices down to where I can afford a clone. With CD copies multiplying like rabbits around here, I need music storage now. 19. Soaring FALCON Come to think of it, a "computer-based" home media center may be sufficient for my humble needs. Soaring FALCON has one. The acronym describes the product: Fabulous Audio Listening & Completely Outrageous Nerdbox. The Nerdbox promises to simplify one’s life: no preamp, no CD or DVD player, and remote selection of digital source material, all for $4000. As soon as I sell my preamp and CD and DVD players, I’ll order one. Perhaps, by then, the whole shebang will be available in a laptop. Meanwhile, the CDs will continue to pile up on tables, chairs, and sofa. What a mess. 18. CL3 Audio Engineering My final technology award goes to CL3 Audio Engineering of France, whose Gemincore class-D, 150W power module uses a 500Hz switching frequency, is 97% efficient, and measures 0.03% THD+noise at full power into 8 ohms. The boys on Rue Ampère in Pontoise, France, have published a lovely White Paper to explain their research. Except for the numbers, it makes sense to me. Could Gemincore be the new ICEpower?
17. Margules Audio Now comes the hard part: the winners for sound. The first award for great sound goes to Margules Audio of Mexico, for a system comprising their Orpheus loudspeakers ($6000/pair), SF 220r hybrid preamplifier ($2600), and U280SC 60W stereo tube amplifier ($3300). I admire designers who attempt to formulate an entire system’s worth of components to work synergistically together. The Margules speakers and amplifiers have been germinating for several years and are now ready for prime time. The cost of the system, $15,900 without cables, makes this an attractive alternative for people who love music more than hardware. 16. Tetra The Tetra 306 loudspeaker ($3800/pair in "meddle" finish) has a weird shape. It’s a three-sided pyramid only 22" tall. Yet, combined with Dussan Original electronics (love that CD player), it had no trouble floating the image of a concert grand piano at the proper height and width right in front of Otto and me. With the volume set to simulate a "live" piano, there was no sense of strain. This was the first time I’d heard Tetra loudspeakers, and I now understand why they’re so popular with pop recording dudes. These pointy little critters are wonderful. 15. Lyngdorf Audio Digital amplifier pioneer Peter Lyngdorf, of TacT fame, now styles himself as Lyngdorf Audio. His company’s TDA2200 True Digital Amplifier, with RoomPerfect Correction Module ($4190), lets you dial in a soundstage with the holographic intensity of a diorama. You can also equalize for a much larger sweet spot, but then the ghostly center image loses its magic. The quest to have one’s cake and eat it too continues unabated, despite Lyngdorf’s imaginative efforts. 14. DeVore Fidelity The most Press-Friendly (PF) room at CES deserves emulation by all exhibitors. In the Tone Imports/DeVore Fidelity room, as I began to note down component model numbers and retail prices for the millionth time, the person in charge handed me, with a flourish, a hefty sheet of paper on which all products and their prices were listed. Such thoughtful foresight encouraged me to loosen up, sit down, and enjoy the pristine sound of the DeVore Fidelity Super Gibbon 8 speakers ($4000/pair). The tube electronics, supplied by Shindo Laboratories of Japan via Tone Imports, and the cables from Auditorium 23, combined to produce an all-in cost of $25,000 -- and this was one of the less expensive systems I liked. 13. Acoustic Zen An old acquaintance showed a new pair of loudspeakers with excellent potential. Robert Lee, of Acoustic Zen cables, brought his new transmission-line Adagios ($3700/pair) to CES and left with gold trophy in hand. Sharing the Jimmy with Lee are Ryan Tew of Red Dragon Audio, whose Leviathan monoblocks, in zebrawood ($5995/pair), complemented the Adagio’s looks and performance; and Dan Wright of Modwright, whose SWL 9.0 SE hybrid line stage ($1995) proved a splendid match for the ICEpower amplifier. Great Northern Sound provided the source component, a modified Resolution Opus 21 CD player. One other point about the Acoustic Zen demonstration: at $16,895, the combined cost of the electronics and speakers seems manageable by audiophile standards. At issue for me is the cost of the cables. Would someone actually shell out $10,298 for the Acoustic Zen cables and power cords required to bring this system to peak expression? I’m not picking on Acoustic Zen. I’ve tried cable systems with other manufacturers’ less expensive products, only to meet with disappointment. Acceptable levels of resolution always require me to upgrade to a cable brand’s top line. Excellence costs money. But Mother, does it have to be 38% of the budget? The Top 12 12. Kharma At previous audio shows, I never understood the Kharma mystique. This year, I finally got it. First, the Kharma Mini-Exquisite loudspeakers ($45,000{/pair) stunned me into silence with their striking finish. Then, using mbl source components driven by Kharma’s own miniblock amplifiers, the Mini-Exquisites wove a musical spell that contained a posthypnotic suggestion: "Win lottery, buy Kharma." Although I remain unconvinced that good sound must cost so much, were my housing and transportation already up to ducal standards, I’d consider owning a pair of Kharma’s diamond-tweetered jewels. 11. Wolcott In 2006, the venerable Henry Wolcott may have had his best CES yet. My friend Otto was entranced by the sound of solo piano as reproduced via Magnepan MG3.6/R speakers in the Wolcott room. If these were the Otto Awards, dear old Henry would walk away with top honors. But I suspect that the Wolcott P220-S stereo amplifier ($6000) sounds best when driving tough loads. I am not a fan of tough-load speakers, but any Magnepan owner who doesn’t own a Wolcott amp should audition one right away. An original Wolcott creation could become a collector’s item. 10. LSA-DK Design Group The LSA-DK Design Group presented the best "real-world" system at CES. The LSA 2 is one of those miracle speakers that convey truth of timbre while costing less than a king’s ransom ($2500/pair). However, I wonder about the price/performance ratio of LSA-DK’s VS.1 Reference Mk.II hybrid integrated amplifier. Seems a French company at CES had a catalog showing a similar-looking amplifier. I have no idea if they are the same products or different, but a Chinese OEM manufacturer is involved. The situation reminds me of the Red Rose/Dussan controversy of a few years ago. LSA-DK’s amplifier costs $4995, the French amp $1600. 9. Acapella
I have never met an Acapella loudspeaker I didn’t like. This year, their High Violin Mk.3 ($48,000/pair) filled me with an admiration that bordered on awe. Driven by stylish Einstein tube electronics, including The Final Cut Mk.60 OTL monoblocks ($25,250/pair), the High Violin Mk.3 surpassed my memory of past Acapella demonstrations in which solid-state amplification was employed. Audio Imports, who staged the demo, receive a PF designation for providing a complete list of all products used, including cables and Isoclean power-line conditioners. 8. Anthony Gallo Acoustics The most Press-Unfriendly (PU) room at CES was Anthony Gallo’s. It took me 10 minutes to scout up someone who could provide details about the partnering equipment, Gallo himself professing ignorance of the entire setup except for his speakers, the planar-tweetered Reference 3.1s ($3895/pair including subwoofer amplifier-crossover). The narrow, diminutive towers filled a large venue with wall-to-wall sound, a feat of legerdemain that caused me to rub my eyes and ears. But I wonder if the sound might have been slightly less edgy with an amplifier other than the Spectron Musician 3 ($5000), which never, at any show, has ever produced a demonstration I could sit through until the end. The Sonic Euphoria passive preamp ($1295) is one I would like to try in my system, however. 7. SP Technology The winner of the Heartstring Award is SP Technology, whose Millennial Reference Series Revelation MR-1 loudspeaker ($15,995/pair) caused a case of shallow breathing. The combination of cabinetry, waveguide technology, transmission-line bass loading, and Linkwitz-Riley fourth-order crossover gave a sense of dynamic anticipation that none of the other rooms quite matched. I’ve heard a rumor that an electronics manufacturer plans to use SP Technology as the basis for a line of active professional monitors. The catch here is that the crossover will go before the amplification. As Aurum Acoustics has shown, this is the way to design an active system. 6. PBN Audio Listening to Fourplay’s Chant on a big, dynamic speaker system in a huge room was a tonic I will long remember. The speaker was the Montana KAS (Kick Ass Speaker, $27,000/pair), driven by PBN Audio Olympia-LX preamp ($12,000) and Olympia-AX power amp ($20,000), with a Cary Audio CAD306 CD player ($4000). If I owned a large country home and entertained on weekends, this system would be the one I would love to have. In the fact, the soundstage was so expansive that I could see adding a fifth and even a sixth musician to Fourplay and still fit all of them into the front of the room. I wonder if there’s still time to save up for that country home . . . and maybe make a few friends as well. 4. Usher Audio/NuForce A tie. I can’t decide which was better: Usher Audio’s demo, where their BE20 loudspeakers ($16,000/pair) with Usher electronics sounded forceful and majestic; or the Usher Audio/NuForce room, where the smaller Usher CP8571 ($7790/pair), biamped with the NuForce Ref. 9s ($2500/pair), sounded intimate and flirtatious. I would have loved to swap the two rooms’ electronics to hear the difference an amp can make, but no dice. The Usher electronics are unfamiliar to me, but I do know the NuForce amps have speed to test the BE20’s beryllium-oxide midrange driver. Is this the quickest midrange on the planet . . . ? 3. King’s Audio Limited . . . or does that honor fall to the King Sound full-range electrostatic ($6000/pair), from King’s Audio Limited, of China? While playing back Schubert’s Impromptus with the aid of JoLida tube monoblocks ($8000/pair), the Kings placed the solo piano about 3’ behind the plane of the speakers. When I closed my eyes, the illusion was almost tactile. But why close my eyes? The visual appeal of lamplight shining through the Kings’ honeycomb stat panels made the grilleless speakers resemble artistic room dividers. If I owned the Kings, I would remove their grillecloths (a ten-second job) and do all my listening in the nude -- the speaker, that is. 2. Audio Research/Wilson Audio Specialties It is a pleasure to welcome back to the ranks of Jimmy Award winners the team of Audio Research and Wilson Audio Specialties. The only product held over from last year’s very strong demonstration was AR’s extraordinary Reference 3 tube preamp ($9995). New for 2006 were AR’s Reference CD-7 ($8995) and Reference 210 monoblock ($19,995/pair), to go along with Wilson Audio’s second-generation Sophia loudspeaker, the Series 2 ($13,900/pair). As I listened to this newly minted combination, the word that came to mind was diaphanous. The air around and streaming from the instruments was that of a group of live players disturbing the ether. This would make an excellent desert-island system -- my musician friends and me. 1. Aurum Acoustics This year sees a rare event: the bestowing of a Double Jimmy Award. For excellence in engineering as well as champion sound, Aurum Acoustics, of Newfoundland, Canada, wins two gold statuettes. Derrick Moss’s perfectionist efforts over four years have resulted in a hi-fi system that eliminates all consumer decision-making apart from writing the check. The Integris CDP player-preamp ($10,800) and Integris Active 300B (active crossover, hybrid amplifier, loudspeakers, and cables, $30,000) are essential ingredients in a recipe for entirely Aurum-controlled playback. If you buy into the concept of a "final purchase," you can expect to experience your CD collection as never before. When I heard the filigreed plaints of Aaron Neville, my head rolled around and fell on the floor. Others’ reactions may be less exaggerated, but only a dead man would be immune to the spooky reality this meticulously matched system can purvey. As one of those "investors" who have gone through thousands of dollars in search of the Holy Grail of Hi-Fi, I wish I could start all over again with an Aurum Acoustics Integris system. The only doubt in my mind is whether the need to "upgrade" would plague me every three years. If I could offer Derrick Moss a bit of advice, it would be to provide an upgrade path. Then, I’d give Aurum Acoustics three Jimmy Awards!
…Jim Saxon
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The CES 2006 Jimmy Awards
