CES 2008
Roy Harris
Audiophilia photographs from CES 2008 may be found here
They came from far away places, inhabiting
their own private spaces. Some came from across the ocean and arrived
at an auspicious time to encounter an array of sounds from the mundane
to the sublime. Thus, they prepared their senses for the test in the hope
they would hear and see the best that designers and technology could offer.
CES is a combination of surprises, treats and treatments. The surprises
include experiences that confound one’s expectations. The treats
include opportunities to be in the presence of superlative sound, perhaps
the illusion of real music. The treatments—one may want to forget
them, are the ordeals that challenge the psyche, spirit and tolerance
for unpleasant sound.
I have attended CES expositions for 15
years. Each year, I check the exhibitors’ lists and note the names
of manufacturers unfamiliar to me. I then visit their websites and read
about their products. It is my curiosity about unfamiliar products, especially
tube-based components, cables and panel speakers which motivates me to
attend another CES event.
What’s New
This year, many prototype and preproduction
products were presented. Some were static displays, while others were
available for audition. Here are the highlights:
Nuforce
mini system that won’t break the bank includes the Icon-1, a 12
watt class d integrated amp ($200) and the S1 single driver bullet plug
custom made titanium driver ($199). Kondo Audio Note
prototype two way speaker with external cross over, silver coils and silverdust
caps. The price is not yet determined. Stello CDT 100
Sony Drive transport, top loading ($695); Stello DA 100 Signature DAC
($895) Inputs include I squared bus, SPDIF, AESEBU and USB. Up sampling
can be varied by the user. PS Audio Memory transport
prototype ($1695). CD is read into RAM, jitter is reduced and outputs
include I squared bus. Rogue Athena line stage preamp
($4995). Versatile Prima Luna Mystere A 11 integrated
amp, 16 watts in triode and 34 Watts in ultra linear mode ($1995). Accepts
EL34, 6L6, KT88 and 6550 tubes. Nightingale battery operated
TS03 preamp ($8000). Wadia 170 I dock for an ipod ($349)
extracts a digital signal. Wadia 781 DAC Prototype ($13450) with 1.4112
MHz sampling rate. Inputs include glass fiber optic, plastic fiber, SPDIF
and AESEBU. Esoteric Audio C 03 Preamp ($9005) and A
100 Integrated tube amp ($18500). Boulder 1021 CD player
($24000), 24/706.5 with no op amps. EMM Labs DAC 2 ($9000),
with chips designed by Ed Meitner. Kharma hybrid amp,
175 watts/channel, tube input, mosfet output ($40000). Roland
Criterion preamp with battery operated power supply ($18000). Coincident
Technology Pure Reference ($22000), having Accuton Ceramic Cone
tweeter and midrange drivers and 2 12”” Nomex side firing
woofers. ProAc Response D2 stand mounted speaker ($3300).
Gallo Strada prototype with carbon fiber drive and CDT2
tweeter ($1798). Conrad-Johnson CD/SACD player in development
stage, featuring tube output stage using the 8080 tube. Price to be determined.
Lamm ML3 Signature 32 watt monoblocks, with separate
tube power supply, including 6 12AX3 tubes. The amplifier section uses
1 12AX7, 4 6N30 DR and 1 GM70 output tube, priced at $139,200/pair. Audience
Clear Audient Speaker ($23000) and subwoofer ($7000). The speaker
uses 8 2 inch drivers which are flat to 100 Hz and – 3db. Vienna
Acoustics Die Musik preproduction 4 way speaker system ($25000).
A super tweeter handles frequencies exceeding 10 KHz. Coaxial midrange/tweeter
drivers, each having their own magnet are housed in a separate enclosure.
The drivers can rotate 3 or 4 inches to the left and right and angle up
and down. The midrange driver is flat. There are 3 10 inch bass drivers.
The midrange, tweeter and bass drivers are made from proprietary polymer
materials. Switches on the rear of the speaker can adjust bass response.
This speaker system is designed to present a seamless transition from
bass to treble, while the movement of the midrange/tweeter enclosure can
offset possible negative affects of room acoustics and/or tailor the frequency
response to one’s taste.
What Are The Trends?
Several
years ago I observed the beginning of a convergence between tube and solid
state components. This process is continuing. Tube electronics no longer
exhibit the euphonic colorations of older designs. Instead, one observes
speed, resolution and balance.
Class D and solid state amps are becoming
more spectrally balanced. I observed grain-free, open, dimensional presentations,
considered typical of tube products.
The ipod is coming, the ipod is here.
Working with Apple computer, Wadia has designed an i
transport, the 170 i($349), to extract a digital signal without using
an A/D converter. Audio outputs include SPDIF and analog out. MSB modifies
an ipod and provides the i link transport at a cost of $2349. The digital
signal is extracted and jitter is reduced to a rate not to exceed 10 pico
seconds. The company claims its effort is superior to any commercial transport.
Both products may serve two purposes. They may induce audiophiles who
own iPods to integrate them into their stereo systems, In addition, iPod
owners who think only of convenience may be encouraged to consider the
possibility of enhancing the performance of their iPods. Will such an
approach motivate users who are disinterested in audio to purchase a basic
stereo system ? It is an interesting hypothesis.
Neosonik introduced
a working wireless stereo system, consisting of a digital source, controller
and a pair of powered speakers. A digital signal was fed to a controller,
which in turn passed that signal to the powered speakers. While the demonstration
was in the 2 channel mode, a multi channel controller will also be available
and the speakers need not be located in the same room as the controller.
For further information, access the company’s website, www.neosonik.com.
The Sound
Evaluation of stereo systems under show
conditions is highly problematic. The process is adversely affected by
the A.C., deficiencies in room acoustics, components which are not broken
in and a short audition period. I visited almost 300 rooms. I encountered
a variety of cone and horn designs and a few panel designs. I noticed
speakers performing well in some area and not so well in other areas.
Thus, I chose characteristics well known to serious hobbyists as criteria
to identify the “best in show” speaker systems. I used the
following musical selections to assess the merits of stereo systems: Bob
James and Earl Klugh, TWO OF A KIND, “Sandstorm”, Manhattan
7 99191; Dave Grusin, PRIME CUTS, “Keep Your EYE on the Sparrow”,
Sheffield 13333; Holly Cole Trio, DON’T SMOKE IN BED, “I Can
See Clearly Now”, Alert Z2 81020; Ravel, “Alborado del Gracioso”,
conducted by Ernest Ansermet with L’Orchestre De la Suisse Romande.
My selection criteria included: Least
boxy and most coherent; Most dynamic, deepest bass; Most resolving and
transparent; Most pleasant and listenable; Best value.
Here are the candidates:
1. Analysis Audio Omega
speakers ($18000)—Most coherent and least boxy. Driven by the Technical
Brain TBP- Zero mono block amps, 200 watts/8 ohms, priced at
$33075, the balance of the stereo system included the Technical Brain,
TBC-Zero preamp ($21863), an Opus 21 CD player ($3500),
Analysis Audio bi wire speaker cable($2500) and interconnect cable provided
by Technical Brain.. Prices for the Technical Brain electronics are based
upon an exchange rate one dollar = 105.2 yen. The presentation was open
and boxless—the sound of a ribbon tweeter without excess treble
energy. The frequency response was balanced and not euphonic, seamless
from bass to treble.
2. Sunny Cable Technology H3 W155 Speaker($55800)—Deepest bass and most dynamic.
The stereo system included Sunny Cable
Technology Supreme speaker and interconnect cable priced at $117,500,
Sunny Cable Technology Cable power cords, Priced at $25000 , a Tascam
601 transport and Apogee DAC, each priced at $2000, Ayre
Acoustics V1 amp ($7500) and Ayre K1 preamp ($ 7500) and Sunny
Cable Technology The Box ($10000). All components have been modified.
The internal wire has been replaced with a special version of Sunny Cable
Technology internal wire.The presentation was clear, clean, with no edge.
The bass was very deep and punchy. Solo instruments were placed deep into
the orchestra. Since the noise floor was very low, instrumental decay
was evident without the need to pay special attention to hear it. The
scale of the orchestra was very realistic.
3. Nuforce S9 speakers ($5800)—Most resolving and transparent.
Nuforce provided the amp and preamp,
namely the 7 channel MCH-35SE($5000) and P9($3150), respectively. The
digital source was the Marantz SA 7S1($7500). There were three Black Noise
line conditioners($4700) and all line cords were stock..Speaker cable
was the Kubala Sosna Emotion and the interconnects were Stealth Indra
having a total retail cost of $15000. This was the most lucid, open and
highest resolution presentation also having the least. inaccurate lower
treble timbre I experienced at the CES and THE SHOW.
4. Audience Clear Audient 8 speakers ($35000) with sub ($7000)—Most pleasant and listenable.
Audience provided all of the interconnect,
speaker and power cords, whose total retail cost was $8516, and the power
conditioning at a cost of $12500. The electronics included a Navison
SE MK 2 preamp ($4900) and Navison 211 SE Mono amps priced at $7900. A
Denon 3930 modified by Audience ($4200)
was the digital source. In a word, s-m-o-o-t-h -- it was the embodiment
of the presentation.There was an excellent presence in the lower midrange
and the sibilance from Holly Cole’s voice was slightly diminished,
compared to what I heard at all of the other rooms at CES and THE SHOW.
The sound was soothing and never irritating.
5. The Nuforce S1 Single driver speaker ($199)—A best buy
Using a 12 watt Icon-1 integrated amp,
priced at $200, this system deserves to be heard, period ! One may want
to augment the bass response with a sub woofer.
And
the winner is?
My favorite speaker system was the Analysis
Audio Omega. An absence of box colorations and a coherent presentation
are attributes I value highly.
Further Thoughts
As I was “completing” my
rounds, two thoughts came to mind, based upon my listening experiences,
namely diversification and resolution. I believe that the goal of most
designers is the creation of components having no sound of their own,
i.e., accuracy or neutrality. This goal is unattainable, but it may be
possible in some instances to achieve levels of coloration which are virtually
inaudible. The high end audio industry differs from other aesthetic-based
industries in its attempt to produce a functionally homogenious product,
while evincing varieties of form. There are flavors of food and wine,
different styles of cuisine, varities of expression in movies, art and
literature. One size does not fit all. There is an explicit attempt to
satisfy the preferences of consumers. Yet, the opposite occurs with respect
to the design of high end audio equipment.
One of the principles of microeconomic
theory is product differentiation. Its successful application can be seen
at work in the automobile industry, among others. Perhaps, manufacturers
may be able to increase their revenue by differentiating their products’
performance from those of their competitors, even if it means tailoring
the sound to appeal to a larger group of consumers, but as your humble
reporter, I don’t mean to suggest to designers how to run their
commercial operations.
A necessary condition for superior sound quality is resolution. The stereo systems I auditioned while varying in perceived level of quality did not seem deficient in this respect. Some bordered on the analytical while others emphasized upper midrange/lower treble information, causing a frequency response imbalance. Many low noise components remove layers of veiling and reveal the subtlest of detail. Products having less color and more resolution often exaggerate recording flaws. I heard examples of what I would call hyperdetail from some cone and horn designs and one panel design. The result was unpleasant listening experiences. Perhaps a balance between resolution and listenability could create a more enjoyable listening experience.
