2014 Capital Audio Fest Report

Saving the best for last were three systems that, while all different, really floated my boat. Again in no particular order:

Koby Koranteng of HiFi Logic had a system based around the Zu Audio Definition Mk.IV Loudspeakers ($12,750). driven by the Wells Audio Innamorata Stereo amplifier ($6,500). Volume control and source selection were via the passive Music First Audio Baby Reference, transformer -based attenuator ($8,590). The digital source was either a Reimyo CD Transport CDT 777 ($12,000) or a computer, both feeding the Resonessence Labs Mirus DAC ($4,995). On the analog side was a TW Acoustic Raven Limited Turntable ($25,000, including arm and cartridge), feeding the brand new Merrill Audio Jens Phonostage ($12,000). Speaker cables were from Zu (with their special terminations), and both interconnects and power cords were from Paul Kaplan’s Waveform Fidelity. The Definitions have two “wide band “ drivers, supplemented above by a tweeter, and below by a self-powered (and adjustable) subwoofer. The Definitions are not small speakers, and I would have thought them too large for the room. But I would have been wring. With proper placement, and careful adjustment of the subwoofer, the speakers disappeared in the room. The only evidence of their existence (assuming one’s eyes were closed) was an incredible sound that was detailed and full-bodied, natural and alive. Of course, the credit must be shared with the Wells Audio amp (https://www.dagogo.com/wells-audio-innamorata-stereo-amplifier-review), the sources, the transformer-based attenuator, and the cabling. It is rare for a system to work so well together under any circumstances, rarer still for it to do so under show conditions, and even rarer in a small room. This system should serve as an exemplar of what is possible at a show.

Koby Koranteng of HiFi Logic and the Zu Audio Definition Mk.IV Loudspeakers ($12,750)

Wells Audio Innamorata Stereo amplifier ($6,500) and Merrill Audio Jens phonostage ($15,449)

TW Acoustic Raven Limited Turntable ($25,000, including arm and cartridge)

Reimyo CD Transport CDT 777 ($12,000)

Doug White of The Voice That Is had, presented for our listening pleasure an all-Tidal system. Per Doug, the components were as follows:

TIDAL Audio Agoria SE Speaker – $105,000 ( shown in Midnight Black Lacquer finish)
TIDAL Audio Preos Preamplifier w/ phono stage – $28,990
TIDAL Audio Impulse Dual- Mono Amplifier (190W) – $32,290
Aurender W20 Reference Music Server – $16,800
Bricasti M1 DAC with USB – $8,995
Purist Audio Design Luminist Revision Dominus Speaker Cables – $15,000 (2.5m)
Purist Audio Design Luminist Revision Dominus AC Power Cord – $2,870 (2m)
Purist Audio Design Luminist Revision Aquilla Digital AC Power Cord – $1,145 (2m)
Purist Audio Design Luminist Revision 25th Anniversary XLR IC Cables – $9,970 (1.5m)
Purist Audio Design Luminist Revision 25th Anniversary RCA IC Cables – $9,570 (1.5m)
Purist Audio Design Luminist Revision 25th Anniversary AES/EBU IC Cables – $4,800 (1.5m)
StillPoints ESS GRID Rack $8,600 – $12,100 varies w/configuration
StillPoints Ultra 5 Isolators – $249 each
StillPoints Ultra SS Isolators – $699 each
StillPoints Aperture Room Treatment – $600 each

Needless to say, this system costs more than most people make in a year. Or two years. Or three. And while the price might take your breath away, so does the sound. It has incredibly low distortion, and a natural flow and timbre few systems that lesser systems can only dream of. If I was to be critical, it was not as dynamic as some other systems, and it lacked deep bass. In fairness, due to a hotel SNAFU the exhibitors weren’t given access to their rooms until 6PM Thursday, which left them far less time for proper setup than they should have had. Needless to say, this is especially problematic for speakers that weigh hundreds of pounds. Bass response is often the most time consuming to optimize, and I suspect that given more time, the bass would have improved dramatically. But my criticisms are small ones; the bottom line is that this is truly a state of the art system.

The last system is one that requires some explaining. This system is based on the Sadurni Acoustics Staccato horn speakers, and Merrill Audio Veritas amps. On the analog side, the accompanying gear was (1) analogue tapes and player from Jonathan Horwich of International Phonograph Inc., and (2) vinyl playback via Winn Tinnon’s Saskia idler wheel turntable, with a Shroeder tonearm and Miyajima Shilabe cartridge, feeding the new Merrill Audio Jens phonostage. Digital was via a HAL MS-1 computer feeding a Meitner MA-1 DAC. Most of the gear was supported by Mapleshade platforms and footers.

I am familiar with the Sadurni/Merrill combination, as I have had it in my own listening room (review in progress). Just a few months ago, I heard the Sadurni/Merrill/International Phonograph Inc./Meitner system at Axpona in Chicago. In both places, the sound was excellent (moreso in my room, but that is to be expected when show conditions are taken into account). I mention this because the first few days at CAF, something was clearly wrong. Not wrong as in “we need some minor tweaks,” but wrong as in seriously wrong. As sometimes happens at shows, there were a number of SNAFUs. First, one of the tweeters was damaged in shipping. Second, and more important, the room they were in was an acoustic nightmare. Third, as noted above, they weren’t given room access until 6PM Thursday. The Sadurnis are a 4-way design (well, 3-way when the tweeter aren’t working), capable of deep and powerful bass. Getting the horn-based subwoofers to work in the room, and to blend properly with the upper bass horn, took the better part of two days. (For what it’s worth, in my room it took about 20 minutes.) Anyone who heard this system on Friday or early Saturday did not hear the system as it should be. In fact, what they heard was but a poor facsimile of what the system is capable. Thankfully, by Saturday afternoon things were finally getting tuned in and while still not as good as it was in Chicago (or my room), much of the magic was there. (I hate making such quantifications, but I’d say it was perhaps at about 75% of its true capability.) This is a system with such incredible dynamics that it makes virtually all other systems sound sluggish and dynamically compressed (which they are). It has amazing amounts of detail, and the ability to make one feel like one is listening to live music. Period. Full stop. With the proper associated electronics, it is truly one of the world’s great musical transducers.

All-in-all, the 2014 CAF was a lot of fun, and I look forward to next year’s show.