# Sticky  AXPONA 2014 Official Show Report by Wayne Myers



## AudiocRaver (Jun 6, 2012)

This report is coming to you from the beautiful Westin O'Hare in Rosemont, illlinois. just a short shuttle ride from O'Hare Airport. I arrived late afternoon Thursday to find a lot of scurrying as exhibitors completed the setting up of their displays.

*Jump to the Discussion Thread HERE.*

Knowing Sonnie's generosity, I had booked the penthouse suite -- ooo, ouch, I just caught a burst of Sonnie's infamous death-ray stare. OK, OK, of course I really got a normal room like everyone else here.. This is a VERY nice hotel, as the following photos will attest.

  

Exhibitors were in varying degrees of readiness / disarray...

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Some attention getters...

  

Our buddy A.J. of Soundfield Audio let me in for a miinute, but was camera shy...

 

Other rooms...

  

And here it is Friday morning. There were a couple of technical difficulties getting this posted, but it should go smoother friom here.

Much more to follow through the next three days. *Stay tuned.*


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## AudiocRaver (Jun 6, 2012)

Almost my entire focus was on speakers. I had intended to spend a few hours with headphones and simply did not get to it. Of course there were expensive DACs, monoblock amplifiers, turntables, and CD players galore, and they all sounded... Well, they all seemed to sound great, and we will leave it at that. With no way to compare them to anything else, in my mind it is difficult to tell. That is my way of looking at it, although some will disagree.

My test track CD contained the following:

_Packt Like Sardines In A Crushd Tin Box_ - Radiohead
_Ode to a Butterfly_ - Nickel Creek
_Reasons Why_ - Nickel Creek
_Ain't It A Shame_ - B-52s
_Vision of a Kiss_ - B-52s
_Baby I'm A Fool_ - Melody Gardot
_Don't Know Why_ - Norah Jones
_The National Anthem_ - Radiohead
_Weird Fishes_Arpeggi_ - Radiohead
_Chant_ - Fourplay
_These Bones_ - Fairfield Four
_Fête d'Adieu_ - Deerhoof
_Shallow_ - Porcupine Tree

Wherever I was allowed, I listened at least to _Reasons Why_ and _Ain't It A Shame, two of my most trusted test tracks._

What I listened for:

Overall frequency response balance, even handling of stand-up bass tones, natural sounding female vocals and fiddle, high frequency extension and smoothness.
Dynamics of string picking sounds, clarity, especially of complex cymbal tones. 
Soundstage wide, natural, comfortable, with open space between the sound images.
Imaging very specific, stable, and natural.
*Did they disappear in the room?* Many of the best did not, surely as much a matter of setup as design.
Of course, there was lots of demoing done with vinyl music sources, and while I have nothing against this, in some cases it was a distraction. Some of the recording choices were excellent, but with some the recording quality made it difficult to tell much about the speakers themselves. Fortunately, in most cases the exhibitors were able and willing to play requested test tracks from CD.

A handful of the speakers I heard were set up for good imaging and soundstage at the center listening seats, but in many cases I found myself kneeling three or four feet in front of the front row of seats to find the best position for these characteristics.


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## AudiocRaver (Jun 6, 2012)

*Soundfield Audio*

  
  
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Monitor 2 (M2): $1600 / pr
Variable Soundfield Tower 3 (VSFT-3): $8500 / pr
First stop was with AJ at Soundfield Audio. He had hoped to feature a new pair of towers constructed of butcher block, but there was shipping damage which prevented him from being able to play them for us. That was a disappointment, but we did spend some time with his smaller two-way monitors.

The Monitor 2 (M2), features a 9.5 x 6 inch planner magnetic horn-loaded tweeter, crossed over way down at 900 Hz, and an 8 inch aluminum woofer in a sealed enclosure. With a piano jazz trio, the complex cymbal tones were as accurate as with just about any tweeter I heard at the show. AJ prides himself on experiencing and learning this sound of live, unamplified music and on being sure his speakers can reproduce natural instrument sounds accurately.

AJ is a big believer and controlled-directivity speaker design as a way of minimizing room interactions. Fewer room modes get excited so room mode decay is quicker. The result is a faster-sounding speaker with minimal room treatment.

_Ode to a Butterfly_ - the physical aspect of the instruments seemed very well represented. The pick-on-string sound of the mandolin and guitar were very tactile, very true and present. I also loved the beautiful fiddle tone.

Female vocals were very smooth and very natural. The M2 design seemed very well integrated. The M2 was not a bright speaker, had a more laid-back presentation at high frequencies, very smooth through the mids and highs.

The soundstage and imaging were fair-to-good as the speakers were set up, but improved markedly when I moved forward a few feet. This was typical of the way speakers were set up at the show.

+++++++++++++++++++++++++++++++++++++++++++​
Jump forward to Sunday.

AJ go his towers working. They are a 4-way design, including supertweeter, with various bass radiation patterns possible (dipole, monopole, or cardoid).

The cool feature to me was a rear-firing magnetic planar tweeter with its own drive control, covering frequencies above 3 kHz. As it was turned up, the soundstage broadened and deepened quite a bit, and with a totally natural feel. Very nice.


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## AudiocRaver (Jun 6, 2012)

*Legacy Audio*

  
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Aeris (top): $19,525 / pr
Whisper XDS (bottom): $23,650 / pr
I missed Legacy Audio altogether back at RMAF last fall, so had them at the top of my list for AXPONA.

The Aeris felt incredibly dynamic, with lots of air moving power. As usual, I had to kneel a few feet in front of the seats to get the best soundstage and imaging. They were excellent - drum and cymbal images were clear, sharp, and natural. Cymbal tones were super precise and clean. The tones of a jazz piano were spot on, and dynamic, almost jumping at you. I noticed a few peaky bass notes, but that could have been the recording.

Yet they did not totally grab me. Don't get me wrong, they sounded superb, and I would be very happy with a set of them. But love is personal, and I did not go head-over-heals for them. At least not like the speakers across the room from them...

The Whispers... After about 5 seconds of listening, I commented to another listener, "WOW, I'm already in love!" It only takes a moment, right?

I was immediately taken by the clarity, the crystallized high end, the crisp definition of the bass and mids. Tonal balance seemed about perfect, with the higher range set well above "subdued" but just below "bright," forward enough for my taste yet held back so as not to be fatiguing. The soundstage and imaging were completely open and natural and gathered me in to the Whisper's musical experience. There was simply nothing not to love about them. I could not think of anything about their sound I would change.

Having heard about Legacy speakers, it was a delight to hear them in action. I became an instant fan.


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## AudiocRaver (Jun 6, 2012)

*AIX Records, German Physiks*

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This room was really mostly about AIX Records and their unique surround recordings. The huge German Physiks Emperor MK II speakers dominated the room physically as the delivery devices for the music.

Mark Waldrep, the founder, president and CEO of AIX Records, presented and described the tracks we heard in that room. The emphasis of the recordings and philosophy behind the AIX approach is:

Use first-rate musicians who know the music to be recorded.
Get the recording done quickly in a minimum number of takes so it sounds fresh.
Use simple mic techniques (stereo pairs, etc.) that capture a clean, live sound.
Capture several mixes: 5.1 stage mix, 5.1 audience mix, 2.0 stereo mix
Present all at high-def resolution (Blu-ray)
Having a recording background, I fully admire everything about the theories and approaches that Mark talked about. And he covered them with such enthusiasm that it was hard not to be convinced. He talked about how it became difficult to enjoy any other kind of recording after getting hooked on the AIX sound. I almost _wanted_ to be hooked.

And I was impressed by a couple of tracks. But I was not hooked. Before I go on, though, let me emphasize that the following comments are completely personal preference. It is not hard to understand how a different set of listening priorities might lead someone else to absolutely LOVE the AIX surround recordings. They did not grab me, though.

A very nice recording with two acoustic guitars and a vocalist was the most convincing one I heard. It was certainly a well-captured recording of an excellent performance. Images were fairly stable but were larger and softer than I care for, and that is probably the personal preference that I had the hardest time getting past. Stereo or surround, I like crisp, well-defined images. They feel more real to my ear. On another track, the sonic image of a flute seemed huge (6 feet wide?) and very non-specific, and that did not work so well for me. _Immersive_ is cool, but if not _convincing,_ I lose interest.

Being in a hurry to move on, I surely did not give the AIX sound the chance it deserves. Anyone who is interested in surround mixes and high-res, well-performed recordings might do well to give one or two of their titles a chance.


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## AudiocRaver (Jun 6, 2012)

*Scaena Iso-Linear Array with Bohmer Audio Energy-Time Alignment*

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When it comes to some areas of technology in the world we live in, there is theory and there is practice. The coolest theories do not always lead to perfect products.

I have always been a bit knocked out by the theories behind line array speaker designs. When it comes to dynamics, they can not be beaten. A whole bunch of light, quick little drivers can really snap the air, crack it like a whip. The Scaena was no exception, you could feel the _slap_ and _punch_ of drum strikes like every square inch of your skin was part of the ear drum. _IMPACT!_

Frequency response seemed fairly smooth, but not exemplary. Imaging and soundstage - again, good but not exemplary. I could not find a spot where the soundstage felt completely unstrained and natural, where it took over as totally convincing. Was I asking too much? Was I supposed to be knocked over by the dynamics and call it good, or _perfect,_ on that quality alone?

One thing I noticed in later rooms was that in every case where room correction was demonstrated, the soundstage was never quite convincing, it always felt a tad strained, unnatural. Knowing what a difference the mic pattern for the room analysis can make, I will chock it up to technique and the hurry-hurry of getting ready for the show.

So, while the Scaena array might have been benefiting from the Bohmer Audio Energy-Time Alignment, something about the combination was not getting completely out of the way of the music.

The look of the Scaena array is nothing short of dynamite. If some audiophile wanted to make points by helping his teenage sons impress their friends, this would be a way to get there. And knowing how sensitive some designs can be to room placement and treatment, it just might be that the Scaena Iso-Linear Array could behave much closer to perfect under better conditions. I DO love the theories involved. I would definitely like a few days to experiment with them in the right room some day.


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## AudiocRaver (Jun 6, 2012)

*Classic Audio Loudspeakers*

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T-1.4 Reference (left): $36,500 / pr

Walking into this room I did not expect much. Was I in for a surprise. I only heard the T-1.4 Reference, which reminded me of the ancient black-and-white TV we had when I was a wee lad. The T-1.4 Reference looks retro, to say the least - we'll stick with "classic" - weighs in at 450 lbs. each (shipping weight), and sounds...

I can not even remember the piece being played when I sat down to listen in the front-center chair. Wait, there it is in my notes - _Lucky Man,_ by Emerson, Lake, and Palmer. There was something special about the quality of Greg Lake's vocals coming through that big wooden "tractrix" horn, covering from 400 Hz up to where the super tweeter takes over -- I have to admit I had a brief emotional moment while listening to those speakers -- twice. There you have it, and no other speaker at the show did that for me.

The highs were slightly laid back, but not weak, very smooth and nicely extended by that beryllium-domed super tweeter. All components use proprietary "Field Coil" drivers. A 15" woofer and a 15" mid-bass driver complete the 4-way design. All elements worked together seamlessly.

Soundstage and imaging were _very nice,_ totally easy and natural. Detail was wonderful, and distortion seemed nonexistent - the T-1.4's simply hinted at what was to be done and the air obediently moved on its own with no resistance.

I will probably never own a pair of these speakers, but I will never forget the few minutes I spent listening to them. Special!


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## AudiocRaver (Jun 6, 2012)

*Acoustic Zen*

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Crescendo: $18,000 / pr

Zen is exactly the right name to associate with these speakers. There was a very peaceful unity about their presentation. There was no sense of there being separate drivers or a crossover.

Every instrument sounded completely at home on the Crescendo. Piano was simply gorgeous. Female vocals, horns, strings, all sounded like they were meant to be heard through these speakers, so easy, comfortable, natural, restful. I was reminded of the description of the act of artistic creation in Pirsig's classic book "Zen And The Art Of Motorcycle Maintenance," how the work is complete when the artist and the materials both come to a state of rest. That is how listening to the Crescendo felt.

Bass response went _deeeeeeeep._ Imaging was crisp and natural, and the soundstage was monstrous.

The Acoustic Zen Crescendo immediately grabbed a spot high on my list of favorites for the show and had no trouble staying there.


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## AudiocRaver (Jun 6, 2012)

*Tyler Acoustics*

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Insight (green): $5500 / pr

I stepped into the Tyler Acoustics room just long enough to hear a FUN pair of speakers, the Insights. Tyler also makes Mastering Studio grade systems. The Insights struck me as a great home theater candidate, with good imaging and soundstage and a lively presentation.


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## AudiocRaver (Jun 6, 2012)

*KEF*

  
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Blade: $30,000 / pr
5160 In Wall Main: $3,000 ea
3160 In Wall Center: $1,800 ea
LS-50: $1500 / pr
x300A: $800 / pr
M500 Headphones: $300 / pr
My first experience with high-end speakers was with a pair of KEF towers many years ago, and the company has always had a special place in my heart. So I had to spend some quality time in the KEF room.

They featured the Blade speakers with the concentric mid/tweeter driver and symmetrical virtual-point-source LF drivers. They balanced a nickel on top of one of the Blade cabinets to show how the LF driver configuration cancelled out cabinet vibrations - the nickel never tipped over. Highs were a bit laid back but not dull or weak.

Imaging was sharp and solid and the soundstage was big and open, all VERY nice, although their set presentation and demo material gave only a brief chance to hear them and only with a cappella male voices. Low-frequency performance was impossible to judge under the circumstances.

I admire the design concepts and my intuition sans there is a lot about the Blades that we did not hear. I would LOVE a chance to experiment with a pair of Blades some day.

Their in-wall speakers performed quite well. I have never heard an in-wall installation that gave imaging and soundstage performance that I could be happy with. But the KEF in-walls did alright considering - the flat soundstage was limited to the area between the mains, and imaging was a bit vague, but respectable - more a statement on what can be accomplished in-wall than a statement on the KEF technology. Frequency response was fairly even. Vocals from the center channel were quite forward, good for a home theater installation. If I absolutely HAD to install in-wall home theater speakers, I would definitely look at the KEFs for it.

The little LS-50 bookshelf, with the Blade 2-way concentric technology packed into a small box, made for a WOW little speaker that sounded VERY high-end. They were so very point source, with solid, well-defined bass and lower-mids. The piano demo left absolutely nothing wanting. Soundstage was good (hard to judge) and imaging seemed tight and solid (again hard to judge).

The X300 bi-amped computer monitor with also sounded very high-end, very smooth with tight, well-defined bass. It featured 24bit/96kHz DLNA-capable wifi and LAN connectivity.

The only headphones I spent much time with at the show were the KEF M500 on-ear phones. They were extremely comfortable, folded up nicely for travel, and had very - and I mean VERY - flat frequency response with bass that went DEEP.


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## AudiocRaver (Jun 6, 2012)

*Dynaudio*

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Evidence Platinum: $85,000 / pr

I finished off day one with a bang. When I walked into the main Dynaudio room on the 12th floor, all the right things happened. The Evidence Platinum speakers are imposing and beautiful. I highly favor the MTM virtual-point-source configuration. And they were made by Dynaudio - no secret I am a bit smitten by the name and the mystique. They were playing a well-recorded rock track - I don't remember what, but it was from a digital source - _thank you_ - nice and loud. I was immediately blown away.

They graciously played my demo tracks as well. Imaging was absolutely perfect. Every voice, every string pick, every echo, drum strike - all was point source perfect, rock solid and stable. The soundstage came _very_ close to allowing a complete disappearing act for the speakers, but not quite. A few setup tweaks would have done it, I'll bet. The soundstage was HUGE, wide open, completely natural.

On _Reasons Why,_ Sarah's vocals were delicate, present, intimate. Mandolin and guitar string picks were pinpoint precise and so real I was looking for the instruments in the room.

On _Ain't It A Shame,_ the sheen on Cindy's vocals was airy and clear. The vocal echo that hangs high in space to the right was completely surrounded by openness and hung there with _density._ The harmonica sounded like a _harmonica._ The bass and kick drum were tight and detailed.

The guitars and bass on _Shallow_ had _impact,_ the big ringing snare drum pounding on the chest. The effect was delicious.

Frequency response was impeccable. You could have run some kind of room correction software - take your pick - and it would have thrown up its hands and given up. There was nothing to correct. Highs were smooth, and I mean smooooooooooth, and extended. Lows were smooth, and I mean smooooooooooth, and extended. Get the picture? Clarity, definition, impact, power, focus, detail. they were all there and defied you to find the smallest fault.

The design seemed perfectly integrated. There was no sense of separate drivers involved, simply perfect sound emanating from a point source. You could blast craters with them or lullaby baby angels to sleep with them. There seemed nothing they could not do, and do perfectly.

OK, my two respected listening companions the next morning were not nearly as impressed, felt the highs were too forward. To my ear they were perfect.

And that was my comment to the exhibiting rep on my way out the door Friday night. "That might just be the perfect speaker."

That's my story and I am sticking to it. *Perfect.*


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## AudiocRaver (Jun 6, 2012)

*Wilson Audio*

   
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Alexia: $50,000 / pr
Sasha 2: $31,000 / pr

*Speaker Disappearing Act #1*

It was not long ago that I declared the Wilson Alexia the perfect speaker (RMAF last fall). And upon hearing them again at AXPONA Saturday morning, I had many of the same feelings about them.

They were a little laid back in the highs, but _very_ smooth. Imaging was somewhat diffused, but very stable and natural. The soundstage was huge, very natural and completely open, although a bit more recessed than I expected for the room, almost like it was retreating from the listener somewhat. The Alexia speakers did a complete disappearing act in that room, the first speakers to do so at the show for me.

There was detail galore and the sense of clarity was superb. The overall presentation was about as natural and smooth and transparent as you could expect a speaker to sound, yet was far from being boring. The sound reached out to hug you and gently held you in place, whispering, "Now listen to this."

The design allows for individual height aiming of the mid- and high-frequency drivers for the listening position, no doubt contributing to the imaging and soundstage and sense of tight component integration.

The Sasha 2 setup was also impressive. My notes reflected almost the same impressions as with the Alexia setup, although they did not disappear in the room like the Alexia. Soundstage and imaging were good but not stellar. In other sonic categories, the Sasha 2 lagged behind the Alexia slightly, but not by far. The piano in piece being played had a perfectly balanced tonality and wonder inner detail.

The Wilson tonal balance, while a tad light at the high end for me, is overall about as even and smooth as you could want a speaker to be.


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## AudiocRaver (Jun 6, 2012)

*MartinLogan*

 
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Montis: $10,000 / pr
CLX 25th Anniversary: $25,000 / pr

I only spent a few minutes in the MartinLogan rooms, but that was all it took to be reminded what a fan I am of their speakers.

The Montis room had a full 5.1 surround setup going, and although I did not write it down, I believe the recent 5.1 mix of Dark Side of the Moon was playing (someone jog me if that is not correct). Those wonderful hybrid electrostatics were so clear, so natural sounding, so easy to listen to, I could not help but be impressed all over again by them.

The big CLX setup next door did not grab me quite as much. The demo was of more about McIntosh's Room Perfect correction system. From the prime listening spot, neither the "with correction" nor the "without correction" soundstage seemed natural and relaxed to me. They were different, to be sure, and "with correction" was a partial improvement, but there was an uneasy tension about the sound that I could not get past. I have nothing against room correction, it can sound phenomenal, but this particular setup did not to me.

Focusing more on the sound of the CLX themselves, they did have a grand, clean presence to them. They are full-range electrostatics with LF and HF electrostatic panel sections. Again, it was hard not to be impressed by the effortless presentation.

I am sure I will be a MartinLogan fan forever.


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## AudiocRaver (Jun 6, 2012)

*Horning Hybrid Systems*

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Eufrodite: $30,000 / pr

I regret that I did not spend more time with these speakers. I only heard an acoustical guitar piece played through them and intended to get back to them for another listen, but did not.

The piece I heard was very dynamic, life-like, and engaging. They are speakers that definitely deserve a detailed listen should one get the chance.


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## AudiocRaver (Jun 6, 2012)

*Magico*

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S3: $22,600 / pr

I almost missed out on the Magico magic. The room was crowded so I took a seat way off-center. My first impressions were not great, but I could not tell if it was the tracks being played or the speakers themselves that were at fault.

I started to leave. At the door, the rep stopped me and asked if I had some music of my own I wanted to hear. He introduced himself and I recognized him as someone Sonnie Parker (former HTS owner) had worked with in getting speakers for HTS Speaker Evaluation Events. We spoke for a moment and then he started up my requested tracks. I got a better seat and gave the S3 another chance.

The listening experience was completely different, extremely positive. The S3 were wonderfully detailed and smooth through the mids and highs. I loved the detail in Sarah's and Cindy's voices on _Reasons Why_ and _Ain't It A Shame._ They felt present in the room, right up close. Instrument details like string picks and background synthesizers were gently pushed forward for closer inspection, but never obtrusively.

Imaging and soundstage were nothing short of phenomenal! The soundstage was huge, natural, and spacious, as good as any I heard at the show. Clarity and definition at low and lower-mid frequencies was impressive with the second track really cranked up loud. Overall tonal balance was absolutely spot on. I could think of no performance area where they fell short. The Magico S3 speakers had thoroughly grabbed me and infected me with their charm.

Thanks to an attentive rep, I left the room absolutely loving the Magico S3 speakers. In the "around $20K" price range, they were among a small handful of speakers at AXPONA that left me grinning and wishing for much, much more time to spend with them.


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## AudiocRaver (Jun 6, 2012)

*Focal*

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Stella Utopia EM: $90,000 / pr

Upon entering the Focal room and sitting down in the front-center seat, I quickly realized that all I could hear was the mediocre recording quality of the obviously-vinyl source. I asked to hear my own tracks, which were played.

I simply loved the high end of the Stellas, especially on vocals, and _especially_ during vocal harmonies. There was a richness to the way voices blended together, yet they were kept separate and clearly defined at the same time. Cindy's vocals on _Ain't It A Shame_ simply took my breath away, so present in the room with me, so clear and rich and intimate, as though I was hearing the heartfelt emotion in her performance for the first time. The imaging and soundstage were fantastic - best of show? I quickly realized that I just said the same in the previous room. In the end, I had to call it a tie.

There were a few bass notes on _Reasons Why_ that were a little boomy and uneven. That was the only imperfection I noted. But overall, the Stellas were *Very Impressive!*

I had to chuckle as I left the room, hearing one listener, obviously a vinyl fanatic, tell another with a tone of disbelief, "That was a CD!" The incredulous response, "Really?"

Yes, friends, you _can_ get good sound from a CD. And it sounds mighty fine on the Stella Utopia EM.


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## AudiocRaver (Jun 6, 2012)

*Dynaudio*

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Confidence C4 II: $25,000 / pr
More Dynaudio WOW from the Confidence C4's. Again, the MTM configuration really worked for me, had a very tight, "together" presentation that sounded like a point source. Imaging and soundstage were marvelous.

The C4 felt a little bright but was so smooth and clean and clear through the mids and highs that it was not overwhelming to my ear. The sense of detail and impact was very nice.


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## AudiocRaver (Jun 6, 2012)

*YG Acoustics*

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Hailey 1.2 Floorstanding: $42,800 / pr

This is another speaker that deserved more listening time, but circumstances did not allow.

Imaging and soundstage, as they were set up, was fair - I have no doubt they are capable of showing much, much better.

I heard a jazz piece with piano, sax, and drums - all three sounded quite good in tonal balance, nicely detailed. Cymbal sounds were very clear and accurate. The source material limited my ability to say more than that.

I do hope to give YG Acoustics more attention at a future show.

*Edit:* My initial impression of the Hailey speaker had been: _Sounds like vinyl._ As I entered the room it was obvious that a vinyl source was playing and that it would be difficult to fairly judge the speakers with that source. To be clear, vinyl can sound fantastic, as good as digital if carefully chosen. In many cases it was not, and it seemed that vinyl medium was given priority even where recording quality was mediocre. Thus the "sounds like vinyl" impression that met me in more than one room at AXPONA.


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## AudiocRaver (Jun 6, 2012)

*Cabasse*

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Baltic Evolution: $18,000 / pr

It was a special treat to run across an innovative product like the Cabasse Baltic Evolution at AXPONA. This "point source" design consisted of a 3-way concentric driver in a spherical enclosure, mounted on a blade-like stand similar to the tail fin of a jet fighter - an altogether striking and very attractive visual statement. The centered tweeter is surrounded by a ring midrange driver, which is surrounded by a larger outer-ring low-frequency driver (down to 80 Hz). Crossover frequencies are at 800 Hz and 3500 Hz.

As one would expect, the imaging was absolute perfection. Vocals were pinpoint precise, drums were so tightly placed that you could see the point where the tip of the drumstick hit the head. The soundstage was noted as "very nice," and I could not help but wish for time and opportunity to play with placement to improve it - certainly they could deliver better.

The setup included a subwoofer, as one would expect for a speaker cutting off at 80 Hz. The tonal balance was good - I noted it as "lively" and "fun" - meaning not quite reference grade, but not all that far from it, either. Let's call them "serious fun." Female vocals were very clear, with a nice presence and intimacy. Percussion had a nice bounce, like it was jumping right out into the room. Cymbals sounded very clear and natural. Horns, like the vocals, had a presence and detail that invited you to listen closely to the performance.

They were really nice speakers to experience, and seemed like they could play any kind of music well. I thought of them as speakers for music lovers rather than speakers for spec lovers, although respect for tonal accuracy had certainly been paid attention to. The price lined them up against some mighty stiff competition, though, and I would have had a hard time selecting them over other models I had already heard in that range.

But this was a design meant to catch a certain eye and ear, a design for the music lover who wants something a little bit different, a speaker for those who approach music their own way and are not afraid to show it. The Baltic Evolution said, "Relax, stop analyzing, get into the music and have a good time." I felt they could be easy speakers to get attached to.


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## AudiocRaver (Jun 6, 2012)

*JTR*

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Noesis 215RT: $7,000 / pr

During a discussion at dinner the night before, a fellow AXPONA attendee described how expectations can shape perception at an event like this. Walk into a room with high expectations and you will often be disappointed by what you hear. Walk into a room with low expectations and you will likely be pleasantly surprised by what you hear.

That was exactly what I experienced walking into the JTR room. Knowing that JTR makes high-impact home theater speakers, I did not expect the imposing Noasis 215RT's (RT stands for Reference Tower) to sound hi-fi grade. And, to my surprise, they were quite impressive as music speakers.

As was generally the case, I was not satisfied that the placement of the listening chairs was best for the speaker pair as set up in that room. I pulled the center chair forward several feet and found a spot where the imaging and soundstage became _very_ natural and relaxed, much better than I could have hoped for. When I heard comments of disappointment by other auditioners in a later discussion, I could not help but think they simply had not sat in the right place to hear them at their best. (Nor had the exhibitor prepared the seating as carefully as he could have - but such was the case in most rooms I entered.)

I liked the sound of the big centered horn quite well, especially the midrange. It seemed very natural for the broad range of frequencies it was handling, from 350 Hz on up. The highest highs on Cindy's and Sarah's vocals on my main two test tracks were not quite reference-smooth, and the standup bass on _Reasons Why_ was a little lacking in definition, but overall the Noesis did very well with guitar, mandolin, banjo, fiddle, synthesizers, guitars - all were delivered with admirable clarity and accuracy. The highs impressed me as being extended without any harshness.

The Noesis had a very quick responsiveness - the finger snaps on _Chant_ were _sharp._ No doubt they could perform with impact when called upon. As nice as they sounded with fairly delicate music tracks, they would be killer in a home theater setting. My final note was that they were built like a Caterpillar and drove like a Mercedes - a bit of a stretch, but you get the idea.


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## lcaillo (May 2, 2006)

Thanks for all of your efforts and reports, Wayne. Those of us who cannot attend really appreciate it. Actually, even if I could attend I would really appreciate it. It would let us compare notes.


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## AudiocRaver (Jun 6, 2012)

*Endeavor Audio*

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E-3: $7,000 / pr

The Endeavor Audio E-3 got a brief listen and my impressions were that they sounded a little boxy and a bit peaky on the high end. Bass seemed fairly even and the mids and highs had nice clarity.


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## AudiocRaver (Jun 6, 2012)

Leonard:

You are very welcome. I would have given anything to have your and Joe's ears there to compare observations with.


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## AudiocRaver (Jun 6, 2012)

*Daedalus Audio*

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Argos version.2: $13,000 / pr

The Argos had a gorgeous finish. Many of the speakers already mentioned did as well, but the Argos finish really stood out of the crowd.

Imaging and soundstage were very good. The bass was exceptionally deep and powerful, and the standup bass notes on _Reasons Why_ were very even and well defined, not the least bit boomy.

I simply loved the high end, very crisp, smooth, and even, and very clean.

Sometimes it is difficult to describe just what it is about a speaker that grabs you. The Argos definitely grabbed me, and I noted that they were among the more engaging speakers at the show. I will definitely be watching for opportunities to hear more of them in the future. _Very nice._


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## AudiocRaver (Jun 6, 2012)

*Vapor Audio*

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Derecho: $7,600 / pr

I am hereby proclaiming the "Vapor Audio Rule." The "Vapor Audio Rule" goes like this: _Never, ever pass up a chance to listen to a pair of Vapor Audio speakers._ We spent a lot of time in their room at RMAF last fall and I gave the Derecho speakers a good audition at AXPONA, plus I have heard two of their bookshelf models while in the review process by Dennis Young (Tesseract), and I have never heard one of their models yet that I did not like _very much._

The Derecho first impressed me as having exceptionally smooth response throughout their range. The deep bass was smooth and quick, punchy with good definition. The RAAL tweeter provided a lovely high end, as smooth as... butter? water? light? honey? mercury? I gave up searching for the best descriptor. It was *smoooooth.* The overall sound was _supremely_ well integrated, so _together,_ exceptionally quick and responsive.

The design and finish were also standouts at the show, simply beautiful.

At this point of the show I had been favoring the $15k to $30k price range as containing my favorite models. The Vapor Derecho easily performed in the same league as those higher-priced favorites. To anyone thinking they needed to spend $10,000 or more for great speakers, I would have to say, "You gotta check out the Vapor Audio line first." I do not know how they do it, but they never fail to knock the sonic ball right out of the park. Go Derercho!


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## AudiocRaver (Jun 6, 2012)

*Madison Fielding*

 
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Flagstone PlanterSpeakers: $3,400 / pr

And a fun finish for day two, auditioning a pair of singing plant stands. No, it was not a scene from _The Three Amigos_ (Steve Martin confronting a singing bush), it was actual planters with speakers built in. And they sounded GREAT! Certainly the best sounding plant stands I have ever heard! OK, the only ones so far, but still...

They were serious planters, with a drain and a removable dirt bag. And they sounded as good as some of the $5k and up _serious_ speakers I had heard. The soundstage was fair, all coming from down at ankle level, and imaging was a little soft but was very stable. Fidelity and clarity were very impressive.

I put on my test tracks and imagined hearing _Ain't It A Shame_ and _Reasons Why_ out on the rear patio in the sunshine with cardinals and robins chirping and that squirrel chattering up in the big tree in the middle of the yard while grilling for friends (me, not the squirrel, although grilling the squirrel has come to mind - kidding!). The result was much better than I would have expected for outdoor sound: fun, accurate, lively, tight, responsive. We cranked up Porcupine Tree's _Shallow_ and it simply _rocked!_

And they are built to last. The inventor has had his prototypes sitting outdoors for 10 years through Vermont winters and they have yet to exhibit any degradation in sound quality. The company recently received the second unit sold back for repair: a weed whacker cut a speaker cable.

A downward-firing woofer and side-mounted mid and tweeter drivers handle 150 W RMS. Construction is industrial grade poly resin. No back yard listening area should be without them.


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## AudiocRaver (Jun 6, 2012)

*Polymer Audio Research*

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MKS-X: $60,000 / pr
*Speaker Disappearing Act #2*

Polymer Audio Research specializes in "exploring the very edge of the art" of speaker design "at the limits of current technology" (from their web site). Their use of composite materials, optimized cone geometries, metal alloys for cabinets, shapes for diffraction control -- all are intended to minimize the various types of distortion that speakers can produce. And all this is done without regard for cost.

They did disappear nicely in the room, with a large, spacious soundstage and imaging that was _pretty good,_ although not very precise. The high end was clean and provided lots of detail. Drums and xylophone had excellent impact, and a saxophone sounded quite natural.

But the on-axis frequency response was bothersome to me, with a hole in the upper-midrange and some rouighness higher up. Overall, they did not impress me the way they should have, given the price and the touted technology benefits.


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## AudiocRaver (Jun 6, 2012)

*Audio Note*


J/D: $3,700 / pr
I almost walked right by the Audio Note room, but something drew me in, and I am glad it did. I lost track of the number of "rules of convention" that were broken in that room. Yet the sound was simply delightful.

The J/D speakers (sorry, I was so distracted I forgot to snap photos) were pushed clear into the corners of the room (where they were designed to go). Cabinet materials, rather than being heavily braced, were designed to resonate at frequencies to complement driver characteristics. Conventional design wisdom was flaunted at every turn.

The little two-way J/D's played an orchestral piece that contained deep bass that was smooth, powerful, and natural. The soundstage and imaging, to my surprise given the placement, were both very good. A deep soundstage with speakers that close to the wall seems almost an impossibility, yet there it was. Tonal balance was accurate and clarity and definition were excellent. I laughed out loud more than once at how well the J/D's performed. They were a wonderful surprise and are well worth a listen - but be ready to relax and break some rules to get them sounding their best.


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## AudiocRaver (Jun 6, 2012)

*SoundLAB*

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Majestic 945: $40,570 / pr

SoundLAB makes huge, full-range electrostatics. I expected to be highly impressed by the sound, but was not.

They allowed me to play my test tracks. I turned up _Ain't It A Shame_ to a nice listening level, around 80 dB average SPL or so, and heard distortion. The exhibitor told me it was too loud, so I turned it back down. Perhaps the show setup was intended for lower volumes, perhaps the Majestic 945's were underpowered for what I wanted to hear. I will give the speakers the benefit of the doubt and let the perceived deficiency lay upon the exhibitors.

Imaging and soundstage were best about four rows back in the VERY large room. The imaging was pinpoint sharp, but the soundstage never became natural and relaxed for me.

They did put out some deep bass notes with no apparent strain. High frequencies were rough and overall quite subdued. There was a nice sense of detail and definition on mandolin, guitar, and banjo on _Ode To A Butterfly._

The experience left me thinking - and hoping - the speakers were capable of so much more.


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## AudiocRaver (Jun 6, 2012)

*Mancave Metal*

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Raptor 1.0

I met Larry Pattie of Mancave Metal while setup was going on Thursday night. Larry clearly does what he loves and loves what he does - customizing hot rods and building high-end audio speakers. His 230 lb. (each) Raptor 1.0 speakers are *bad*-looking beasts that sound *great!*

Larry turned to Legacy Audio for drivers, crossover design, and cabinet tuning. How can you go wrong there? The result was the most unique product at the show, from my perspective. They sounded excellent, with smooth response across all ranges, powerful, well-defined bass, crisp highs, exactly what you would expect from a Legacy design. They might not fit with just ANY decor, but then again, the listener who buys a pair of Raptor 1.0 speakers will likely be someone who has their own way of decorating a listening room.


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## AudiocRaver (Jun 6, 2012)

*madisound*

 
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BK-12m Folded Horn Kit: $329 / pr

And about the time one started thinking he would need to cash in a couple of gold bars to buy a nice-sounding pair of speakers, he might walk into the madisound room, where they were featuring a folded horn kit with full-range 4-inch Fostex driver for $329 per pair. All the materials appeared first-rate, the wood pieces CNC-cut from Baltic Birch. Design details included chamfering of the through hole for the driver to promote optimal air flow.

They sounded pretty decent. The response was far from flat, but what do you expect? A DIY hobby-type looking for a fun weekend project might put them in a guest room or sun porch as is, or if more seriously minded might apply a little custom EQ and end up with a very pleasing result - responsive, nice soundstage and imaging when properly placed - not for high-volume applications, of course.

In my experience, the madisound room is not to be missed at these shows. Seeing and hearing their offerings is like getting a refreshing drink of spring water after trying exotic beverages all day.


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## AudiocRaver (Jun 6, 2012)

*Monitor Audio*

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Silver 10: $2,500 / pr
GX50: $1,800 / pr
*Speaker Disappearing Acts #3 and #4*

*OK - WOW!*

Yes, I pretty much had to use a bigger font to begin my description of the Monitor Audio speakers, and it applies to both models. Each completely disappeared in the room, with crystal-sharp imaging and a broad, wide-open, completely natural soundstage.

The two models sounded extremely similar. The extended bass response was the only significant giveaway for the larger Silver 10's - the GX50's were not lacking in the category, though. Bass was even, deep, smooth, and well-defined for both models. Highs were extended and smooth and very clean. Acoustical instruments, vocals, synthesizers, percussion - it was like Monitor Audio had written the book on how to reproduce them all in the most accurate manner. Nothing was left out - they could do everything. And, by the way, they make all their own drivers. And, by the way, look at the prices.

A couple of minutes into my first test track with the Silver 10's, I stopped taking notes. Sorry, I could only sit and listen. It was simply a wonderful listening experience.

It was very hard to leave this room. The Monitor Audio speakers were accurate, engaging, fun, and difficult to stop thinking about.


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## AudiocRaver (Jun 6, 2012)

*Wharfdale*

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Jade 1 Bookshelf: $1,200 / pr

*Soundstage Value of the Show*

*Speaker Disappearing Act #5*

After being knocked for a loop in the Monitor Audio room, I walked into the Wharfdale room with its little Jade 1 Bookshelf pair and was knocked over _again._ The imaging and soundstage were so well-defined, wide-open, and completely natural that I had to proclaim them the "Soundstage Value of the Show," the least expensive speaker I heard that simply engulfed the room in music.

Wharfdale, the 2nd oldest speaker manufacturer in the world, makes every component that goes into their speakers, right down to screws and nuts, we were told. The Jade 1's seemed to put everything into the room. The sense of detail really caught my attention, like being brought into the inner soul of a sound while it was still its natural distance away. The tonal balance for all instruments and vocals was right on. I _loved_ the string sounds on an orchestral piece that was played. "Balance" seemed a word that applied in almost every way to the sonics of the Jade 1's. And _extremely clean._ The spaces between the sounds in the soundstage were completely empty. Overall, the Jade 1 bookshelves were a delight.


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## AudiocRaver (Jun 6, 2012)

*McIntosh*

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XR100: $10,000 / pr
*Speaker Disappearing Act #6*

I suppose everyone but me knew that McIntosh makes speakers, as they have done for a long time. Somehow I did not receive the memo about it, although they have not been hiding the fact - a little research turns up numerous examples from over the years, many of them HUGE (how could I have missed them?). Live and learn.

The XR100 design seems to suggest bone-crushing power and finesse at the same time. The four-way system contains four woofers, eight mid-drivers, two mid-tweeters, and one super-tweeter. So many aspects of the sonics were downright impressive - they disappeared into the room nicely, response was smooth (the highs a _little_ bright, but smooth), tonal balance was good, mids and highs were _very_ clean - yet the XR100's did not grab me in any particular way.

The all-McIntosh system included their MEN220 ROOMPERFECT Room Correction system, based on Lyngdorf technology. I have already mentioned that in every room where room correction was being shown, I found it more a hindrance than a boon, with setup approach assumed to be the cause, not the technology. Such was the case with the XR100's. The "corrected" soundstage was unnatural and distracting to my ear. I will hope that under different circumstances I might have more good to say about both the XR100 speakers and the ROOMPERFECT correction technology.


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## AudiocRaver (Jun 6, 2012)

*Vienna Acoustics*

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Imperial Liszt: $15,000 / pr
*Speaker Disappearing Act #6*

Vienna Acoustics' new Imperial Liszt, in brief: Totally Natural. They easily disappeared in the room, presented an open soundstage, and every vibration that emanated from them sounded as natural as it could be.

I like that the concentric mid/tweeter on top of the tower could pivot left and right relative to the tower's cabinet. Soundstage and image optimization is probably immensely simplified by the one feature alone.


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## AudiocRaver (Jun 6, 2012)

*Audio Physic*

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Avanterat: $28,000 / pr
Audio Physic's Avanterat speakers, in brief: No Comment. Meaning I could think of nothing to say about them. It was almost the end of the third and final day of the show, and I had checked out of my room and was towing my minimalist-sized suitcase with me around the exposition floors, and it was getting to be q bit of a pain thinking of things to say and writing them down in my notebook. But what I meant by the "no comment" comment was that the Avanterat speakers, like the Vienna Acoustic speakers in the previous room, sounded so natural that there was simply nothing to say about them - a silent compliment. Had I been fresher, I might have been able to go into more detail about them, but as it was, the silent compliment accurately stated the easy, natural, listenable nature of the Avanterat speakers.


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## AudiocRaver (Jun 6, 2012)

*Seaton Sound*


Catalyst 12C Tri-Amplified Speaker: $3,795 / ea
Catalyst 8C Tri-Amplified Speaker: $2,595 / ea
SubMersive HP+ Powered Subwoofer: $2,695 / ea
SubMersive HP Slave Subwoofer: $1,195 / ea
SubMersive F2+ Powered Subwoofer: $2,895 / ea
SubMersive F2 Slave Subwoofer: $1,395 / ea
I spent about 15 minutes in the Seaton Sound room while the Movie _How To Train Your Dragon_ played on the full-surround system with the big screen at the front of the room (it was dark, so no photos). It made me wish I had carved out time to watch the entire movie on that setup.

During action scenes, the combination of impact and fidelity that the system delivered gave me chills. I had reviewed Mark Seaton's Catalyst 8C speakers previously, but had not heard a complete surround setup with the 12C's as fronts and Mark's Submersive subwoofers handling the bone-shaking frequencies. All I can say is: I have heard a few pretty nice home theater systems, but none with the impact AND fidelity of that Seaton Sound system. It was _awesome!_


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## AudiocRaver (Jun 6, 2012)

*Sadurni Acoustics*

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Staccato Horn System: $40,000 / pr
First of all, thanks to Sadurni Acoustics for extending AXPONA for me. I walked into the room just minutes before the official end of exhibition time, but received close to half an hour of focused attention, which included ripping my test track CD into their playback laptop so I could hear my tracks on their system.

As you can see, the horns were beautifully finished, and to me were visually the most intriguing and arresting speaker system at AXPONA. Soundstage and imaging were not impressive, although, to be fair, they had already taken down most of the acoustical treatments they had put up for the show, so I was not hearing the system at its best. The depth of the soundstage was very nice.

Some of the standup bass notes on _Reasons Why_ and _Ode To A Butterfly_ were boomy and uneven. I honestly did not know what to expect from horns of that type and size for bass smoothness, but what I heard was uneven. The fiddle's tone was scrumptious. And the horns were like giant detail drills when it came to opening up the inner detail of instruments and vocals, especially subtleties like guitar and mandolin picking and strumming. Compared to what one hears on typical cone- type speakers, the detail and dynamics simply *leaped* out of those horns at you - the effect was almost bewildering at first, like something must be wrong. On the contrary, with those big horns, that something was _oh-so-right._ The plucking of the standup bass took on an entirely different nature over the horns. Those thick strings being slapped and plucked almost felt like _they_ were slapping _me._ The available dynamic range was a real attention getter.

A horn system like the Sadurni might not be for everyone, but for the lover of inner detail and dynamic range, it could be a real treat.


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## AudiocRaver (Jun 6, 2012)

*MBL*

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Radialstrahler 116 F: $29,000 / pr

The kind folks at MBL went way above and beyond the call of duty for my benefit. By the time I was done in their room, AXPONA had been extended by almost an hour. And I was so glad it had been, because the MBL listening experience was truly a unique one.

At the heart of the experience was the Radialstrahler 116 F speaker with omnidirectional midrange and tweeter drivers. Always interested in unique driver technologies, I was so absorbed in hearing how the omni drivers affected imaging and soundstage that I ended up listening to most of my dozen test tracks on the MBL system.

The drivers are spherical, with overlapping "petals," like flower petals, that allow the entire sphere to expand and contract. The design was patented in 1962 and it took six years to produce a working model that performed well sonically.

The tonal balance through the mids and highs was strong but even, very clean and _easy._ At one point I noted the sound was _bright_ but _not bright._ I expected the uniqueness of the technology to have some sound of its own, some imperfection in the way it performed that would stand out and give it away as interesting but flawed. I heard nothing of the kind. The drivers were _quick,_ delivered percussive sounds with _impact._

Imaging and soundstage were... _different._ In a good way. The imaging was very sharp for some instruments and somewhat larger for others, but was always very solid and stable, never smearing or wandering. I liked it. The soundstage was... I can only say _different_ again. It almost seemed more authentic in a way, like it was a _real_ soundstage and other speakers only _faked_ a soundstage.

Before getting to my tracks, a couple of tracks from Michael Jackson's _Thriller_ were played, and it was like hearing them for the first time. The soundstage was open and lifelike, the nature of the recordings seemed to be opened up, expanded, given a new dimension for the listener to experience.

Radiohead's _Packt Like Sardines In A Crushd Tin Box_ contains a challenging "instant on" electronic kick drum sound that takes a very quick woofer to keep up with. The 116 F did not seem to have the speediness at the low end that they did at the mids and highs, and that sound was a bit sluggish. But the width and depth of the soundstage was excellent, open and airy.

The acoustical instruments on _Ode to a Butterfly_ and _Reasons Why_ all sounded tonally accurate, lively, dynamic. Vocals on those tracks and on _Ain't It A Shame_ were smooth and natural, every delicate nuance revealed. The opening muted guitar strum on _Vision of a Kiss_ was nicely punchy, as was the bass guitar. _Don't Know Why_ was delivered with delicacy, the big drum at the beginning of _Chant_ had tight impact, the guitars on _Fête d'Adieu_ and _Shallow_ were crunchy and powerful. The 116 F had no trouble playing loudly and cleanly, the soundstage stayed uncluttered at all volume levels. Finishing up with Radiohead's _The National Anthem,_ the jazz instruments got a bit thick and the soundstage closed in, but that was more the recording than the speakers - the 116 F were able to resolve all those instruments well without them turning mushy.

Through those tracks and others, the soundstage was spacious, natural, and almost lifelike, filling the front of the room and beyond.

The Radialstrahler 116 F were a great finishing act for AXPONA.


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## AudiocRaver (Jun 6, 2012)

*In Summary*

Based on what I heard at AXPONA, if I had to set some groupings - based on MSRP per pair and performance - they would look something like this:

$1,000 to $5,000 / pr - terrific values - affordable speakers that a very picky listener could be happy with.
$5,000 to $15,000 / pr - top performers - sonics get knocked right out of the ball park.
$15,000 - $30,000 / pr - save up and buy a pair to keep for life - performance close enough to perfection that one would be silly to think of it as otherwise.
above $30,000 / pr - dream on - pure perfection at prices very few could ever afford.
In each of these categories, there were exceptions to this grouping logic:

Models that seemed to leap forward into the next higher category with no logical regard for cost/price - Monitor Audio, Daedalus Audio, and Vapor Audio come to mind.
Models that had no business in that grouping in the first place... they shall remain nameless.
Below the $15,000 / pr mark, one could generally see how a given model got to its MSRP point. Above the $15,000 / pr mark, it was not so clear, and there were a few head-scratchers. But that is nothing new to to the world of high-end _anything,_ where higher prices and mystery seem to go hand in hand.

And now I am going to risk getting in trouble and name my personal favorite speaker in each category. Please remember that under different listening conditions any one of these could have been altogether different, and some of them were very close calls:

$1,000 to $5,000 / pr - Monitor Audio Silver 10.
$5,000 to $15,000 / pr - Vapor Audio Derecho.
$15,000 - $30,000 / pr - TIE: Legacy Audio Whisper XDS and Magico S3.
above $30,000 / pr - Dynaudio Evidence Platinum.
That is it, my report on speakers at AXPONA 2014. Cheers.


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