I found the sound of the rooms at this show almost universally good, but some stood out, including the Bowers & Wilkins / Classé room, which sounded fantastic with the Tidal-streamed 16/44.1 FLAC files played for us.
The system included a Classé Delta preamp with DAC and phono stage ($14,000), a pair of 300Wpc (into 8 ohms) Classé Delta monos ($15,000 each), a pair of voluptuously contoured Bowers & Wilkins flagship 801 D4 speakers ($45,000), each flanked by a subwoofer with a 12" driver and 2000W of amplifier power ($6500 each). Cables and power conditioning were by DR Acoustics.
Listening to Leonard Cohen's "Almost Like the Blues" through this system, I wasn't sure I'd ever heard the backup singers' voices sound this perky, luminous, and well-delineated in space or Cohen's baritone this resonant and chesty—but also clear, supple, and affecting. Oscar Peterson's "Days of Wine and Roses", recorded in 1964, produced a soundstage that was deep, wide, and, filled as much with air as with sound. Acoustic bass and piano had realistic tone and lifelike presence. The music sounded jazz-club live, effortless and engaging.
Listening to Leonard Cohen's "Almost Like the Blues" through this system, I wasn't sure I'd ever heard the backup singers' voices sound this perky, luminous, and well-delineated in space or Cohen's baritone this resonant and chesty—but also clear, supple, and affecting. Oscar Peterson's "Days of Wine and Roses", recorded in 1964, produced a soundstage that was deep, wide, and, filled as much with air as with sound. Acoustic bass and piano had realistic tone and lifelike presence. The music sounded jazz-club live, effortless and engaging.
