Jason Victor Serinus

Tonal beauty, clarity, and transparency were just some of the hallmarks of a system that, to my ears, was musical to a "T." (Should that be "M"?) I loved the warm yet neutral sound of a recording by Ana Caram—I detected no extra "tube-like" sweetness, for example—and the system's ability to present music with a quality I can best describe as "grace": not scientific, I know, but when the spirit moves you, the least you can do is acknowledge it.

In the second Scott Walker Audio room I visited—since I visited five of them, I know it's going to start sounding like "Five power cables, four balanced interconnects, three phono cartridges, two mighty monoblocks, and a speaker shaped like a pear tree," but it really did sound like Christmas in most of these rooms—the Constellation Argo integrated amp ($29,000), Magico A3 Speakers ($12,300/pair), and MSB Discrete DAC ($12,500) vied for pride of place with an Aurender ACS10 server ($6000) and Synergistic Research PowerCell 12 UEF SE Power Conditioner ($6,495), Atmosphere cabling ($18,500), and various room acoustics products ($3,500), plus a Solid Tech Rack ($2,600).

Scott Walker Audio staked out its own mini-empire at the Hilton Long Beach, occupying six of the hotel's largest suites on the third floor. The first one I encountered revealed the inimitable Ted Denney of Synergistic Research staging a pretty ballsy demo. Ted set up two identical systems in adjacent rooms, both with a McIntosh C2600 tube preamp ($7500) and MC462 Amplifier ($9000), Elac Adante AF61 floorstanding speakers ($4995/pair), Bluesound Node 2i streamer ($500), and Solid Tech Rack ($2600). The difference was that one system took advantage of a Synergistic Research PowerCell 8 UEF SE power conditioner ($2995), new Synergistic Research entry-level Foundation interconnect and speaker cables plus UEF Blue power cords ($4000), and a host of various Synergistic Research room acoustic products ($6500), which in my experience are quite effective if nonetheless baffling to many.

As one of the only companies to send out a press release prior to the opening of T.H.E. Show, ATC—along with its host, Lone Mountain Audio—earned pride of place in my "I can't possibly do them all" list of show coverage priorities.

It's Thursday afternoon at the Hilton Long Beach in Long Beach, California, and signs of T.H.E. Show, which opens on Friday, June 7, at noon, are everywhere in evidence.

With Trachea, the latest superb recording from Norwegian label 2L [http://www.2l.no], label founder and recording engineer Morten Lindberg continues his commitment to contemporary music. Here, working with Schola Cantorum, Norway’s well-tuned 55-year old chamber choir, under the leadership of Tone Bianca Sparre Dahl, Lindberg scores big with six fascinating and musically accessible choral compositions, all but one of which were written in the last five years.

British digital-audio specialists dCS (Data Conversion Systems) has been on a roll. Since the September 2015 introduction of the Rossini DAC ($23,999), the single-box Rossini Player ($28,499), and the Rossini Clock ($7499), they've released a number of new products and software/firmware updates. In 2016 came network firmware updates that established dCS DACs and Players as Roon endpoints. 2017 brought improved (v1.05) software for the Rossini DAC and Player, and 2018 an update to process MQA, followed by the October 2018 introduction of the Rossini upsampling SACD Transport ($23,500—see John Atkinson's review in the May 2019 Stereophile). Then, in January 2019, dCS released their Rossini v2.0 software, which applies to both the Rossini DAC and the Rossini Player, and which is offered free to Rossini owners.