RMAF 2012

In a second Audio Alternative room, I was again treated to that old, familiar Boz Scaggs classic, “Thanks to You.” I had just come from the Fidelis AV room, where I had heard the song presented with impressive speed, precision, and clarity, the sound still fresh in my mind. So, I was surprised to hear something different.

It’s no surprise that Sam Tellig likes Harbeth’s Monitor 30.1 loudspeaker ($6490/pair in rosewood; seen here on Resonant Woods stands) as much as he does. (You can read about that in our November issue.) The speaker is handsome, understated, and it just looks right. Driven by Bret D’Agostino’s Bully Sound Company BSC-60s, a 60Wpc power amp built around a 1300VA toroidal transformer, the Harbeths sounded right, too. Bricasti’s M1 DAC ($8495; a favorite of both John Atkinson and John Marks) accepted signals from a Music Vault Music Streamer ($2495). Tellurium Q cables tied everything together.

What else was in the system?

Oh, yes: The Stein Music Harmonizers. And, I almost hate to tell you this, but:

Ann Arbor, Michigan’s Paragon Sight & Sound put together another high-performance, cost-no-object system: Wilson Audio MAXX Series 3 loudspeakers ($69,500/pair); Doshi Audio (“Audio Products for Music Lovers”) Alaap v3.0 NAB tape preamp ($10,995), Alaap v3.0 line stage ($14,995), Alaap v2.1 phono stage ($10,995), and Jhor 160 monoblock power amplifier ($28,995/pair); SME 20/3 turntable ($15,500 with SME’s Series V tonearm) and Koetsu Urushi Vermillion cartridge ($5850); and Transparent Audio cables. The gear was supported by Harmonic Resolutions Systems racks. I didn’t listen to any digital while I was in the room, but digital was being handled by a Wadia S7i CD player and a Playback Designs MPD-5 Reference DAC.

Ah-ha! I found a picture of the gear in the fantastic Ayre room.

Here’s a picture of Ayre’s Michael Wiedmaier pretending to enjoy a martini. I also have a picture of someone pretending to take a hit from an oversized bong; a picture of someone else looking mesmerized by a lava lamp; a picture of someone dancing on a shag rug; a picture of someone else putting out an imaginary cigarette in a real-life ashtray; and a few other funny pictures, too.

I have no pictures of Ayre’s new AX-5 integrated amplifier, no comments on the sound quality of the system, no recollection of even listening to music while in the amazing Ayre room. I do recall very pleasant conversations with readers, exhibitors, and attendees. At any hi-fi show, there are rooms that are all about the gear; rooms that are merely about the technology; rooms that are stuffy or solemn; rooms that are even empty and quiet.

And then there are rooms like this one.

Sharing the Blackbird Audio room with Colleen Cardas Imports was Bob Clarke’s Profundo, out of Round Rock, Texas. Bob Clarke seems to have an eye for beauty as well as an ear for sound:

Do you know that creepy, moody Dead Can Dance track&#151the one with the shaker that comes flying from the left-channel speaker with crazy presence and realism? It’s called “Yulunga,” right?