In this video, we join Stereophile writer Herb Reichert (above right) as he explores the 2017 New York Audio Show that took place last weekend at the Park Lane Hotel—this is the first of three videos covering the show. (If you haven't already read Ken Micallef's written show coverage, you can do so here and here.)
We're particularly excited about this series of videos for two reasons: First, viewers have eagerly been asking us to hear systems—not just see them. We've wanted to share that with viewers, but we wanted to do it right. In our opinion, the absolute best way to remotely convey a system's sound is by creating a binaural recording using a dummy head. But if we wanted to do it at shows, it would require too much setup time; not to mention, shows are so tricky that we'd probably injure the dummy head pretty quickly. Instead of a dummy head, we're using Herb's head, wearing a modified Stereophile baseball cap, with two omnidirectional Sony ECM-44B lavalier microphones hanging on zip ties directly in front of Herb's pinnae, recording into a Zoom H5 recorder. Because of this, you'll have to wear headphones to hear the recording properly. Our main music source was a flash drive that included Sasha Matson's album Tight Lines, and other copyright/hassle-free music. (You will also occasionally hear other pieces of music (named in the video) chosen by manufacturers that were thankfully not flagged as copyright on YouTube.)
And second, we (Herb and Jana) really enjoy creating audiophile content in the visual medium, but are very wary of falling into creating the usual "What's in this room? What's new? Wow, it sounds great. Okay, on to the next room. Repeat." video coverage one typically sees when audio journalists attempt to cover hi-fi shows. Yes, we agree that those points do need to be covered somehow. But do they also have to be boring? We tried our best to be as spontaneous and raw as possible—that is, without catching manufacturers off guard, filming anyone without first asking for their permission, and explaining our process—all while trying to maintain a cohesive narrative and be respectful to show goers.
The first room we entered was hosted by Fidelis AV, AVM, and Triode Wire Labs. The system consisted of an Acoustic Signature Primus turntable ($1999 with Acoustic Signature Red MM1 phono cartridge), Harbeth 30.2 40th Anniversary Edition speakers ($6495/pair) atop Ton Träger speaker stands ($1450/pair), an AVM CS8.2 All in One, used as a preamp ($12,995), an AVM MP6.2 CD/media player ($8995), an AVM SA8.2 stereo amplifier ($14,995), and cables by Triode Wire Labs.
In the second room, shared by Linear Tube Audio and Well Pleased AV: Rethm Bava speakers ($3750/pair), Linear Tube Audio microZOTL2 preamplifier ($2050), Linear Tube Audio ZOTL10 Mk.II ($3200), an Aqua La Scala DAC ($3450), an Innuos Zen MkII serve ($3450), and an Aqua LaDiva transport ($8200).
The third, and last room (of this video) belonged to Audio Note, with a system that comprised an Audio Note TT2 Deluxe turntable and external power supply (approx. $5000) with Arm 3 (approx. $2000) and IO I MC cartridge (approx. $3000), an S8 MC transformer step up (approx. $10,000), an RIAA Zero phono stage (approx. $2000), a CD3.1x CD player (approx. $6000), an Oto phono SE signature amplifier (approx. $5000), AN E LX HE Signature speakers (approx. $14,500/pair), Audio Note interconnects, and ISIS speaker and mains cables.
More coming soon . . .
