RMAF 2012

It was nearing the end of the day of the first day of the show, and I hadn't covered nearly enough exhibits to ensure blogs for every room on floors 4 and 5, plus a number of others that I had agreed to cover. That, I figured, was why I found myself increasingly breathless as I ran from room to room, listening to less and less music before jotting down a few notes and heading out the door.

Then I entered the Coincident Speaker Technology room, heard some gorgeous music, and realized the underlying reason for my near-frantic pace.

As familiar as I may be with the Playback Designs/Evolution Acoustics set-ups that Blue Light Audio's Jonathan Tinn brings to shows—one of these, with darTZeel electronics and much bigger Evolution Acoustics loudspeakers, received my Best of Show at T.H.E. Show Las Vegas a few years back—I constantly find myself amazed by the quality of the sound. This time, with Playback Design's MPS-3 DSD-capable high-resolution CD player with USB input ($8500); an Ampex ATR-102 open-reel recorder, restored by ATR Services, Inc of York, PA, playing 15ips master tapes sourced from ATR and Puget Sound Studios; and B.M.C. Audio's AMP CS2 integrated stereo amplifier ($8400) driving Evolution Acoustics' MMMicroOne 2-way monitor loudspeakers with stands ($2500/pair), the sound of a Shelby Lynne demo safety copy of her new album, provided by ATR Services, blew me away with its solid bass, powerful slam, and great depth. True, there was a bit of an edge on Lynne's voice, but it may have been room-induced, and sure didn't stop me from writing "OMG" in my notes.

Merlin Music Systems’ Bobby Palkovic is having a better time than ever, and you could tell by the sound in his room, which was remarkably tuneful, engaging&#151neither too forward nor too laidback&#151and, most of all, fun.

“I like to take things to an end, and now I’ve gotten to a point where I’m beyond happy,” Palkovic said of his Master VSM loudspeaker ($13,600/pair), which are now wired with Cardas Clear cable.

Adding to Palkovic’s pleasure is his new relationship with digital music:

Wavelength Audio and Vaughn Loudspeakers teamed up for a sound that may have lacked the bass impact and scale of other systems I heard at RMAF, but that was coherent, relaxed, and very easy to enjoy.

Although I was only able to stay long enough to snap a few photos and hear moderator Ken Kessler’s (Hi-Fi News) downer of an introduction, Friday evening’s post-show panel included, from left to right, HiFi Plus editor Alan Sircom, recording engineer Peter McGrath of Wilson Audio Specialties, Kathy Gornick of Thiel Audio, Michael Fremer of Stereophile and AnalogPlanet.com, Roy Hall of Music Hall and "why don’t you join me for a shot," and Kessler himself. Dan D’Agostino of D’Agostino, Inc., founder of and former designer at Krell, turned up after I had shot my photo.

John Atkinson adds: Kessler’s thesis was the high-end audio industry is dying by its own hand; that if it is to continue to exist, let alone thrive, high-end audio has to emulate the example of the luxury watch, pen, and car industries...

John Atkinson told me I should go see SOTA’s Donna Bodinet, so I did, and this is what I found: SOTA’s Series II Moonbeam turntable ($800 with S100 tonearm and Ortofon OM5E phono cartridge).

John Atkinson insisted that this cowbell had something to do with his daily seminar on recorded sound, but I suspect that he, like most people at RMAF, was just having a good time.