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There were two interesting things that came out of these rooms, however. Where many of the brands on the 29^th, 30^th, and 31^st floors were streaming Tidal, these upper floors with product prices to match were relying more on LP, CD, or SACD. Also, this year saw a coordinated move by a number of European and Asian high-end audio distributors to stay away from the Las Vegas, in the hope of moving business to local shows at Munich and Hong Kong. This left the show attended by the US agents, who brought a touch of much-needed pragmatism to the Venetian Towers.

So perhaps it was a good thing that the ‘million dollar system’ planned in the Lamm Industries room (featuring TechDAS and Graham vinyl and EMM Labs digital sources, Sanus racks, almost $140,000 worth of Kubala-Sosna Elation cables) topped out at a ‘mere’ $706,000. This was because the new Verity Audio Monsalvat loudspeakers had to be replaced with the previous Verity flagship, the Lohengrin IIS.

Of course, that doesn’t change the fact that if you are reporting on a room with a $180,000 amplifier, you end up writing about a $180,000 amplifier. But where the reaction to such things has typically been ‘fawning’ from the industry, this year it seemed a little more ‘realistic’. However, low cost doesn’t tend to feature much in the upper suites of the Venetian, partly because they have big rooms to fill.

While this year the sound from most of the rooms wasn’t exactly ‘disappointing’, neither was it, er, ‘appointing’. I fully understand of the limitations of a demonstration in a hotel room; no matter how luxurious the hotel, it’s not a domestic environment, the ceilings are typically lower, and you are sharing the AC with hundreds of other rooms, many of which will also have audio systems playing. That can take the edge off many a good system. Nevertheless, if you have equipment that sprawls across the a large suite, which costs as much as a very desirable condo in the area, and comes with a relatively high degree of attitude from its attendants and acolytes, it should also sound something close to awesome. And this year, for the most part, ‘awesome’ was not on the map. There were a few notable exceptions of course…

Astell & Kern

Best known for its high-end portable players, Astell & Kern’s latest product is the AK500N ‘MQS’ (Master Quality Sound) network audio player is intended as a home audio hub. The distinctive looking box (it’s front is styled very much like a mountain) can be configured as the user chooses, thanks to a detailed menu system on the large pop-up LCD screen. You can rip, stream, store, access… the full works. There’s even a volume control for those wanting to use the AK500N as a source, and prototype amps were playing in the main system.

A prototype of this clever music player was shown in Munich, but the real deal seems a more sophisticated design as befits the A&K range. Price varies depending on configuration (specifically whether you opt for 1TB, 2TB, or 4TB of SSD storage on board), but “around $10,000” seems the typical figure.

Astell & Kern was also showing off its hook-up with legendary jazz label Blue Note. To mark its 75^th anniversary, Blue Note Records released 75 of its best-loved albums in high-resolution ‘MQA’ format in a sumptuous package, alongside a special Blue Note edition AK240 player with all 75 albums pre-loaded. The collection – spanning Thelonious Monk’s first sessions with the label in 1947 to recent GRAMMY winning Liquid Spirit by Gregory Porter – is supplied in a unique display stand for the 75 SD cards in their slip-cases, and comes supplied with a collectable book by Richard Havers showcasing the label, the albums and the artwork. Albums, display stand, book, and player are sold as a complete, limited edition package, for $6,000.

Ayre Acoustics

As discussed by Chris Martens in his headphone blog, Ayre Acoustics was showing late prototypes of its new Codex headphone amplifier/DAC, with balanced and single-ended headphone and line outputs, and USB and Toslink digital inputs. With an ESS Sabre DAC, a discrete zero-feedback circuit, and an ability to support up to 32/384 and DSD128, the $1,500 Codex holds a great deal of promise. Lessons learned from the QB-9, Pono, or all of the above? Time will tell, however Ayre also suggested Codex is likely just the first product in a new, modular range, designed for the desktop generation.

Ayre has also taken the developments seen last year in its first ‘Twenty’ models, and applied them to the integrated, preamp, and power amplifiers in the company’s core 5-Series models. The $8,950 KX-5 Twenty preamplifier now sports the company’s ‘AyreLock’ power supply, the $9,950 VX-5 Twenty feature’s Ayre’s ‘Double Diamond’ output stage, and the $12,950 AX-5 integrated amplifier benefits from both developments.

As a reflection of the changes in the market, Ayre has also quietly dropped the C-5xe, leaving just the CX-7e^mp CD player as the only disc spinner in its portfolio. However, as Ayre is looking into the development of new devices across its ranges, a separate disc playing transport and DAC system is looking extremely likely.

Boulder Amplifiers Inc

As befits a brand with ‘Amplifiers’ in its title, this year Boulder showcased its new… high-end DAC. In fact, the words ‘high-end DAC’ seem a little dismissive of the 2120. This five-chassis in one, Ethernet interconnected, digital replay device bristles with state of the art technology in its digital and analogue sections. It will handle AES/EBU, Ethernet, HDMI, S/PDIF, and USB digital sources, and is fully UPnP, DLNA, and Open Home compliant, acting as media renderer and control point. It can process these sources at up to 32-bit, 384kHz and streaming to double DSD performance. Boulder has written its own DSP and control point software to work on its 1GHz ARM processor.

The company claims to have reduced jitter to femtosecond levels, includes differential clock distribution across its 10GHz comms systems (apparently; my chicken scratch notes at the time could be read as “different click diffraction for loggy cosmonauts”… there was a lot to take in), and the same gain stages taken from the company’s vast 3000 series amplifiers in its monoblock output stages. The large front panel display is both impressive, and indicative of Boulder amplifiers to come, as it’s a separately powered ‘engine’ connected to the 2120’s main control section via Ethernet… and the same idea could be ported to next-generation preamps with ease.

All of which means it doesn’t come cheap; a guide price of ‘around $60,000’ and a launch date expected around Spring this year were both discussed.

Burson Audio

Aussie Headphone DAC/Amp master Burson Audio has introduced the new higher-end Virtuoso range, alongside its standard models. The new Conductor Virtuoso headphone amp/DAC/preamplifier delivers up to 4W to a pair of headphones, and prices range from $1,495-$1,995 depending on choice of DAC.

It’s joined by the meaty Timekeeper Virtuoso, which pumps out a healthy 300W per channel, and is expected to cost around $3,000.

Following these models will be an integrated amp version of the Timekeeper Virtuoso, called the Virtuoso Integrated. This should arrive mid year and cost about as much as its power amp brother.

Cary Audio/Tannoy

Sharing two rooms at the top of the Venetian Tower, Cary Audio and Tannoy both showcased new and recent product launches. Cary Audio announced its new TL-300d tube preamplifier, a fully-balanced design that also incorporates fully separate PCM and DSD decoding chips in its built-in DAC. This should be available about April and is expected to cost around $8,000. Cary also showed its $5,995 DMC-600 and $7,995 DMC-600SE digital hub devices, that can also double as preamps, which were launched in late 2014, but shown for the first time at CES.

Meanwhile, Tannoy chose CES to show off the new $39,999 Canterbury GR loudspeaker, which features a 15 inch ‘Gold Reference’ Dual Concentric driver, with it’s distinctive PepperPot waveguide, Alneco magnet, a new pulp cone, and Mylar surround, while the crossover has been redesigned. The more down to earth Revolution XT speakers were also on show, but were first seen in the US in 2014.

Constellation Audio

Constellation Audio is expanding its ranges with one product from the top Reference Series and one in the more affordable Inspiration Series. The $65,000 Orion phono stage builds on the qualities of the Perseus, but adds equalisation adjustment “at the hinge points” of the curve, greater accuracy to match cartridge loading from a remote control, and more. As with all products in the Reference series, it’s built without compromise, rolling new old stock of the finest sounding components ever made, many of which have long since been discontinued, which is claimed to make it 6dB quieter than the Perseus. However, the scarcity of these discontinued components means less than 40 Orion phono stages will ever be made.

The new $12,000 Integrated 1.0 from the Inspiration series also builds on the strengths of another product in the range, this time the outstanding Argo integrated amplifier, said to deliver close to 90% of the performance of the Argo for about half the price, this 120W line integrated amplifier offers great promise. This wasn’t being used in the main system, which was playing through Wilson Audio Sasha Series II loudspeakers, but if it comes within striking distance of the sound Constellation Audio was getting in the room, the new Integrated 1.0 will prove extremely popular.

Devialet

Devialet challenged the high-end status quo with its D-Premier. Now it’s intending to do the same thing again with the Phantom. Phantom is a network-connected active loudspeaker, designed like no other product out there. It’s a sealed box design with miniaturised versions of the ADH engine built into the enclosure, and uses side firing implosive (’pulsating’) bass radiators. It comes in two forms; the 750W Phantom ($1,990 per loudspeaker) for most rooms, and 3kW Silver Phantom ($2,390 per loudspeaker) with silver inserts and ‘imploders’ for big hitters.

The Phantom is claimed to deliver a ground-breaking 16Hz-25kHz ±2dB in room thanks to SAM, from a loudspeaker about the size of a crash-helmet. There’s even a matching Branch stand ($249), which looks extremely elegant, too. Phantom connects to the world through Ethernet, is ideally used with the $349 Dialog (basically an audio-dedicated streaming wireless router, allegedly with more computing horsepower than a Mac Mini), and represents a complete change in the way we think about audio in the home. Up to 24 Phantoms can be linked into the same network in a multiroom environment, all controlled from the upcoming Spark app.

The demonstration itself was as refined and sophisticated as the presentation at the Mirage hotel, although the musical repertoire was controlled, and limited to pieces of music designed to show off the Phantom (bangin’ techno played loud to show the loudspeakers can do deep bass, for example). From this demonstration, though, it was clear Devialet is on to something; bold claims that Phantom effectively obsoletes every other home audio system ever might be a little premature, but they do sound damn good, and not just ‘damn good for the money when you consider the technology involved’. But that technology underpinning the Phantom and the sound that technology creates is truly different and impressive, the pulsating side cheeks of each Phantom playing bass can be hypnotic, and the company has shown it can take on the sacred cows of the audiophile world, and win. From time to time, the audio world needs companies like Devialet that redraw the map, but can it redraw that map yet another time?

Electrocompaniet

We’ve been waiting some time for the EC Living system to finally hit home, but it was worth the wait. It’s a pithy and probably quite wrong description, but EC Living is like Sonos for audiophiles, comprising four boxes – a Model #1 server/powered loudspeaker, an active Model #2 loudspeaker, and a Model #3 that adds a top-mounted control panel to the Model #1. There are also an audio streamer, video hub, combined audio streamer and video hub, and an active subwoofer. The AirPlay equipped EC Living system streams Tidal and Spotify from the cloud, and USB stored media and UPnP streaming in the home. All of which can be run from a tablet, smartphone or PC. US prices were still being debated at the show, but expect the system to begin in the low hundreds of dollars.

In a darker back section of the room, Electrocompaniet also showcased many of its products first seen at last year’s Munich show, including its long-awaited turntable and new flagship phono stage.

GamuT/Larsen/Pear Blue

Although Larsen loudspeakers was showing nothing new this year, the company was playing through Pear Blue’s new $4,495 Reference two-box phono stage, a fine match for Pear Blue’s Tom Fletcher-designed turntables. Elsewhere in the room, stablemate GamuT showed its new-to-the-US $39,000 per pair RS7 floorstander and distinctive leather-clad Wormhole Reference loudspeaker cables for $14,990 for five feet runs, all played through the company’s top electronics.

Harman

Away from the strip in the Hard Rock Café Hotel, Harman assembled a world-wide team across all its divisions to show everything from GPS-equipped Harley Davidsons, to USB boom bars. Amid this bewildering array of all things electronic and automotive, Harman built a room within a room to show its forthcoming audio and audio video electronics.

Some of Harman’s equipment has been seen before, but was new to the CES masses. The huge $75,000 per pair JBL Synthesis DD67000, for example, remains a staple of the line, but now adds a high-gloss piano finish with carbon-fibre accents for a more up to date look. Similarly, the $12,000 Mark Levinson 585 integrated amplifier/DAC was seen in 2014 by audiophile show-going regulars, but its success and its style looks set to presage a new dawn for the brand, with a $15,000 per channel 586 200W dual mono amp expected soon and the full revamp of the range following suit, to support Mark Levinson’s 5-series design and technology. Harman was demonstrating the 585 amplifier with the JBL Array 14 (also $12,000 per pair). Alongside this system (and a new lower priced JBL Synthesis home theatre package), Harman also launched the Concerta 2 series of loudspeakers, consisting of a $900 per pair M60 standmount two way, and $1,500 per pair F35 and $2,000 per pair F36 floorstanding 2.5 ways. These manage to combine some of the more sophisticated styling cues of the more expensive Performa 3 range, and come in a white or black high gloss finish. A $750 centre channel loudspeaker, a $900 satellite (basically a hang-on-the-wall M60) and a $1,500 B10 subwoofer complete the deal.

Lenbrook (Bluesound, NAD, and PSB)

Lenbrook has been busy, and it has been busy integrating its core technologies from its different brands. So NAD’s new Masters Series products use Bluesound streaming technology, Bluesound’s streamers use NAD amplifier technology, and PSB’s latest speaker is an Ethernet enabled active amp that utilises concepts from both other brands.

NAD’s $3,499 Masters M12 preamp is a break from the NAD norm with its modular design, allowing daughter cards to be swapped to configure the device or keep it up to date, seemingly whatever audio throws at it. It comes with line, phono, and USB digital in as standard, but includes the option for a Tidal-chummy, DLNA-ready streaming card, using the same Bluesound OS. Meanwhile the latest NAD 250W  $2,499 Masters M22 power amplifier uses a new Hypex nCore chip. Like most modern systems, the system is fully app-controlled. These were launched last year, but seen for the first time at CES. This was played through PSB’s $7,500 per pair flagship Imagine T3 loudspeaker, which was first seen at RMAF last year.

PSB was also showing its new outdoor PoE (Power over Ethernet) CS2000 loudspeaker ($699 ea), which has an amplifier and streamer built-in, which shows up as a separate zone on the app. Meanwhile, Bluesound also launched a 2TB player/ripper/NAS drive for $999, which can also attach to DLNA NAS drives.

Magico

Magico launched its new $36,000 QSub18 subwoofer. This 2×18” unit (which stands about as large – and weighs about as much – as the engine in a Ford F150) features proprietary DSP, runs 2x3kW amplifiers, and is claimed to be flat to 13Hz. Using two 20A cables it was dimming the lights of the room in the Mirage Hotel every time a deep bass note was played! Magico played this subwoofer to ‘augment’ the already deep bass of the company’s Q7 loudspeakers. The rest of the system comprised a Bathis media player, a Berkeley Audio Design DAC, Soulution 725 preamplifier, 701 mono amplifiers, and a complete run of Vovox cables.

In addition to issuing the rest of the Mirage with deep, sub-bass, Magico was also showing a sample of its new M-Project loudspeaker on passive display.

MBL

MBL provided a sneak preview of its upcoming Streaming Network Player that will support standard Red Book CD quality audio, as well as 24/192 and DSD 64 high-resolution audio. Currently in prototype form, the end product will also support Internet radio and potentially streaming music services such as Spotify and Tidal (depending on market acceptance of these services and their specific policies). An accompanying iPad app was developed to control the network streamer (as well the volume control for an MBL preamp), and will also backup your playlists and Internet radio/music services favourites. The product is slated to appear as part of MBL’s Noble Line of electronics, with as of yet undetermined pricing or projected release date. 

Pre-production units of the Noble Line stereo amplifier (380 Watts into 4 Ohms for $19,350), integrated amplifier (380 Watts into 4 Ohms for $20,700), and CD-DAC (Red Book CD, 24/192 and DSD 64 for $18,000) were also on show. These proved more than capable driving the Reference Line 101E Mk II loudspeakers ($70,500).  The sound was quintessential MBL with a huge 3D soundstage, startling dynamics, and the illusion that the performers are in the room with you. 

A Noble Line stereo preamplifier ($17,100) and mono block amplifiers (potentially 560 watts into 4 ohms at $52,000 per amplifier) are due later this year. 

Nagra

Nagra finalised its awesome HD DAC last year and is now in the process of revamping its power amplifiers. The first will be the MSA amplifier, which will be replaced by a Classic Line power amplifier; a minimalist, bridgeable MOSFET design capable of delivering 120W and is expected to cost around the $14,000-$15,000 mark. This system was also playing prototypes of its ultimate power amplifier, designed to match the HD DAC.

The system, resting on HRS stands, using Transparent Audio cable, and ending in Wilson Alexias was singing in the Mirage Hotel. It was sounding so sweet, Wilson Audio’s own staff members were directing people to the Nagra room to hear how good it sounded.

Naim Audio

A more subdued high-end launch for Naim Audio this year, although it was also showing its new Muso system on the 29^th floor. The company was once again playing its Statement amplifier through a pair of Focal Utopia Grande EM loudspeakers, but this year it was showing off its forthcoming range of high-end cables.

Called Super Lumina, and with a logo that looks like most of the letters are missing, the range of line-level interconnects, dedicated pre-power interconnects, and loudspeaker cables feature where possible the decoupling Air-PLUG first seen in its Hi-Line cable, sport silver-plated copper conductors, and cost (in UK Pounds Sterling rather than US Dollars, because they see ‘Brit’ and think ‘Quid’) between £1,750 for a DIN to DIN interconnect up to £5,400 for a 9m pair of loudspeaker cables.

Ortofon/TW Acustic/Tron/Horning

Possibly the most analogue of all demonstrations at the show, and at the same time one of the most effortless sounding, High Water Sound assembled a fine system of tables and toobs. The news-worthy item at in the system was the new $6,500 Ortofon A95 moving coil cartridge. This was playing in a $40,000 TW Acustic Black Night turntable and $5,500 TW tonearm, through TW’s new $17,000 RPS-100 phono stage, via Tron’s take-no-prisoner’s $55,000 Syren GT preamp, $18,000 per pair TW Acustic SE Mono tube amps, and then to Hørning’s $30,000 per pair Eufrodite Ellipse loudspeakers.

OK, so this system weighed in at a very ‘frisky’ $172,000 (excluding SRA tables, Silver Circle power conditioner, Symposium stands and assorted cables, tricks, and tweaks), but was one of those few systems that didn’t sound like it could be bettered by something one-tenth the price.  

Pass Labs

Pass Labs had new products on show, but details were sketchy. The company had been so busy making the prototypes of its new Xs Series phono stage, there wasn’t time to work out prices or even silk-screen printing on the front panel. Given the XP25 phono stage is one of our reference products, we expect it to be good. But not cheap. Pass Labs also showed an early sample of an upcoming headphone amplifier, too, which is expected to be around $3,000.

The company did have some more details on its new $9,000 INT-60 integrated amplifier, however. As the name suggests, it’s a fully-balanced 60W design, in full Class A, with only two gain stages per channel. This should be ready by Spring, and will be followed by the $12,000 INT-250 integrated, which delivers 250W of Class AB muscle.

PS Audio

Arguably the find of the show, PS Audio announced its upcoming $7,500 BHK-250 power amplifier, which is expected to be available mid-year. The hybrid design used tubes on the input stage, is a true differential amplifier capable of delivering 250W into eight ohms and 400W into four, it has no feedback, no phase shifts, is built in the old school manner with through-hole PCBs and discrete components, and is the brain child of power amp design legend Bascom H King.

Given that you could buy more than 10 BHK-250s for the price of one of Bascom King’s other designs, we think this could be something special.

Qualia/Stenheim/Spiral Groove

Qualia and Company introduced the first in what could be a lower cost range called Dogma at CES. Of course, this is Qualia & Company we are discussing, so ‘lower cost’ means $78,000 instead of $108,000, but it’s the thought that counts! The new Dogma 600 monoblocks sport a 500-micron copper foil PSU circuit board that runs the entire length of the large cube amplifier. The amp uses a sextet of MOSFETS in parallel to deliver its 600W power output. It was joined by the $225,000 per pair Stenheim Reference loudspeaker, a 66” tall, 529lb eight-driver, four-way sealed box design, with a motorised central mid-treble-mid (and supertweeter) section. The aluminium cabinet is divided into six independent closed chambers, is a passive design, but with a separate bass filter system that sits between pre and power amps. The Reference needs at least two and up to six amps to drive it, delivers bass down to 15Hz and can pump out up to 120dB sound pressure levels. Factoring the complete Qualia & Company line-up and the rest of the system, this was one of the most expensive rooms at the show.

In the adjacent room, Spiral Groove was demonstrating its new Revolution turntable. Expected to cost $15,000, the new deck draws on much of the technology seen in its SG1.1 flagship, including sharing the same bearing, motor, and drive system. With a smaller footprint, but a larger platter, the new Revolution looks good, and sounded exceptionally pitch stable at the show.

Revox

Audio legend Revox is back with its $1,599 Symphony table top system, and its new Joy Mk II range, comprising, integrated streamers, loudspeakers, and more, all in deceptively elegant and minimalist boxes. This is a bold and radical departure for a company fondly remembered for its open-reel tape machines, but Revox reborn is very much a brand to watch again.

Prices of the Joy streamers range from $1399 for the S118, $2,799 for the 60W S119, and $3,499 for the 120W S120, with a $220 surcharge for ‘almost any colour you like’ custom finishes

Synergistic Research

Never one afraid of being ‘out there’, Synergistic Research’s latest Atmosphere runs completely independently to the system itself, and can be controlled from an iPad. Synergistic’s Ted Denney suggests we live in an increasingly thick RF ‘soup’ and any attempts to block this form of interference are therefore doomed to failure, so instead Atmosphere ‘tweaks’ the RF spectrum in the listening room to make it more beneficial to audiophiles. The iPad app allows the listener to adjust the local RF to taste. To demonstrate this concept, Synergistic was using McIntosh electronics with Magico loudspeakers, and – whatever you might think of the concept – made one of the best sounds at the show in the process.

Synergistic’s Atmosphere costs $2,250, and there’s an additional tuning module that sits atop the Atmosphere device for $495.

TAD

Pioneer’s Technical Audio Devices division launched the $26,500 per pair TAD-CE1 (short for Compact Evolution) standmount at CES. This two-way standmount, featuring TAD’s Coherent Source Transducer (CST) mid-treble drive unit with a one-piece composite shell bass driver, in a cabinet made from birch ply, MDF, and 10mm thick aluminium panels. TAD wins the award for Best Acronym, with its Structurally Inert Laminated ENclosure Technology, or SILENT; using that birch ply and MDF as a laminate, TAD’s director and chief designer Andrew Jones hopes to limit resonance. The clever bi-directional, slit shaped ports along the sides of the enclosure help increase bass without port chuffing, but ADS (Aero-Dynamic Slot) Port doesn’t have anything like the same acronym pulling power.

Transparent Audio

Transparent Audio had a busy year in 2014, revamping its Generation 5 Reference and Reference XL cables, and then releasing the cost-no-object Magnum Opus flagship designs. But not everyone can afford a pair of loudspeaker cables where the prices start at $65,000 per pair! So the company’s latest venture is the back-to-basics Hardwired range of budget cables. These are high-performance, low-cost, no-nonsense designs with colour-coded terminations, in the ‘round of beers’ price ball-park. The range includes interconnects, digital audio, video, and Ethernet cables, loudspeaker cables, and power cords, starting from about $30.

VAC

The Valve Amplification company announced a new Master Preamplifier, featured in a system also sporting the Brinkmann Balance turntable and 12.1 arm, with an Ortofon MC Anna cartridge, three of the four dCS Vivaldi boxes (no upsampler) a lot of Shunyata Research cables, VAC’s Statement amplification and Dynaudio’s Evidence Platinum loudspeakers. Total cost of the system? A shade under $600,000!

The new Master Preamplifier takes most of the elements of the Statement Line Stage, such as decoupled, mass-loaded plates for the circuit boards, ‘naked’ z-foil resistors, and – as in the case of the preamp in the system – completely dedicated power transformer and DC cable for the balanced MC phono stage. Given the combined Statement Line and Phono preamplifiers from VAC cost a hefty $155,000 in their own right, it makes the $40,000 needed to buy the new Master almost seem like loose change! Have your butler tell his butler to buy one, now!

Wilson Audio

Wilson Audio is a popular demonstrator’s choice at CES. The brand’s loudspeakers appear in many rooms around the show, because enthusiasts who use Wilson loudspeakers for product development and personal listening run many of those rooms. However, Wilson Audio itself chooses to showcase its new products in static demonstrations at the nearby Mirage hotel. This is in part because the rooms are more hospitable (and often better sounding – the Nagra demonstration played through Alexias sounded fantastic), and allows more refined contemplation.

The new product for the show was the Sabrina, a new $15,900 ‘entry point’ three-way design for the brand. Sabrina builds on the lessons learned in developing many of Wilson’s top products, including the mighty XLF, delivering true trickle-down performance in a floorstanders that will suit smaller systems and budgets. The final versions of the Sabrina will be expected soon.

Wilson also announced a new super loudspeaker, marking a potential return to the WAMM. No photos and no recording techniques were allowed, just a simple discussion of how Wilson Audio came about (from early days of a young Dave Wilson tinkering around with loudspeakers in a garage in the 1960s to building the foremost high-end loudspeaker brand today), and how that development process speaks to the new WAMM. A prototype was shown – with five modular upper sections held in XLF-style side-braces sitting on a larger bass block – and challenges our powers of description. It’s a very deep, tall, large loudspeaker (it needs to be, it is expected to outperform the current XLF/Thor’s Hammer combination, and WAMM is claimed to reach to 16Hz or lower in room). However, its front aspect is surprisingly narrow. Unlike the previous WAMM, there will be no electrostatic panels. Not even a sneak photo allowed sadly. Similarly, when the WAMM will happen and how much it will cost were very definitely not topics for discussion, but don’t expect it to be cheap, and don’t expect it the day after tomorrow.

YG Acoustics

YG Acoustics is one of the regulars at the 21^st Century high-end top table. The company’s loudspeakers are highly prized and well received around the world. The Carmel is the brand’s least expensive loudspeaker, and the new Carmel 2, priced at $24,300 per pair, continues that tradition.

A floorstanding two-way passive loudspeaker, the Carmel 2 uses the company’s proprietary BilletCore mid-woofer, and ForgeCore tweeter, with a outstanding brushed, machined aluminium finish. As with recent events, YG Acoustics used a dCS Vivaldi digital front end. A Kronos Limited Edition Pro turntable with Black Beauty tonearm, and Air-Tight cartridge was spinning the black stuff through an Audionet PAM G2 phono stage. Amplification was D’Agostino’s Momentum preamp and mono power amps, cables were by Kubala-Sosna, and the rack was by TAOC. It wouldn’t be the last time that day I got to say ‘nice rack’, but it was the only time I got to say it without it ending very badly!

 The MUSE will be Wi-Fi, DLNA and Bluetooth capable and support Internet radio with the Spotify App. It will come with an Auxiliary input and a USB charging port that will also support USB playback. The estimated price is $499 with projected availability in May 2015.

Angel Sound

Angel Sound had four new loudspeakers on display. Their model names are yet to be determined, but they consisted of a 2 way bookshelf model ($5,000 – $8,000 a pair), a 2 way center channel ($5,000 – $7,000), and both 3 and 4 driver floor standers ($7,000 – $8,000 a pair). Projected availability is May 2015. They also displayed a stainless steel, horn loaded super tweeter prototype that can connect to their existing speakers, or other manufacturers speakers. The main system playing in the room featured the new version of their A6 loudspeaker using their in house developed tweeter and midrange, with a goal of having the woofer developed in as well house by May 2015). The A6’s were being driven by Angel Sound electronics with an Audio Research CD6 digital front end.

Antelope Audio

Antelope Audio was displaying its Rubicon Atomic AD/DA Preamplifier. The prototype version of this product  won a CES Innovation Award 2-3 years ago. The product is made to order ($40,000 with a 6 month lead time) featuring an integrated atomic clock, a built in phono stage that can digitize a vinyl collection (recording at 384 kHz). It also supports and up samples up to DSD 256. The product was displayed in a pro audio mastering quality setup with Amphion Two 18 loudspeakers, a MacBook Pro digital source, and 2 JL Audio subwoofers.

ARCAM

ARCAM had the press launch of its new” Solo Bar” on November 2014 in London. It is now available ($1,500) and was being demonstrated at CES with its companion Solo Subwoofer ($800 – wired or wirelessly connected), an ARCAM UDP411 Universal Disk Player, and a 55-inch Vizio flat screen LED TV. The Solo Bar features (2) – 4 inch midrange/woofers 1per side, a 1-inch tweeter, HD audio decoding, and Bluetooth support (in/out).  Its input compliment consists of 4 HDMI, 1 Coaxial digital, and one 3.5mm Auxiliary. 

 The Solo Bar has attractive casework made from aluminum extrusion and sports damped steel speaker grills. I had the opportunity to touch the casing and the speaker grills and it felt like a serious, heavy-duty piece of gear. Listening to the Solo Bar/Subwoofer combination made me realize just how far this technology has come and how good a serious sound bar/subwoofer system can sound. 

 Hearing Mick Jagger, Bono and Fergie rock out to the Stones “Give Me Shelter” on the 25th Anniversary Rock and Roll Hall of Fame Blue Ray disk was quite the “aural” treat on this system (and watching Mick Jagger trying to initiate his advances on Fergie was quite the “viewing” treat). 

 On static display was ARCAM’s “Solo Movie” all-in-one home theater in a box prototype. It will support Blu-ray, SACD, DVD, and CD format disks. Its input compliment will consist of 4 HDMI, Ethernet (wired), and Bluetooth (APTX 4.0). Additional features include DAB/DAB+ FM Tuners (for Europe, Canada, and Australia), and a 5-channel amplifier rated at 70 watts per channel (all channels driven). Projected availability is June 2015 with an estimated price of $3,000.

ATC

After hearing how nice the ATC SCM 40 passive speaker sounded in the Prism room, I was excited to hear how the new ATC SCM 40A ($12,500, available Feb 2015) Active version of the speaker sounded like by comparison. Little did I know the folks in the ATC room had an A/B setup to demonstrate that very difference. The A/B demo was utterly revealing. The performance of the SCM 40A was so head and shoulders above the SCM 40 that it sounded like a different speaker. Everything got better – bigger sound, more detail, and more live. Keep in mind that the SCM 40 was being driven by an ATC P1 amplifier (with some expensive Cardas cables), which (according to the ATC representative) is exactly the same electronics that is built into the SCM 40A, which makes the findings in this A/B even more shocking.

AURALiC  

After a busy few years in hardware design, AURALiC was primarily showing its updated ARIES Wireless Streaming Bridge. The ARIES completes AURALiC’s current core electronics strategy, and impressively the update is capable of streaming DSD256 wirelessly. Existing customers will get the software update automatically at the end of January. The price remains $1,599 for the Aries, and $999 for the Aries LE.

BASIS

Of notable mention, Basis Audio had the beautifully sculpted Inspiration turntable and Superarm 9 tone arm ($15,000) on display.  I was able to spend some time speaking with A.J. Conti about Basis and have to say that I came away feeling  “inspired” myself. 

Bel Canto

Bel Canto featured its new REFStream product. This is UPnP and DLNA compatible networked audio renderer using asynchronous and ultra-low noise that it clocks that sits between the computer and DAC. The unit features S-PDIF, AES/EBU, and optical digital outputs.

Brigadiers Audio Group and Danville Signal Processing

Brigadiers Audio Group partnered with Danville Signal Processing to present its concept high-end computer audio system. The system featured a pair of 2 way, active, bi-amplified, coaxial, point source, time coherent, desktop loudspeakers (in handsome tall slender wood cabinets). Other components consisted of a USB audio class 2 DSP front-end, an iMac source, and a 4-channel class D amplifier. This concept seemed promising, as the sound was musical and surprisingly large from such a modestly sized system.

Cardas

Cardas introduced its new (1) Reflection interconnect and speaker cable that are Bi and Tri wire-able (the only one in the clear line that is). The price starts at $2,500 for a 2-meter pair of speaker cables and $1,150 for a 1-meter pair of interconnect cables (available now); (2) Clear Coaxial Digital cable ($600 for a 1 meter pair), and (3) The Parsec Power Chord ($350 for a 1 meter chord) which is the latest addition to the Parsec line.

Chord Electronics

Chord Electronics had two new products on display: 

 The Chordette 2 Qute standalone DAC is an upgrade to the Qute EX based on the technology in Chord’s Hugo portable DAC. The 2 Qute is not meant to be portable and has a galvanically isolated USB input. Projected availability is Q1 2015 with an estimated price of $1,795. 

The Hugo TT (Table Top) DAC/Headphone Amplifier is everything the Hugo is with double the output current and a galvanically isolated USB input. Projected availability is middle of Q1 2015 with an estimated price of $4,750.

Cyrus Audio

Cyrus Audio was sharing the room with Monitor Audio and demonstrating their new Stereo 200 hybrid, analogue, linear power supply amplifier – with a Cyrus designed Class D output stage ($3,500, available now – following the prototype shown at TAVES in Toronto in October/November 2014). Output power is 175 watts per channel into 8 ohms and 325 watts per channel into 4 ohms. The amplifier runs cold, and features a speaker impedance detection circuit (SID) that sends a proprietary test tone to the high frequency of the left channel to detect the impedance of the speaker. It then corrects the behavior of the frequency response above 10 kHz, designed to provide an open, smooth, controlled high frequency response irrespective of the loudspeaker impedance. 

I heard the amplifier in an all Cyrus system with the Monitor Audio Gold 300 loudspeakers, and the top end did have a smooth open quality to it. I just couldn’t tell how much the amplifier contributed to this quality, versus the rest of the system, which sounded nice overall.

Dan D’Agostino

Dan D’Agostino Mater Audio Systems had two new products. 

Cinema Standard Multi Channel Amplifier – This can be configured as a two channel stereo amplifier (250 watts per channel into 8 ohms), a two channel home theater amplifier with an RS-232 port to support control functions and problem reporting to a control unit (e.g., Crestron), and a three channel home theater amplifier. The two channel configurations can be bridged for mono operation (1kW into 8 ohms). Projected availability is February 2015 with price range of $12,000 – $15,900 depending on the configuration.

Next up, a prototype $48,000 M Life Integrated Amplifier and Streaming Network Player/DAC – This is a lifestyle product based on the $45,000 Momentum Integrated Amplifier with 200 watts per channel into 8 ohms (doubles down to 2 ohms) and a DAC supporting DSD 64. There is a wireless control App for the unit, but the unit itself requires a wired Ethernet network connection to access music. The system was being played through a pair of Wilson Duette II’s and Transparent Audio cables.

Delux Acoustics

Delux Acoustics is a two year old company based in St. Petersburg, Russia – making their U.S. debut at CES. They displayed six speaker models ranging from the top of the line Sound Flower ($2,280 a pair including stands) to the entry level DAL 150 ($350 a pair with table stands). These are reminiscent of some of the Anthony Gallo spherically designed speakers with the addition of tweeters mounted topside of the spheres and some wide color choices.

Dared Audio

Dared Audio International show cased four new products: (1)The Saturn SET integrated amplifier ($3,000, available as of this show) featuring KT150 tubes, a built in USB DAC, and wireless remote. Power output is 25 watts per channel; (2) The LP-100 tubed MM/MC Phono Preamplifier ($1,900, available as of this show) featuring front panel adjustments for cartridge impedance, capacitance and output; (3) Originally shown as a prototype at RMAF 2014, the production version of the MARS Hybrid Vacuum Tube Integrated Amplifier ($550, available as of this show) features a tube preamplifier section, a TI based class A/B solid state amplifier module (25 watts per channel), built in wireless DAC, and Bluetooth capability with headphone and preamplifier outputs; and (4) The LP-1 tube MM/MC Phono Stage. This is the smaller sister to the LP-100 featuring front panel adjustments for impedance only.

EPOS

EPOS was playing their new K3 speaker ($2,395 for passive version, available end of January 2015), which is a larger version of the K2 and primarily designed for larger rooms providing more output. All K Series speakers are field interchangeable between passive and active versions by switching out the rear crossover back plate.  The active version has (3) – 150 watt Class D amplifiers (1 for each driver) per speaker. The price is 1,000 lbs (U.K.) per “Active K” amplifier plate. 

The Passive K3’s were being played with a Creek Evolution 50 CD/DAC/Preamplifier, a Creek Evolution 100A Class G Amplifier, Atlas cables and a Mac Mini source. Hearing Jimi Hendrix’s “Voodoo Child” made me take notice of this systems performance, and made me wonder what the Active version of the speaker would sound like by comparison.

Focus Audio

Focus Audio showed had two prototype products playing the Master 3 BE speaker and Liszt Concerto Monoblock Amplifiers. 

The Master 3 BE is a 3 way, 6 driver, full range loudspeaker consisting of (2) – 9 inch woofers, (2) – 5 inch midrange drivers, and (2) – 1.5 inch Beryllium tweeters arranged in a D’Appolito configuration. Sensitivity is 90 dB and is projected to be available in the second half of 2015 with an estimated price of $33,000. 

The Liszt Concerto Monoblocks are 60 watts per channel Class A tube amplifiers using double C core output transformers. Projected availability is Q4 2015 with an estimated price of $30,000 a pair.

Hanson

Hanson Audio premiered the Dragon Legend E loudspeaker ($60,000, available February 2015). Model wise the speaker sits in the middle part of the Hanson line (not from a price perspective), and the “E” stands for enlightened due to the trickle down technology incorporated from the Emperor E. The speaker is designed to perform like an Emperor E in a normal size listening room, while having the footprint and loading characteristics (i.e., not overloading the room) of Hanson’s smaller model Prince E. In addition to its unique cabinet design, the speaker is wrapped in animal free luxury leather. Although I haven’t heard the Emperor E speakers myself, this speaker was making some good full range sound in its own right.  

HRT

HRT was streaming music from the Tidal music subscription service to show off its new Android and iPhone digital audio products. The dSp (Digital Sound Processing) is intended primarily for Android devices running the Lollipop Operation System, but will also work with computers using the a dedicated included) cable. The i-dSp is intended for Apple iDevices with lightning connectors. An Apple lightning camera connection cable is required, but not included. Target pricing for both products are $69.99 and are projected to be available on Amazon in February 2015. 

 I did an A/B/A comparison of the i-dSp device listening to Mark Knopfler’s 5:15am cut (on Shangri-La) off an iPad Mini and the improvement was not subtle.

Juno Audio

This company is only nine months old and came to CES with two unique products. The Viotone speaker (available Fall 2015) is one of the wildest looking speaker designs I have seen. The top section of the speaker is a real, wood, playable violin that has a ceramic transducer in it (somewhere) playing violin level frequencies. The price if the violin section ranges from $1,000 on up, depending on the age, wood and finish of the violin. 

The Bottom section of the speaker is a black rectangular box when the speaker is not in use, but fans out into a spider web like sides when the speaker is in use. This section of the speaker houses a 6.5 inch Neodymium mid/bass driver, plus a 1 inch titanium tweeter mounted in a cross brace that is suspended over the mid/bass driver. These 2 drivers fire vertically into an inverted pyramid shaped object that tapers into the top plate of the speaker cabinet and functions to disperse the sound in an omni directional pattern (similar to the B&O Acoustic Lens system or some of the German Physiks designs). One speaker can play in stereo due to custom DSP processing on board and 1,500 watts of built in amplification. The price of the bottom section is estimated at $6,500. 

The Envelop speaker is hexagonal shaped that can also play in stereo with 1,500 watts of built in amplification. It features (4) – 2.5 ” full range drivers (2 front and 2 rear facing), a 6.5 inch down firing subwoofer, and a 6.5 inch upward facing passive radiator. Projected availability is Summer 2015 with estimated pricing in the $800-$900 range.

In the short time I spent listening to this system, the one thing that struck me right off the bat was how  “clean” this system sounded.

McIntosh and Wadia

McIntosh introduced the D150 Digital Preamp ($3,000, available now) and MCT 450 SACD/CD Transport ($3,000, available Q1 2015). The Preamp plays all audio formats available on 5 inch discs and has a built in headphone amplifier. The MCT 450 is a transport only, with a digital outputs and a beefy metal draw.  

Moreover, as McIntosh now builds and designs Wadia components in house, the following new Wadia components were being shown: di122 Digital Preamp/DAC/Headphone Amplifier ($1,500, available now) plus matching a102 Digital Amplifier (prototypes of both of these products were shown at CEDIA), and the prototype m330 Media Server and Streaming Network Players with 1 TB of internal storage (eternally expandable). Projected availability is Spring, with an estimated price of $6,000. 

 The Tidal music subscription service was being streamed to the Wadia system I was listening to being played back on a pair of McIntosh XR50 3 way bookshelf speakers. The sound was full bodied and warm for a smaller footprint system.

Metronome Technologies

Metronome introduced two new products. First was Le Player (€5,595, available now). This entry level CD Player/USB DAC features a top loading customized Phillips GF8 transport with the DAC section supporting PCM up to 24/384. It also uses a proprietary S/PDIF digital input that bizarrely is only compatible with Metronome DAC’s. 

C8+ DAC (€18,200, also available now) – This is an updated version of the C8 DAC that also plays DSD 64  through DSD 512 (Windows based), or DSD 256 (Mac based). It features a 64-bit word length for internal computations, and converts the digital signal bit stream into dual-mono outputs for a preamplifier or integrated amplifier. 

The C8+ plus was being played through Metronome electronics, the Focus Audio FP90 BE speakers and was making some really nice sound.

Monitor Audio

Monitor Audio had their 4th generation Gold Series loudspeakers on display (8 are in the line, 4 were actually shown). The top of the line Gold 300 floors standing speakers ($6,500 a pair) was being demonstrated along with the Gold 100 Book Shelf speakers ($2,400 a pair). The entry-level model starts at $1,800 a pair. Projected availability for the Gold Series is February 2015.

MSB

MSB was showing off its new Diamond DAC 5 which is an upgrade to the Diamond DAC 4 and incorporates technology from the top of the line Select DAC. The new Universal Media Transport 5 was also on hand. It incorporates technology from the Universal Media Transport Plus in a redesigned chassis to match look of the DAC 5. Pricing is $43,000 for the DAC 5 (depending on options) and $6,995 for the Transport 5. Both units are available now. 

MSB also displayed its prototype “Diamond Data Memory Transport” audio media server which corrects CD ripping errors due to scratches or defects guaranteeing bit perfect ripping. Projected availability is in 3-6 months with an estimated price of $29,000. 

Also taking place in the MSB room was ReQuest Audio’s launch of “The Beast” audio server (and controller for ReQuest video systems) for the U.S and Canadian markets (previously available in Europe only). The product features extensive cataloguing and querying functions for music, with an emphasis on classical music performance variations. The price is $39,500 and is available now. 

Music Hall

As Roy Hall is always great at taking the pulse of the value-driven buyer, Music Hall was showing off its new de-be dynamic driver headphones ($199, available Feb 2015). They have replaceable ear pads, a mic to answer calls that can stop/start the music, and a headphone input for a friend to plug their headphones into so that both of you can rock out to the music (what a cool concept!).

Musical Surroundings

Musical Surroundings had a host of new product introductions in two side-by-side rooms. In the Clearaudio Room there were static displays of (1) the Statement v2 turntable ($200,000), which updates Clearaudio’s flagship turntable introduced 10 years ago, (2) the Double Matrix Professional S (Sonic) record cleaning machine ($5,500), using sonic vibration to better clean record groves in this 4rth generation product, and (3) the Absolute Phone Inside MC Phono Stage ($15,000), which consists of 2 identical chassis (milled from aluminum billet) – one for the audio stage and one for the power supply. 

The second room featured a system with a METIS line stage (estimated price is $25,000 – prototype shown in Munich in May 2014), a Romulus DAC/CD Player, a GIRO turntable with 9W2 tonerarm ($10,000), a TEATRO MC phono cartridge ($2,750), a Phonomena II+ phono preamplifier ($750), and the DS-W1 “Nightrider” Optical phono cartridge ($8,500). The system was playing music through a pair of Magico S5’s. 

NuPrime and Celsus Sound  

Sharing a room with Enigma Acoustics was the founder of NuForce who has several new companies, two of which were showcasing products at CES – NuPrime (the old NuForce) and Celsus Sound.

 The Enigma Acoustics Mythology M1 Full Range Monitor Speaker (which includes the Enigma Acoustics Super tweeter) was being played in this room ($14,690), with NuPrime’s new St-10 Amplifier ($1,595) and DAC-10 Preamp/DAC ($1,495, the DAC 10H includes a headphone amplifier at $1,795). Projected availability for both products is the end of February 2015.  

The rest of the system consisted of a Moon CD Player, Mac Mini, and Cardas Clear cables. The sound of this system was airy, spacious and dynamic.

Celsus Sound premiered its super cool Companion One ($595, available on Amazon) portable, high-resolution audio companion. This thing is about the size of a beefed up iPhone and is chock full of goodies such as a high performance headphone amp, a DAC that supports DSD128 and 384 kHz PCM formats, and a built in Wi-Fi network that supports UPnP and Apple Airplay – allowing it to be used as a streaming network renderer that supports PCM 24/192 wireless streaming. The product supports Windows, MAC, Android (*OTG), and iOS devices. No detail was overlooked as the product comes with a film for its glass face, a cleaning cloth, and a leather carrying case. 

Rounding out the Celsus Sound product introduction was the new Gramo One Earbuds ($249, available on Amazon). This is a reference-grade (the Sennheiser HD 800 was the performance benchmark used to design these headphones), open-back in ear headphone with the portability of an IEM. The combination of the Companion One played through the Gramo One Earbuds sounded very musical, with a the performance you would expect to hear from a much more expensive setup.

Ocean Way Audio

Ocean Way Audio was making good sound with its new Sausalito loudspeaker ($35,000, available now – prototype shown in Tokyo in October 2014). This 3 way, bi-wireable, passive design sports a 12-inch woofer, 8-inch midrange driver, and a 1-inch silk dome tweeter. The speaker’s sensitivity is 85 dB.

This is a scaled down product compared to Ocean Way’s large horn loaded models, with more sculpting and aesthetics that should be more appealing and accepted in home environments. The speaker has many hallmarks characteristics of Ocean Way’s larger designs (which I have heard multiple times over the years at CES) in scaled down performance envelope. They have a wide dispersion pattern that provides a stable image across a large listening area, a big soundstage, a wide sweet spot, and good dynamics (but not the in your face or punch you in your chest/gut dynamics of the big Ocean Way’s, that can literally make you jump out of your chair).

Prism Sound

UK based Prism Sound has its roots in pro audio and introduced a new prototype Hi-Fi DAC for home audio use. This is a USB DAC (supporting up to 24/192) and Headphone Amplifier that has balanced outputs, and S-PDIF input/output in optical and copper formats.  The electronics used for this product is exactly the same as in their professional Lyra product.  The design objective for both products are the same – to provide a listening experience that the original producer wanted to hear, based on Prism Sound’s experience in developing professional recording equipment for the last 28 years. 

I got to this room towards the end of the day and was treated to more leisurely listening session. Using both Windows and MacBook laptops as sources playing through an ATC P2 amplifier and ATC SCM 40 loudspeakers, I was quite enamored with how natural the system sounded and the ease of listening that it provided.

Questyle

Questyle was showing its QP1 Prototype Portable Music Player, using Questyle’s current mode amplification found in their existing products. The player supports native DSD 64, DSD 128, and native PCM up to 24/192. It has 8 GB of internal storage and can accommodate (2) – 128 GB MicroSD cards. Some key features of the product include use of a Class A amplifier, discrete circuits, an analogue volume control, a full power supply, plus a projected 10-hour battery life. Estimated price is $600 with projected availability in March 2015.  

REL

REL was showing off its new 212 SE Subwoofer ($4,000, available March 2015). The subwoofer features two stacked 12 inch S5 drivers, a down firing 12 inch carbon fiber passive radiator, a rear firing 12 inch aluminum passive radiator, and a built in 1,000 watt amplifier (conservatively rated).  

The product was developed as a more cost effective alternative to stacking Gibraltar series subwoofers while applying the lessons learned in doing so. The subwoofer performs double duty by (1) augmenting the low end of left/right stereo speakers in a 2.1 setup, and (2) functions as the LFE channel in multi channel audio/home theater applications while simultaneously augmenting the left/right speakers in those applications. 

I was given an A/B demonstration on the effects of a pair of 212 SE subwoofers had on a stereo system consisting of pair of ELAC Referenz loud speakers, Aesthetix/Hegel electronics and Audioquest cables. The subwoofers were connected through a pair of REL’s Longbow zero compression wireless scheme transmission devices. When subs were inserted into the system I was amazed at what I heard. Spaciousness, dimensionality and ambience increased significantly even on music that didn’t have any low end (which was even more of a surprise). The effect was not subtle and clearly audible. 

A sneak preview of the new Ti line of subwoofers (upgrade to the Series T) was also on display. Estimated pricing ranges from $600-$1,200 with projected availability in June 2015. 

Scaena

Scaena showcased the world premier of its Manhattan loudspeaker ($32,000, available as this show). This is the company’s first one piece integrated tower/subwoofer system at half the price of their previous Scaena speakers. The objective was to incorporate the company’s latest thinking and use of technology into a lower cost speaker that out performs its previous offerings. 

The speaker features striking metal work with a contemporary industrial design and sports (5) – Alize Raven ribbon tweeters, (9) – 4 “midrange drivers, and (1) -12 inch subwoofer per speaker. The subs were driven by a pair of Crown XLS 2500 pro amplifiers ($500 each) with the top half of the speakers being driven by a pair of Graaff GM400 mono block amplifiers ($25,000 each). The source was Scaena’s own “Mainframe” music server.

Sonawall

Sonawall demonstrated its new Sona Studio 2.1 ($995, available February 2015). This is a 2.1 channel audio system designed to accommodate multiple home electronic devices (TV’s, computers, iDevices, mp3 players, wireless Bluetooth from smartphones, etc.). The system consists of a subwoofer and 2 “pod” satellite speakers that can be wall or stand mounted. The subwoofer contains the amplification for the system (100 watts to the sub and 50 watts to the pods). The “pods” are designed with the drivers mounted in an angular fashion providing good stable imaging just about anywhere in the room (in front of the pods). 

Sonowall has larger subs with spatial tweeters added to the pods producing an even more spacious presentation ($1,499 – $2,499). An interesting and rather unique option provided in this line is the ability to choose from 4 different flavors of user changeable spatial tweeters (cloth, silk, aluminum and titanium dome tweeters). 

The sound was indeed spacious and stable across the various pod models that I heard in the room.

SOtM

SOtM introduced four new products. 

The SMS 1000 SQ Music Server and Player (prototype) comes with a 32GB SSD for operating the unit. SOtM recommends using external NAS drives for storing music, but the product can be configured with SSD, HDD, ODD, or a Blu-ray disk drive. It has USB, Optical, AES/EBU and Coaxial digital outputs as well as balanced and single ended analogue outputs. Projected availability is late Q1 2015 with an estimated price of $3,000. 

Next up is the sPA-1000 Stereo Amplifier (prototype) outputs 200 watts per channel (Class D) into 8 ohms. Projected availability is TBD. Estimated price is $5,000. This was followed by the iSO-CAT6 (prototype) Ethernet LAN noise elimination cable ($300-$400, available Feb 2015). Finally, SOtM showed its dCBL CAT6 high performance Ethernet LAN cable ($200 per meter for up to 20 meters). An optional high quality LAN connector version of the cable is also available ($350 per meter for up to 20 meters). 

These products were played through an all-SOtM electronics system, comprising DAC/Preamplifier, system level power supply, cables, Egglestonworks speakers, and TAKT room tuning accessories. Winter from Vivaldi’s Four Seasons sounded very nice on this system.

Soulution

Originally introduced in May 2014 at the Munich Show as a pre-production model, the production version of the Soulution 560 D/A Converter was introduced at CES ($35,000, available as of this show). It has a compliment of Optical, S-PDIF, and AES/EBU digital inputs supporting up to 24/192, a USB input supporting 24/192 and DSD 64, and an Ethernet connection for DSD 128. It will also support DXD in the future.

Steinway Lyngdorf (aka SL Audio)

Steinway Lyngdorf (aka SL Audio) displayed its new SDA 2400 Stereo Amplifier ($2,400, available April 2014). This is a 2 channel, green (meaning it does not need cooling – the amplifier runs cold), digital amplifier that outputs 400 watts per channel into 4 ohms. The “cool” feature about this amplifier is that it has optical and coaxial digital inputs in addition to single ended and balanced analogue inputs. This gives the end user versatility in assembling a compact stereo system with the SDA 2400 “cold” running powerful amplifier at its core, adding a source with a digital output and volume control, and a pair of loudspeakers. I didn’t get to hear this little powerhouse, but the idea sure “sounded cool” to me!

Stymax (oBravo)

Stymax was showing the new oBravo HRIB line of headphones that use hybrid planar magnetic/dynamic drivers. The three models in the line are the HRIB 1 ($1,700), HRIB 2 ($1,200), and HRIB 3 ($700). Stymax also introduced two new models to its HAMT (hybrid Heil tweeter/dynamic driver) line of headphones – the HAMT 2 ($1,400) and the HAMT 3 ($900).

I had the opportunity to listen to both lines, which sounded very nice, but very different. The HAMT headphones had an airier, spacious, warmer sound, while the HRIB had a more neutral, direct sound. These will certainly appeal to people with different tastes, which is why Stymex offers both lines. 

Technics

After a long hiatus, Technics is re-entering the U.S. market making its debut at CES. On display were a small and large system. The small system was playing when I got to the room and was making some nice sound. The system consisted of a pair of 2-way stand mounted speakers with a 9mm aluminum tweeter and 16cm midrange woofer (arranged as concentric drivers). The rest of the system was comprised of a CD player (no external DAC inputs), Network Player (wired – not wireless), and integrated amplifier. The system sounded quite musical with a natural, smooth character and good imaging.  

The large system consisted of a pair of 3.5 way floor standing speakers, a stereo amplifier rated at 150 watts into 8 ohms (with large illuminated power meters on the front panel), and a Network Audio Control Player with some unique and interesting design features. The amplifier has 2 analogue inputs (going through A/D conversion), 1 USB A, 1 USB B, and 3 coaxial digital inputs. The Network Player provides the control functions for the amplifier through a digital link. For example, the Network Player volume control communicates with the amplifier over the digital link. The amplifier then attenuates the level using a full “bit width” proprietary technology to maintain the integrity of the signal up until the output section. 

This is not the Technics of the past and may well be a force to be reckoned with in the high end. I found the aesthetic design of the electronics attractive and the sound of the small system engaging. 

Estimated pricing is $5,500 for the small two-way system and $5,500 for the larger three-way system, with projected availability in spring 2015. 

Tidal Trend

Tidal recently introduced its music streaming subscription service to the United States, and a lot of exhibitors (Electrocompaniet, McIntosh, Wadia, and HRT to name a few) were using it to show off their products. The high-end streaming service was so popular, Wi-Fi at the Venetian Tower effectively ground to a halt.

Tivoli Audio

Tivoli’s new Music System Three ($299) was released just before CES and gives new meaning to the word “Boom Box”. This is a one-piece portable, moisture resistant (think bathroom or beach), portable stereo system with a 20 hour battery life (using rechargeable lithium batteries). It features AM/FM radio, Bluetooth streaming (adjustable from 15-30 feet), tone controls, a clock (that auto sets the time based on RDS information from FM radio stations), a headphone output and auxiliary input. It is lightweight and easy to hold with a handle in the back that also houses the remote (cool feature!). This is a very well thought out portable stereo system product should appeal to the younger crowd who wants a cool portable system for not a lot of money.

Unison Research

Unison Research featured its new MAX speakers at $6,495 a pair featuring titanium tweeters with a horn loaded compression driver design, 12 inch carbon fiber coated woofers with vegetable pulp (salad anyone?), 94 dB sensitivity, and an 8 ohm impedance. The rest of the system was comprised of Unison Research’s Triode 25 integrated amplifier/DAC and Unico CDE CD player. The sound was inviting with high frequency dynamics one would expect of a horn loaded top end.

Usher Audio

Usher Audio showed its updated X-Tower-L loudspeaker ($13,000, available now), with a trapezoidal subwoofer enclosure for decreased low frequency distortion, a diamond tweeter and Eaton woofer. 

Vandersteen

Vandersteen Audio was showing their production available (soft launch was in October 2014 at RMAF) Model Seven Mk II loudspeaker ($62,000/pair). The speakers have a powered subwoofer, and the top half of the speakers were being driven by Vandersteen’s liquid cooled High Pass mono block amplifiers ($52,000/pair).  The amplifiers are rated at 600 watts into 4 ohms and production is scheduled to start after CES. 

Analogue was the only source in this room. Records were being spun on Brinkman’s new Spyder turntable  (now in full production – soft launch was in October 2014 at RMAF) with two Brinkman 10.5 inch tone arms (the table can accommodate up to 4 tone arms) and an optional vacuum tube power supply.  Pricing for a single arm Spyder is $14,000. Additional tone arm bases are $3,000 for standard size tone arms, and $3,400 for 12 inch tone arms.  

Electronics were all Audio Research with the components being housed on HRS’s new SXR Signature equipment rack ($32,550 as shown). 

Vincent Audio

Vincent Audio featured three new products at the show with projected availability in March 2015: (1) The SV-700 Integrated Hybrid Amplifier ($4,200) with a tube preamplifier section and solid-state amplifier. The preamp section supports optical and coaxial digital inputs up to 24/192 and the amplifier section is 50 watts per channel Class A (which can be switched off); (2) The SAT 7 Tube Preamplifier ($2,100); and (3) The new top of the line SPT 700 Monoblock Amplifiers ($5,000 per pair).

Wireworld

Wireworld introduced its new Nano series cables for headphones and portable audio that uses the same technology as incorporated in its Platinum Eclipse line. Pricing ranges from $40 – $500 for a 1.5-meter pair. 

Zellaton, CH Precision, Sperling, FUUGO, Schnezinger

Zellaton debuted its new Stage loudspeaker ($79,500, available now) with a semi open rear baffle design. It is a three-driver system with a 9 inch woofer, 7 inch midrange driver (with no crossover), and a full cone sandwich membrane tweeter. All drivers are hand made and represents the evolution of its 1932 patented design.  

Complementing the speakers was a very fine, if extremely high-end system indeed; CH Precision M1 Monoblock Amplifiers ($94,750 a pair) – featuring high bandwidth capacity and 700 watts per channel into 8 ohms (doubling down all the way to 1 ohm). This was fed by CH Precision L1 Preamplifier ($32,975) with the optional X1 power supply ($14,975), driven by a Sperling L-3 Turntable ($19,945) and dual magnetic bearing Tonearm ($9,950), FUUGA MC Cartridge ($8,950, Miyabe Reborn), and a  Thoress Phono Enhancer ($12,475, tube design phono stage) with adjustable RIAA curves, and finally Schnezinger Comprehensive Cabling System (price TBD) from Germany – featuring customized cables and power chords/conditioners tailored for individual stereo systems.

A system costing more than a quarter of a million dollars…what a frisky way to end a report!

The X-3 driver array comprises a centrally positioned ribbon tweeter that is flanked by two pairs of relatively small-diameter ceramic mid-bass drivers, with a larger side-firing bass driver occupying the lower section of the X-3 cabinet. The end result is a speaker that is very, very special indeed—one that possesses most of the resolution, focus, and nuance of the flagship C and D-series models, but that offer, for its price, considerably deeper bass extension and the ability to—how shall I put this?—flat out boogie. For our point of view, this makes the X-3 the Raidho for all seasons and reasons, and who wouldn’t like that?

Ably abetting the X-3 in its mission is the new Aavik integrated amplifier/DAC, which offers power, subtlety, and nuance aplenty, striking an uncanny balance between the ability to dig (very) deep into recordings to capture their innermost details, while also exhibiting unfailing musicality. Our only thought is that prospective customers who already own fine electronics components are likely to demand that the Aavik DAC be sold as a separate component in its own right.

Great Sound, headphone based systems

HiFiMAN HE-100 planar magnetic headphones and EF-1000 hybrid valve/solid-state headphone/integrated amplifier

If you have ever wondered what a cost-no-object HiFiMAN headphone/amp package might be like, then the HE-1000/EF-1000 pair provides your answer. Both new components are spectacular in their own rights, but to our thinking the HE-1000 must stand as ‘first among equals’ for its ground-breaking design.

Company founder Dr. Fang Bian earned his doctorate in nano-chemistry and he brought his expertise in this field to bear in the development of the HE-1000 by creating for this headphone a true nano-material diaphragm (this in contrast to some other designs that apply nano-material coatings to much thicker diaphragm materials). The result is diaphragm that is extraordinarily light, low in mass, and incredibly responsive. Not surprisingly, then, the HE-1000 seems to offer traditional planar magnetic virtues aplenty (including powerful and nuanced bass, wide range frequency response, and vivid dynamics), plus staggering levels of resolution and detail. For the listener, the net effect is not unlike having one’s ears and brain ‘hard-wired’ to the original recording console, which affords an exceptionally intimate view of the music.

Supporting the HE-1000 is the also very impressive two-chassis EF-1000 amplifier. The amp can be used either to power headphones or full-size speaker systems, with output, in class A mode, of 50Wpc or, in class A/B mode, 150wpc. As you can imagine, the EF-1000 offers superabundant power for purposes of driving most any dynamic headphone you might care to name.

Pricing for the HE-1000 and EF-1000 has not yet been determined. Dr. Bian advises, too, that good though the HE-1000 prototypes shown at CES are, he has a few more performance tricks up his sleeve that he expects to implement before the headphones are released at some point in mid-2015. Judging by the sound of the system, we anticipate pricing to be very high (as the products are arguably worthy of premium prices).

ENIGMAcoustics Dharma hybrid electrostatic/dynamic headphones and Athena A1 valve-type (single-ended triode based) headphone amplifier.

ENIGMAcoustics is best known for its self-energised electrostatic supertweeters, but for more than a year now the firm has been working on its design for a new hybrid electrostatic/dynamic driver-equipped headphone, called the Dharma ($1,200). The Dharmas incorporate electrostatic drivers that are self-energised and thus require no outboard power supplies, unlike most other brands of the electrostats. Complementing the Dharma is the lovely Athena A1 valve-type (single-ended triode-based) headphone amplifier.

Though I had time for only a cursory introductory listen, the Dharma/Athena A1 pair well and truly blew my mind, and here’s why. This pair provided what stands out in my mind as the most spacious and compellingly three-dimensional sound I have ever heard form any headphone system to date.

At times, the Dharma/Athena A1 created the compelling (though in my experience extremely difficult to achieve) illusion that sounds were literally emanating from far, far outside the headphone’s ear cup housings. In practice, this meant the Dharma and Athena combo yielded amazingly wide soundstages with very, very precise placement of vocalists and instrumentalists within those stages. Most impressive.

Compelling Bargains

GoldenEar Technology Triton Five floorstanding loudspeakers

GoldenEar’s roughly $5000/pair Triton One floorstanders with active built-in subwoofers have garnered no small amount of critical acclaim throughout 2014, but for an encore the firm announced its purely passive Triton Five floorstander ($1998/pair)—the firm’s most ambitious passive loudspeaker to date.

The driver array of the Triton Five is deceptively simple, comprising a centrally positioned Heil-type HVFR tweeter flanked to a pair of very wide-bandwidth 6.5” mid-bass drivers. Then, to provide low-end support, the Triton Five incorporates two horizontally-opposed (and thus vibration cancelling) pairs of passive radiators.

As we have by now come to expect from GoldenEar, the sonic whole of passive Triton Five is much greater than the apparent sum of its parts. How good is it? Let’s just put it this way. First time listeners who had read our and other publications’ reviews of the Triton One walked into the GoldenEar sound room and mistakenly concluded—purely on the basis of observed sound quality—that the Triton Five was surely the more than twice as expensive Triton One (itself a stunningly good value). As you can imagine, those listeners were stunned to learn they were in fact hearing the Triton Five, a loudspeaker that will sell for a tick under $2000/pair. The value for money on offer here is clear off the charts.

Audeze

The US-based planar magnetic headphone maker Audeze had a very good year in 2014, with both the firm’s LCD-X and LCD-XC headphones ($1,699 and $1,799, respectively) garnering considerable acclaim from the high-end audio press. But for 2015 Audeze has moved in a new and unexpected direction to create two new, very high-performance, yet easy-to-drive and decidedly cost-reduced new planar magnetic headphones: namely, the open-back EL-8 and the EL-8 closed back models, both selling for $699 each. But do not be deceived by the accessible prices. Judged purely on the basis of sound quality, either of the EL-8 models could easily pass for mid-$1000 range units. They’re that good.

How did Audeze achieve this result? Well for industrial design assistance, Audeze turned to none other than the BMW Design Group, which helped create a fresh, distinctive, upscale, and up-to-the-minute look and feel for the new ‘phones. On the inside however, Audeze pulled out even more stops, leveraging three distinctive patent-pending technologies known as Fazor, Fluxor, and Uniforce technologies.

In simple terms, Fazor technologies offer a waveguide that helps smooth wave launches from the ear side of the headphone’s driver. Fluxor technology, in turn, is a proprietary magnet configuration system that focuses the lion’s share of the magnet array’s flux field toward the diaphragm side of the magnet array—thus dramatically increasing the headphone’s efficiency. The only minor catch is that Fluxor technology does tend to introduce flux field ‘hot spots’ in certain localised areas across the driver diaphragm. To address this issue, Uniforce technology is a proprietary method of widening or narrowing conductor traces on the driver diaphragm to compensate for the aforementioned flux field hot spots. As a result, the driver diaphragm experiences uniform driving for across its entire surface area. A clever solution, no?

I heard both EL-8 (pronounced ‘elate’) models driven from the new Pono player, whose electronics were developed by none other than Ayre. The results were very impressive indeed.

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Watch for more in-depth CES coverage from Hi-Fi+ over the next several days.

In the meantime, and as always, we wish our readers happy listening.

If last year could be summed up as the rise of streaming, this year it came down to a world of consolidation. Companies that last year added a streaming design to their portfolios were either integrating the technology deeper into the range, or had quietly dropped the idea. Perhaps the most ambitious system integration concept of all was that by Boulder, in its upcoming 2120 digital converter. A fully UPnP and DLNA compliant media renderer, the DAC (itself the size of most power amplifiers) is actually five separate chassis in one, with the control architecture connected to the rest of the DAC by 10GHz comms and Ethernet connection. Not only does this help keep the noisier sections of a streamer away from the ultra-sensitive 32-bit, 384kHz/Double DSD DAC stage and the dual mono outputs, but it also presages a new way of designing ‘front ends’ for Boulder equipment in general; subsequent preamps and even power amps will sport a more Ethernet-enabled front panel, not only to lower noise, but to allow a wider window on the functions of the amplifier (it’s a big screen), and allow it to act as a control point that can be driven by any Open Home device. Granted, as the 2120 is expected to cost a little under $60,000 this is grand-scale integration, but the technology is changing fast.

At a more down-to-earth level, Lenbrook is very actively pursuing integration between its NAD, Bluesound, and even its PSB platforms. So, it’s possible to stream music from a Bluesound server to a NAD Masters Series DAC, or even to an Ethernet-enabled active loudspeaker from PSB. The number of permutations and combinations of all three brands is staggering, as NAD is incorporating this kind of connectivity across the board, and even into its new blade rack amplifier system (albeit for control and monitoring), but this seems to be an ongoing trend.

And, speaking of trends, the Big Audio Thing this year was CD-grade streaming service TIDAL. The service was everywhere, to such an extent bandwidth was severely compromised throughout the halls of the Venetian Tower, preventing wi-fi access for visitors!

For all the approaches in this, though, I like the D’Agostino route for its relatively low-cost implementation… which is possibly the first time the words, “D’Agostino” and “low-cost” have been seen together. Dan D’Agostino has developed a variant on the Momentum integrated amplifier called the MLife, which replaces the Momentum’s tone controls with a fully-featured wired and wireless streaming client device, controlled by either the five-inch LCD display or the excellent new iOS or Android app. Momentum owners can choose to upgrade to the MLife variant for about $3,000, while the MLife itself costs $48,000; $3,000 more than the Momentum.

Although big-ticket items were on show throughout CES and its attendant off-piste events, perhaps the other big news was a perceptible shift away from the super-high-end. Faced with an audience of more pragmatic US distributors and dealers, products with ‘sticker shock’ prices were often met with a resounding  “I can’t sell that!”. While hardly a return to sensible prices, perhaps audio has finally reached its price ceiling, and manufacturers were mostly using CES 2015 to launch products in the middle of the range rather than the extreme top. So YG showed its excellent new Carmel 2, VTL launched its TL6.5 Series II Signature Line and its entry-level TL2.5i preamplifiers, Ayre showcased a prototype Codex headphone amp and DAC that forms the start of a new lower priced range, and PS Audio announced the new BHK-250 hybrid stereo power amplifier, which takes its name from its designer, Bascom H King.

Of course, the higher-end and even the ultra high-end were well covered, too. Magico’s new QSub18, for example, was a $36,000, 2×18” subwoofer, driven by 6kW of amplification and extensive in-house DSP. So heavy it was bending a marble floor, and so powerful (it needs two 20A sockets to drive it), it was literally dimming the lights on every bass note, but if a job’s worth doing…

We’ll be covering all of these in greater depth over the next week or so, but finally no discussion of the 2015 high-price/low-price dichotomy could be considered complete place without mentioning Wilson Audio. Why? Because it had feet in both camps, launching the new Sabrina floorstanding loudspeaker – the company’s new entry point – and announcing the rebirth of the WAMM loudspeaker at the new top-end of audio. Photos, recorders, and the rest were banned from the WAMM launch, but think of the 2015 WAMM as a taller (and from the front, more slender) version of the Wilson Alexandria XLF, with five adjustable modules for mid and treble (in place of three), above two bass units. This time though, there are no more electrostatic panels. Price was one of the many topics not open for discussion about the WAMM, but expect it to be beyond that of the current combination Alexandria XLF/Thor’s Hammer flagship both in price and performance.