Something old, something new. So far,
the two best demo systems I've heard had, on the one hand, components I know well and, on
the other, nothing with which I'm familiar.
First, the unknown commodity. The system that Andy Payor of
Rockport Technologies put together in a smallish room at THE Show sounded utterly
full-range and devastatingly beautiful at the same time. Payor's kingly Altair speakers
($89,500/pair) were used along with a Boulder amp and preamp, and an MBL transport and
DAC. Cables were from Purist Audio. As I played cuts from my demo CD, people filed into
the room, some taking spots on the floor. Even sitting off to one side -- the fellow in
the sweet spot was not going to give up his place -- I could hear the greatness of
this system. The big Altair speakers with their side-firing woofers were effortlessly
dynamic, and they disappeared from sonic view. If you want to hear what your speakers can
do down low, listen to "3000 Miles" from Tracy Chapman's Where You Live.
The Altairs had center-of-the-earth power and weight. The 15 minutes I spent listening
here are ones that I won't forget.
I also thought a system that included components that I use
at home -- Lamm ML2.1 amps and Wilson Audio WATT/Puppy 8 speakers -- made beautiful music.
It was the audio equivalent of comfort food; amidst a city seemingly bursting with audio
gear, this system made sense and helped me relax. Now if it could only do something about
the stiff hotel bed I have to sleep on for the next three nights!
***
The big news regarding CES 2007, at least as far as
high-end audio is concerned, is the change of venue from the Alexis Park Hotel to the
Venetian and adjoining Sands Convention Center. The Venetian's location on the Strip makes
it more difficult to reach -- taking a shuttle is mandatory -- and many of the rooms are
larger than those at the Alexis Park, with only the smallest ones creating some problems
for exhibitors due to their two tiers, which make for small listening areas. Even so, all
of the exhibitors to whom we spoke were enthusiastic about the new digs. The Alexis Park
was beginning to look ragged, and while it was nice to exit a room and step out to
sunshine and fresh air (each room had an outdoor entrance), the long corridors of the
Venetian allow for great expansion and more equitable placement -- no company gets stuck
in a room where traffic will be light.
Thiel CS3.7s and Ayre MX-Rs
Thiel CS3.7 with Simaudio electronics
Jeff Fritz and I spent Monday wandering and listening. Our
first stops were at the Ayre room, in which Thiel CS3.7s ($9990/pair) were playing with a
full system of Ayre electronics, including the MX-R monoblocks ($16,500/pair). Right next
door were the Sonus Faber Elipsa speakers (around $20,000/pair), which were used with a
full system of Primare electronics. The Thiel/Ayre system sounded clear and fast, while
the Sonus Faber/Primare system sounded rich and weighty. I preferred the latter -- the
Sonus Faber speakers made the voices of the Wailin' Jennys come alive in a way the Thiel
speakers didn't. Jeff, on the other hand, preferred the Thiel/Ayre sound, saying that the
Sonus Faber speakers sounded "dark and thick." This difference of opinion led to
a debate about the nature of high-end audio itself. Is it about unerring fidelity to the
recording or a more elusive goal -- a combination of fidelity and the sense that recorded
instruments and voices should sound like they do in real life? I know the answer for me.
How 'bout you?
