I observed a different side of the YG Anat 3 Signature ($119k) at Axpona. In rotation with the YG entry level Carmel, the Anat was making-do in one of the smaller and more oddly-shaped rooms at the Omni (it ain’t called Omni for nothing) but managed to promote its quieter attributes with stunning low-level resolving power and articulation. With its back to the longest wall in the room it fired into a portion of the room which angled severely to an outside wall. During Shelby Lynne's “Just A Little Lovin’ ” I was reminded once again that premium large loudspeakers operate at a variety of levels, primary among them being resolving power from the softest pianissimos to the most raucous mezzo-fortes. The micro-dynamics the system extracted from this Phil Ramone-produced recording was entrancing And it certainly wasn't hurt by the elegant front-end chain, the superb dCS Scarlatti stack, Veloce’s latest line stage, battery-driven preamp ($18k) and the oomph of the Krell Evo 402E with linkage courtesy of Kubala Sosna Elation mondo-cabling. It was proof that YG’s boots on the ground guy, Dick Diamond and his assiduous room setup can overcome all sorts of hurdles, even weird, small rooms.
I just couldn't get enough of Joseph Audio's Pulsar, the svelte two-way compact ($7.5k). I started feeling like a stalker, since I must’ve returned to the room three or more times. The actual space was similar in configuration to the aforementioned YG room but in this instance Jeff Joseph reversed the speaker placement from the massive YG, placing the angled portion of the room behind the Pulsar–a configuration the YG avoided because of the Anat size factor. With Joseph’s Mac running Channel D software into a Lynx ADC/DAC, and Hegel amplification, the Cleveland Symphony recording of Gershwin’s Porgy and Bess that J.J. had ripped from his original LP pressing was superb–a paradigm of gorgeous, lucid, full bodied sound with extreme soundstaging dimensional properties.