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The 2013 Rocky Mountain Audio Fest

The 2013 Rocky Mountain Audio Fest

I gave myself the assignment of searching for the best-sounding affordable loudspeakers at this year’s show. Sure, it’s fun to listen to the megabuck systems, but there’s something rewarding about discovering great-sounding speakers that nearly any music lover can afford. Of all the systems I heard at the show I’ve cherry-picked the very best sounding, highest-value speakers that are also new to the U.S. market and have not been covered previously in TAS. Most are priced below $6000, with one stunning surprise costing just shy of a grand.

The 2013 Rocky Mountain Audio Fest

Neat Acoustics of England makes some great-sounding loudspeakers, but the company has had a low profile in the U.S. because of on-again-off-again distribution. Now the company has a new distributor, High-Fidelity Services, and a new generation of the popular Motive line of speakers, priced from $1795 to $2995 per pair. The Motive XS series benefits from an entirely new tweeter based on an anodized aluminum dome. The ultra-minimalist crossovers feature expensive Mundorf capacitors—surprising at this price point. In addition, cabinet bracing has been improved, and the tweeter now resides its own sub-enclosure.

The Motive SX line comprises three models; the SX3 ($1795) is a two-way stand-mount, the diminutive floorstanding SX2 ($2395), and the larger floorstanding three-driver, 2.5-way SX1 at $2995 per pair. Each model is available in one of four finishes, walnut, black oak, natural oak, and satin white. I was greatly impressed by the SX2; the sound was smooth, natural, and engaging. The bass extension and dynamics were surprising from a speaker of this size and price. But it was another Neat speaker that absolutely blew me away—the $995 per pair Iota. This tiny monitor, designed to be positioned near a rear wall, features a 4” mid/woofer coupled to a 2” planar-magnetic tweeter. The sound was big, robust, and went far lower in the bass than the cabinet dimensions or woofer size would suggest. But beyond that, the Iota had a sweetness in the midrange and treble that was in sharp contrast with the hardness and glare endemic in this genre. Moreover, the Iota threw a wonderfully developed soundstage. The Iota gets my vote for greatest bargain at the Rocky Mountain Audio Fest. Watch for a review. Incidentally, Neat doesn’t just make entry-level speakers. The company offers eleven models, with the flagship Ultimatum XL10 topping out at $31,195 per pair.

Dynaudio’s newly revised Excite line made its North American debut in Denver. I saw this line’s launch at the Munich show in May, but wasn’t able to audition them. At this show I had an extended listen to the largest floorstander, the Excite X38 ($4500 per pair) as well as the slightly smaller Excite X34 ($3400 per pair). They were driven by the excellent German-made Octave Audio tubed integrated amplifiers. The smaller floorstander fared better in the tiny hotel room than its larger sibling, but both exhibited seamless integration between drivers, tremendous midrange clarity, and a powerful bottom-end. I was struck by the naturalness of piano through the X34; it had an intelligibility that’s rare in any loudspeaker, never mind one priced at $3400. The X34 also played “bigger” than its cabinet dimension and driver complement, spatially, dynamically, and in bass extension. Mike Manousselis of Dynaudio North America, insisted that I listen (briefly) to a track with extremely powerful synthesized bass at a high playback level; my choice of music didn’t begin to explore this loudspeaker’s capabilities. I thought I was listening to a speaker at least three times the size, the bottom end was so extended. Despite the over-the-top bass and listening level, the X34 remained composed. It’s worth mentioning that this dynamic performance was delivered by 70 tubed watts, courtesy of the Octave Audio V70SE integrated amp ($7000).

Although far from new to the U.S. market, I also greatly enjoyed Dynaudio’s Confidence C1 ($8500) driven by some innovative electronics from Germany’s T+A, specifically, the MP 3000HV CD transport/DAC/streamer ($12,500) feeding the T+A PA 3000 integrated amplifier. Watch for more on the T+A electronics in the coming months.

The 2013 Rocky Mountain Audio Fest

I found another good-sounding, high-value loudspeaker from newcomer Endeavor Audio Engineering. This new California-based company launched the brand with three models, the E-1 stand-mount at $1495 per pair, the larger dual-woofer stand-mount E-2 at $3500, and the three-way floorstanding E-3 priced at $5995. All the products are built entirely in California, with drivers sourced from Denmark. The E-3 is a tall and slender model with cabinet that tapers from 9” wide in the front to 5” in the rear, thus eliminating parallel surfaces. The 82-pound E-3 features dual 7” aluminum-cone woofers mated to a 6” Kevlar midrange and a Dual Ring Radiator tweeter from Vifa. Driven by CI Audio’s D-200 Mk.II monoblocks ($4000 per pair), the VAC Standard preamp, and a YFS music server, the E-3 was highly engaging, with an assertive and upbeat presentation. This is a lot of loudspeaker for $6000.

 

Salk Signature Sound, maker of the popular SongTower, showed an experimental high-end stand-mount speaker with wide frequency response and high sensitivity for its size (91dB). It employs the new Exotic drivers from Seas of Norway, leading to Salk’s name for this new model: Exotica. These drivers are extremely expensive and built to a very high standard. Each high-sensitivity driver is measured and tested before leaving the Seas factory. Driven by some exciting and reasonably priced new electronics from Audio by Van Alstine, the Exotica filled a large room with a huge soundstage and had a transparency that rivaled many more expensive loudspeakers. Although just the raw drivers in a pair Exoticas reportedly costs $3000, the complete loudspeaker is projected to sell for $6000 at retail.

The 2013 Rocky Mountain Audio Fest

At the ultra-entry-level, I was impressed by the small powered loudspeakers from an eight-year-old company called Audio Engine. This company’s charter is to build innovative, good-sounding computer-audio products, with no product priced more than $600. The 2+ powered desktop speaker incorporates a USB DAC, 2.75” Kevlar mid/woofer, a silk-dome tweeter, and a linear power amplifier rather than the less expensive and ubiquitous switching amplifier. The price: an astonishing $299 per pair. The 2+ won’t accept high-res digital signals, but you can feed it an analog signal from Audio Engine’s high-res DACs. The step up is the 5+ with 5″ Kevlar woofers, a larger enclosure, and a more powerful on-board amplifier. I didn’t hear the 5+, but the 2+ was shockingly great for the price. In speaking with the designer, it was apparent that Audio Engine is trying to bring audiophile values to mass-market prices.

The 2013 Rocky Mountain Audio Fest

Finally, the most unusual loudspeaker I saw at RMAF was a large stand-mounted two way called the Briton II from dc10audio. What made the Briton II so unusual was not just its Fostex tweeter loaded into a 15.5’ horn turned from a solid block of African wenge wood, but that the 12’ woofer is a NOS (new old stock) JBL model from 1972, replete with white cone. Designer David Counsell explained to me that he chose this classic woofer for its sonic and technical performance, not as a retro-statement. The two drivers are mounted in a gorgeous piece of woodworking that includes Baltic birch ply veneered with zebrawood and inlaid with solid pieces of wenge, and an integral stand with a base made from a block of wenge. In a departure from conventional thinking about what a loudspeaker enclosure should do (and not do), the Briton II features a rear-panel “resonator” that vibrates and reportedly improves the sound. The whole thing is beautifully executed, and is a visual work of art. Driven by electronics from a company new to me called Elliott Studio Arts, the Briton II sounded magnificent. The sound had a palpability and immediacy, yet wasn’t forward. I heard no trace of horn coloration or any sense of discontinuity between the drivers. Low-powered amplifier fans will be drawn to the 98dB sensitivity. Price: $20,500 for the full-blown version as described with the inlaid cabinet and wenge horn and stand. The same speaker in a less expensive, but still beautiful wood, starts at $12,500.

Robert Harley’s Show Highlights

For some reason, I heard better sound at this RMAF than I’ve heard at any show in a long time. Many rooms sounded terrific, all in different ways. Here are some thoughts on the show’s most compelling presentations, in no particular order.

The Magico Q1 stand-mount sounded the best I’ve ever heard it. Featured in the MIT room to show their Oracle MA-X SHD cables and interconnects with Spectral electronics (and with the Q1 flanked by a pair of ASC Tube Traps right next to the speaker to kill sidewall reflections), the Q1 produced the most palpable and realistic midrange and image tangibility I heard in Denver.

One of the show’s best sounds was again the Focal Stella Utopia EM in the room of Denver retailer Apex Audio. But this year the Focals were driven by the new Soulution 701 electronics, a significant upgrade over the 500-series they used at last year’s event. Equipment racks were the state-of-the-art Critical Mass Systems. This system did everything—transparency, soundstaging, timbral realism, and dynamics.

The most gorgeous rendering of timbre had to be the Rockport Avior driven by the new Signature versions of the Absolare Passion Preamplifier and Passion 845 SET monoblocks, connected with the new Echole Omnia cables, interconnects, and power cords. This room just sounded like music.

I also greatly enjoyed the Vandersteen Model 7 powered by all Audio Research electronics in the room of long-time Denver retailer The Audio Alternative. The Model 7 is just a flat-out great loudspeaker, and a bargain in the world of six-figure flagships. The ARC electronics sounded superb, bringing out the Model 7’s best qualities. Incidentally, the Vandersteen Model 5A Carbon, in another of Audio Alternative’s rooms, was also wonderful.

The most intriguing new product had to be the Alpha from Ayon Audio. This black-box component (no front-panel controls) is designed to complement a lower-powered tubed amplifier so that the tubed amplifier can drive a wider range of loudspeakers beyond high-sensitivity models. The Alpha contains a 400Wpc stereo solid-state power amplifier, crossover, and DSP, with the on-board amplifier driving your speaker’s woofers, freeing your tubed amplifier from that burden. When driving the 88dB-sensitive Gauder Akustik loudspeakers with a 30Wpc Ayon integrated amplifier, I was shocked by the system’s dynamics, bass extension, and ability to play loudly. The midrange and treble retained all the qualities of a low-powered tubed amplifier, but with rock-solid bass. The Ayon Alpha delivered the seemingly impossible—the sweetness of low-powered tubed amplifier with the control and dynamics of solid-state, coupled with the ability to drive speakers of any sensitivity or impedance.

It’s a rare treat to hear the SoundLab A-1 full-range electrostatic—one of the greatest loudspeakers ever made. MSB Technology had a pair driven by its entry-level Analog DAC with wonderful results. This system had a startling tangibility, with the massive panels completely disappearing in the tiny hotel room.

It’s getting to be a trend; Zesto Audio with TAD and WyWires never fails to create a wonderfully musical sound. This year they debuted their new power amplifier and their sound was better than ever. This room, at show after show, is always a musical treat.

Wilson Audio had a great showing this year, with outstanding sound in three locations. The first was in the Doshi Audio room with the new Doshi 3.0 Series electronics driving the Alexia. The Alexia also showed well with the new VTL S-400 Series II power amplifier (and all VTL electronics) sourced by a dCS Vivaldi or LP playback via the new Lyra Etna cartridge. But it was in a large ballroom at the neighboring Hyatt hotel where Wilson produced the most spectacular sound. Wilson pulled out all the stops, bringing the flagship XLF and two Thor’s Hammer subwoofers. David Wilson conducted the demo, explaining how he had transferred the analog master of his recording Winds of War and Peace (released on the Wilson Audiophile label as an LP and now available as high-res download) to DSD. This recreation of a wind band playing at full-tilt was truly startling in its realism, particularly in the portrayal of the 40”bass-drum whacks at concert levels. 

Tags: ROCKY MOUNTAIN AUDIO FEST

Robert Harley

By Robert Harley

My older brother Stephen introduced me to music when I was about 12 years old. Stephen was a prodigious musical talent (he went on to get a degree in Composition) who generously shared his records and passion for music with his little brother.

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