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Rocky Mountain Audio Fest (RMAF) 2014 Show Coverage

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#1 ·
Rocky Mountain Audio Fest (RMAF) 2014 Show Coverage

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Reporting from the beautiful Denver Marriott Tech Center for HomeTheaterShack.com, equipment reviewers Dennis Young (Tesseract, left) and Wayne Myers (AudiocRaver, right) are on the scene bringing you highlights from the show.

Index Of Room Reports:

It is finally here!

A few highlights from our first afternoon:

Sponsors Angel City Audio and SVSound both have new speaker offerings at the show.​


Audio manufacturer Light Harmonic is developing a power amp that they claim will put big, expensive monoblock performance into a small, affordable form factor. The class A-B amp will have some interesting little tricks up its sleeve. Product name Keep, part of the LH Labs Geek series.​

Much more to come.

The Rocky Mountain Audio Fest 2014 thread will continue as the open discussion thread.
 
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#27 ·
Tidal Audio


  • Tidal Audio Piano Cera: $24,000 per pair
Tidal Audio

This is Tidal Audio's entry level speaker, the Piano Cera. I liked its ceramic tweeter, which, when combined with a slightly forward voicing, had the effect of beckoning one to listen without ever being harsh.

The Piano Cera reaches DEEP to deliver solid base. When asked to play loud, however, they had a tendency to hold back. They might have been under-powered for what I was expecting of them. Tidal Audio does not exude a "Time to rock, let's crank it UP!" vibe. But simple, honest, clean - these things they did well.

Their products area hand-made in Germany with exquisite precision from the finest components. The beauty of their enclosures was second to none.
 
#28 ·
Acoustic Zen


  • Acoustic Zen Crescendo: $18,000 per pair
Acoustic Zen

At AXPONA in April I reported that the Acoustic Zen Crescendo was one of the most together, speakers at that show, totally at peace with the music, its environment, and the listener. I spend a few minutes with the Crescendo at RMAF to verify that its performance and delivery were as impeccable as I remembered from April. They were.
 
#29 ·
EMRes Technologies


EMRes Technologies

EMRes Technologies develops technologies for licensing in products by other manufacturers. They were showing two experimental projects they have been working on.

Their medium-sized bookshelf speaker enclosure - with a completely unique shape due to the nature of what was inside - packed a 6-foot long Nautilus spiral horn for rear-loading of a 2.5-inch full-range driver into an incredibly small volume. The spiral was 3-D printed, so it presented no imperfect, approximated angles like a folded horn would do. Its exponential opening finished the coupling to the room and helped deliver the rest of the powerful and smooth bass from the modest driver and enclosure. With their driver of choice, they were experiencing efficiency in the neighborhood of 98 dB.

Bass response was very smooth and natural, with no artificially-tuned peak to compensate for the lack of a lowest end.

A tiny boombox-sized enclosure contained a three-foot-long Nautilus spiral rear port for its driver, and also managed to kick out an impressive amount of bass for its size.

Their Rev 33 Headphone Cleaner, for lack of a better term, was an entirely passive in-cable device that worked to improve the clarity of headphones. Also experimental, it had been tested by musicians on stage to reduce ear fatigue and improve the clarity of their in-ear monitors while performing.
 
#30 ·
HiFiMan



  • HiFiMan HE-560 Headphone: $900 each
  • HiFiMan HE-6 Headphone: $1,200 each
HiFiMan

HiFiMan makes planar-magnetic headphones. I experienced their new HE-560 phones, noting that the mid- and high-end had a very clear, open sound. But I also tried on the HE-6 flagship model, and it was easy to hear that its high-end was very refined. In asking if I could review the HE-6, I was informed that it was about to be replaced. We shall patiently awaiting said replacement, and hope to be able to review it for HTS.
 
#31 ·
I've known Mark for a few years, now, he always brings his A game when demonstrating his gear. This time was no exception. Even in light of short set up time in a small hotel room, The Seaton Sound, Inc./MiniDSP/Dirac Live room was literally a showstopper.

The main attraction was the Catalyst 12C loudspeaker in Black Maple finish. Capable of a 19-20,000 Hz +/-3 dB range, with 10 Hz in room possible, the Master of the Deep needed none of his famous subwoofers on stage for this 2 channel system. Supported by the new MiniDSP DDRC-22DA w/UMIK-1 microphone and Dirac Live room correction software, the sound was dialed in to a "T".

Heavyweight sound that packed the punch of a champion, I watched a guy jump right out of his chair when one demo song started to play! Mark gave a quick on/off comparison of Dirac Live. I noticed that when on, the room seemed to disappear and I was transported to a much larger space. Reverb and hall sound really came through. A convincing example of the control that the DDRC-22DA gives the user over the listening room.

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Wayne's Comments

I have learned to never miss an opportunity to hear Mark's room at a show like this. It always ends up being a special experience in some unexpected way.

A pair of Catalyst 12C powered (2000 w per enclosure) full-range loudspeakers were set up two-channel style. Mark had chosen miniDSP with Dirac Live room correction to support the configuration.

I am neither proponent nor antagonist when it comes to speaker equalization or room correction. When it is done well, involving the right technology and implementation approach, the result can be completely invisible, as I witnessed in three different rooms at RMAF. In other words, the result was so natural that there was no sonic evidence of EQ or room correction taking place, except, of course, that the speakers in question sounded truer and more accurate.

I jotted in my notebook that the soundstage was GREAT (with double under-line), a break-down-the-walls soundstage with super-tight image clarity. And what gave me a special thrill in this case was the dynamic nature of the sound. Every note stood out with an impact of its own. Every sound in the sound field was being presented by way of special delivery. This does not happen by accident.

Mark talked about the Dirac Live mic setup pattern that he used, and it was clear that a thoughtful approach had been employed. I have seen him at work and he knows how to make speaker and room work together. The room earned one of my four Wow! Awards, and my single Most Dynamic Speaker award for the show.
 
#32 ·
The TigerFox Sound System is a room within a room, it's intent is to allow the speaker to perform it's best by providing an ideal acoustical environment, while reducing sound outside of the enclosure so as not to disturb others.

I found the experience bizarre, with sounds coming at me from all sides, but especially from the rear. I was told it is a great way to get surround sound out of 2 channels, and it certainly did project a surround soundfield, but not in a way that multi-channel is normally mixed. It did make the speakers "disappear", none of the sound could be perceived as coming from the two monitors used in the display.

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#33 ·
Legacy Audio


  • Legacy Audio V Speaker with Wavelet Processor: Price TBA
Legacy

Legacy Audio's new model V is a technological tour de force. It comes with their new Wavelet processor, including onboard preamp, a four-way crossover with time alignment, complete speaker and room resonance correction (by Bohmer Audio), and a high-end DAC with apodizing ability (to eliminate pre-ringing). Frequency response smoothness was awesome and clarity was impeccable. My first experience with Legacy was at AXPONA back in April. Now I can not pass their room without hearing what they have to offer.

The Legacy "sound" is not at all shy about including a high end that is a little bit in your face, and by that I mean flat. Legacy sets the pace for giving you a high end that is so smooth and so clean that you don't mind it slapping you around a little bit. I often wonder if the trend in some circles toward a high end that gradually droops from 1 kHz on up, following some expert's idea of an ideal target curve, is a result of listeners trying to avoid annoying peaks and distortions in lesser-quality speakers. The Legacy V keeps it all flat and clean and perfectly timed, and it sounds just wonderful to me, as fresh as mountain spring water.

Sub and bass sections are powered with 1400 watts of internal power, and the two channels per speaker requiring user amplification are 98 dB/watt efficient, very easy to drive. Does all that DSP for basic operation bother you? Get over it. Today's top DSP technology is as high-end as anything else you can call high-end in audio, and in the Wavelet processor is just plain invisible, except for its positive effects.

The Legacy V system was supported by:
  • (2) CODA 15.5 Amplifiers - $10,000 ea
  • Ayon Audio CD-07 Player
  • Wireworld Cables
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#34 ·
I've been wanting to lay ears on Cabasse speakers for a while, so I ducked into the Esoteric/Cabasse room for that opportunity. Backed by ne plus ultra electronics, I was informed that this system debuts the Grandioso C1 linestage preamp. This was not a planned stop, so I didn't get specifics on the rest of the gear.

A little warm in the midbass, but without giving a sense of bloat. Deep and wide was the soundstage, with very good dynamics which belies the size of the point source Cabasse 3-way loudspeakers.

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#35 ·
Von Schweikert Audio


  • Von Schweikert Unifield II Mk-3: $12,000 per pair
Von Schweikert Audio

Von Schweikert Unifield II Mk-3 is a three-way compact speaker consisting of woofer and concentric mid/tweeter. The soundstage was nice, image clarity a bit soft, a pinpoint source appearing about the size of a beach ball. But then some people prefer a bigger softer image.

The concentric mid/tweeter design created a very unified upper frequency range. Overall, the frequency response had a bit of a characteristic contour, free of any annoying peaks, but definitely containing its own voicing. The Unified II Mk-3 reached into inter detail very effectively.

Von Schweikert Audio has done interesting research into sound reproduction over the years. I look forward to hearing some of their bigger speakers.
 
#36 ·
oBravo Audio


  • oBravo Audio HAMT-1 Headphone: $2,000 each
  • oBravo Audio HAMT-2 Headphone: $1,500 each
  • oBravo Audio HAMT-3 Headphone: $1,000 each
oBravo Audio

The oBravo Audio headphones combined a neodymium dynamic driver with an Air Motion Tweeter (AMT), a true two-way headphone design. I am a real AMT tweeter fan, and the clarity and smoothness characteristic of an AMT was in evidence in all three models. All the things that are hard about the upper-mid and high-frequency response in headphones, the HAMT series seemed to get right.

Moving successively from the HAMT-3 to the -2 and then -1, it was clear that the tonality was more controlled and refined at each step. Craftsmanship was incredible, it made me think of riding in a Rolls Royce (I never have) with hand-stitched leather and polished fine wood everywhere. They are truly beautiful headphones.
 
#39 ·
I ducked into the Home Audio Sound LLC room to listen to Harman's best. The Everest gave good account of it's self. Never harsh, but I did not get to hear it LOUD like I would have liked, and there was conversation going on in the room, so I had to move on. I sure would like a pair of those Mark Levinson amps.

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#40 ·
The Listen Up/GoldenEar room had it going on, showcasing this latest creation from the mind of Sandy Gross, the Triton One.

I've heard almost all of the GoldenEar speakers at a local hifi hut, and find it amazing they can bring all of these different drivers together to sound as one. I've played the trumpet (and most of the other brass horns, too, when I was younger) and Hugh Masekela: "The Coal Train" played through the Triton One portrayed that instrument as real as any other speaker I have heard. No added warmth, not cold, nor sterile, the Triton One just tells the truth.

Tsuyoshi Yamamoto Trio: "Misty" was a piece that really brought out the best of this system's capabilities. During the solo upright bass intro, you could hear the fingers on the strings well enough to almost envision fingers plucking away. Piano (an instrument my mother insisted I take lessons on), probably the most difficult of all instruments to reproduce, was almost perfect. Again as good as anything I've ever laid ears on.

While this was a music only system, I have no doubt the dynamic Triton One would be very comfortable in a home theater system as well. Definitely one of my favorite exhibits of the show.


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Wayne's Comments

I have heard so much about GoldenEar in the laast year that I had visiting their room as top priority on my RMAF Gotta Get There list. The pair of Triton 1 speakers was set up along with carefully-placed absorptive panels in the room, and company president Sandy Gross was on hand to answer questions.

Wow! I wrote the word 3 times in my notes. The soundstage was simply gargantuan, with image clarity as sharp and precise as any at the show. The disappearing act performed by the Triton 1 was so complete that you could be blindfolded and never never guess their location sonically. I noted more than once how effective the room treatment was to help accomplish this.

Attention to detail, everything about room and speakers said it. And the tweeters? Throughout the show I was listening for and to tweeters. It was as though the Triton 1 speakers had none, and the treble frequencies were conjured into the air by some other means. The high-velocity folded-motion tweeter was exceptionally transparent.

Getting ready to spend $5,000 on a pair of speakers? If you buy something else, be sure you avoid any and all contact with a Triton 1 afterward, or you will probably just cry.

I was able to listen to a number of my test tracks, and for most of them simply wrote the word [/i]perfect.[/i] That is how good everything sounded through the Triton 1.
 
#41 ·
If you attended the 2014 RMAF and did not stop by the Vapor Audio/Antipodes/Allnic Audio/Verastarr/Running Springs/GIK Acoustic exhibit, then you missed a big part of what these shows are about. Those that did not attended RMAF, this is one big reason why you would want to!

The system, anchored solidly by Vapor Audio Joule Black loudspeakers, gave one of the best performances of the show, as has become the norm for exhibits from this manufacturer.

Random tracks of music were played, the Antipodes DX media server controlled by Vapor owner Ryan Scott's mobile phone, with the signal passed to the Allnic D5000 DHT DAC and Allnic T2000 integrated amp. Verastarr cabling tethered the juice while the Running Springs Dimitri Power Conditioner kept tabs on the electrical power. The cumulative effect was balanced and ultra smooth, with correctly sized images playing on a life sized stage. A simple description of the sound, with all the attributes that a great sound system should deliver, yes? But it is the trademark Vapor Audio all-day-long listening smoothness that tends to keep one planted in their seat, putting off chores and sleep, that differentiates their loudspeakers from the crowd.

The Joule's RAAL 140-15D Amorphous Core ribbons and 7" custom Audio Technology midranges are kept within their comfort zones by a single cap and coil. The Audio Technology 10C77 loaded into 10:1 Tapering Transmission line bass cabinets can be tuned to individual rooms by the addition of newly introduced room compensation networks. Insisting that looks match the sound, Vapor Audio refuses to make an ugly speaker. Absolutely gorgeous cabinets, with bomb shelter solid stacked ply construction and proprietary damping treatment, ensuring the enclosures add no sound of their own.

Displayed to the side of the room were the new Tuonare. Striking design with Vapor Audio DNA, this is their first loudspeaker for retail dealerships.


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Wayne's Comments

I gave the Vapor Audio Joule speakers a thorough workout. This was done partly because it was clear that they would stand up to the scrutiny. I have yet to find an area of disappointment worth mentioning in any of the Vapor Audio speakers I have listened to in the last year at three audio shows and in Dennis’s living room.

Broken Bells, Perfect World, the Joule speakers had a very smooth high end. Imaging was very good and the focused kick drum was very punchy.
A Nickel Creek track was presented with a very large soundstage and all the acoustical instruments had a physical presence in the room, as did Mindy's Smith’s voice on I Know the Reason. Male and female vocals were especially enjoyable.
The bells and cymbals on Todd Rundgren’s Compassion were very precise and revealed how cleanly and effortlessly the RAAL tweeters extended to well beyond the range of hearing. Tonality overall was very accurate, very even, with a high end perhaps minutely more forward than I was expecting, but not off-putting in the least. The Tower of Power brass section absolutely sizzled on Fanfare/You Know It, and the baritone sax sounded cooler than in person.
Atoms for Peace, Before Your Very Eyes, the bass was tight, tight. Definition and clarity were excellent.
On Todd Rundgren’s Pulse, the sampled xylophone was punchy and accurate.

Although I have preferred some Vapor Audio speakers over others for the subtlest of reasons, I have never met a Vapor Audio speaker I would not be delighted to own and show off in my listening room. The Joules would be welcome there indeed.
 
#42 ·
I popped in to room 1100 for a quick listen to the latest from Duke LeJeune. The AudioKinesis Zephrin 46 uses the Late Ceiling Splash configuration developed by James Romyen. The Zephrin 46 is a smaller, one piece version of the Dream Maker LCS.


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Wayne's Comments

The AudioKinesis room was the first I visited on Saturday, the second day of the show. The Zephriin 46, an MTM design, immediately grabbed my attention because of the very wide, very deep, very natural soundstage it was producing. Like another pair of speakers I reviewed recently, the Zephrin 46 has a set of rear drivers for the purpose of projecting soundstage reflections off the front wall of the room.

The result was a thoroughly enaging soundstage with fairly tight imaging. I heard wider soundstages at RMAF, but the depth and fullness of that from the Zephrin 46 was in a class of its own. Clarity was excellent, The horn-loaded tweeter produced no horn-like sound whatsoever. Lows, mids, and highs all worked together as a single sonic entity, I love the way a good MTM design can accomplish that.

It was easy to tell that the Zephrin 46 had been set up with care. A piano track allowed them to show off each note individually in a very tactile manner. A snare drum had a big, focused punch on each strike.
 
#43 ·
"Truly holographic, best bass I've ever heard, I want these speakers". That is how my notes start off for the Emerald Physics/Underwood Hifi/Wyred 4 Sound/DSPeaker room.

The system featured the Emerald Physics EP4.3 open baffle loudspeakers, run by two Wyred 4 Sound EP100.2SE amplifiers, and fed by the MS-1 Server and DAC-2DSD SE. Low end was massaged gently by the DSPeaker Anti-Mode 2.0 Dual Core room correction/preamp. I was shown the before and after room measurement graphs, gently is the correct term here. Very little help was needed, the room response was fantastic to begin with. Unusual for Emerald Physics was the Special Edition passive crossover used in place of the typical active crossover/bi-amp configuration.

Cycling through Daft Punk, The Eagles, James Taylor, Diana Krall, and Alison Krauss, it became clear that this system does all genres well.

Although completely balanced from top to bottom, tonality is nothing special. Not the sweetest highs, no "magical" bloom in the midrange, no pounding subterranean bass. What was special is how lifelike the music was presented to me.

Imaging was spooky real with the best soundstage layering I've ever experienced. Air between performers gave an excellent sense of left and right, front and back. The realism of a performance taking place in actual Euclidean space recreated so well, it gave a sense of being there, or "there" being brought to me!

Complete system price, minus server and DAC source, is only $6795, and certainly the best bang for buck I've ever experienced. One of my favorite rooms of the show.

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Wayne's Comments

The Emerald Physics EP2.7 gave us an excellent imaging and soundstage performance. The soundstage extended far wider than the speaker spacing, and was completely natural. Imaging was very sharp and focused, and completely stable.

The EP2.7 drivers include two large woofers, and a concentric mid/tweeter driver on top. Getting dipoles to behave and deliver solid imaging is not always easy, and subtle design or setup issues can be at fault. No such problems were in evidence with the EP2.7. Imaging was solid and sharp with no transient hick-ups on odd tones. The EP2.7 were among a handful of the speakers at RMAF that delivered the music by way of a sound field as natural as… well, as Mother Nature herself, all with superb clarity and tonality.
 
#44 ·
Jeff Merkel of Merkel Acoustic Research and Design is a Home Theater Shack member, and used Room EQ Wizard to dial in his exhibit for the show.

While the DIY speakers did a great job showing off Merkel's experience, the exhibit was mostly about the room, or rather, how to get the best out of a room. Jeff teaches physics and acoustics at the University of Colorado, and does consulting and seminars related to room acoustics.

I came in just as Room EQ Wizard was getting fired up!

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Here is a video of Jeff explaining room measurement and the benefits of REW.

 
#45 ·
I poked my head in at last year's 2013 RMAF, but the room was packed and I was unable to get more than a few feet inside the door! I made a mental note to stop by this year. The Volti Audio/BorderPatrol Audio Electronics exhibit was talked about all over the Denver Marriot Tech Center and considered by most every attendee a "must stop by" room.

The Volti Audio Vittora is a two piece speaker system with external crossover, the top horn handling everything from 400 Hz on up, and the folded horn bass bin providing the foundation from 400Hz down to 50-60Hz, depending on the room. The optional matching sub fills in the bottom octaves. Signal control and amplification were provided by the BorderPatrol Control Unit EXT1 line stage and the 20wpc S20 EXS amplifier. Source was a custom CD turntable and DAC, and if I recall corrwectly, there is no brick wall filtering or oversampling on the DAC.

Greg Roberts asked what kind of music I like to listen to as he queued up Steely Dan "The Things I Miss the Most", which was fine with me. Donald Fagan's voice starts off raspy, working it's way into Fagan's trademark nasality, mid song. The 104 dB sensitivity Volti Vittora loudspeakers allowed small details such as this to shine through. I had to ask if the matching subwoofer was on, the disappearing act was so complete I was unable to locate it's position in the room by ear.

Ellis Marsalis "Have You Met Miss Jones" was wonderfully reproduced, the piano sounding very realistic as it filled the room. The soundstage wasn't huge, as the room was small and seating was against a wall, but images popped up in life size, simulating performers on a crowded stage, appropriate for the small room that we were in. I would LOVE to hear this system in a larger room.

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#46 ·
TIDAL has been generating a lot of buzz, lately, and I had the opportunity to get an early taste.

Listening through the Electrocompaniet electronics and Nordic Tone Model 11 loudspeakers, I was treated to high quality audio/visual streaming that makes me consider getting this service at home. $20/month gets you over 25,000,000 audio tracks and 75,000+ music videos that are just a click away.

The Nordic Tone Model 1 uses Scan Speak and SEAS drivers, housed in a sand cast aluminum cabinet. Over $1 million (U.S.) in R&D assistance from the Norwegian government helped bring this loudspeaker about. The sound was quite enveloping, I looked around for surrounds, but there were none.


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#48 ·
Room 550 was a REAL treat. I got the opportunity to sit in Paul McGowan's chair, the sweet spot right next to Arnie Nudell, and listen to their PS Audio/Infinity gear. The Infinity Beta IRS were Arnie's last creation for Harman/Infinity.

Wow, I would love to have a pair of these loudspeakers. A top 3 2014 RMAF room, to my ears.



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#51 ·
Right next door was ANOTHER Focal Grande Utopia EM setup from VAC. I have to say that I preferred this system to the other one. Room difference? Gear? Analog source vs. digital? I don't know why for certain, but the Focal tweeter, which I've always found a bit "hot" for my liking, was tamed down considerably in the Maroon Peak Room.


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