Words and Photos by The INDULGR Staff

We attended this year’s audio show with all of our US-based staff present, and even a few friends in tow. What lies ahead is our top picks for the most honest highlights of the Capital Audiofest 2024 weekend, along with an even stronger collection of exhibits that battled for our best-of-show honors. Also included, a photographic oddity “temptation” at the end of our article that shows off the kinkier side of this audiophile hobby.

Enjoy the show!

WADAX, Riviera, Göbel, Bending Wave

Bending Wave is a Florida based dealer-slash-distributor of globally renowned high-end audio brands. Exhibiting at Capital Audiofest 2024, familiar faces in WADAX, Riviera, and Göbel. Often we see monster sized speakers and audio racks filled with glitzy components from the aforementioned makers, but this year was different, but still same-same?

The Göbel Divin Comtesse debuted earlier this year at the Munich High-End Show to great fanfare. Despite representing the smallest footprint yet, and “entry-level” place in the product lineup, the new loudspeaker was reported to omit nothing of the signature dynamics and scale we associate with the Göbel brand. So when it was announced that the plump baby was to make an American debut at CAF 2024, the Bending Wave exhibit moved to the top of our ‘priority rooms’ list. Also showing were WADAX‘s new Studio Player Disc/DAC/Streamer, and a small but powerful collection of Riviera components that don’t shy away from a sturdy asking price.

Our Impressions

• Nice scale for a small speaker, though it’s what we expect from Göbel, and the fact is: multiple 8-inch bass drivers and tweeter horns don’t hide much
• Nice sense of depth and image solidity, again something we expect from the system given the capable speakers and electronics
• If there’s one gripe: treble was a bit disjointed from the rest but still agile and tonally enjoyable, that said, horns aren’t known to be the first word in waveform coherence

Overall, the small (in Bending Wave terms) exhibit system did everything we expected from the coalition of brands reputation. What’s more exciting are the possibilities of large scale dynamics that deliver an unquestionably more refined semi-horn sound. We’re excited to see what comes of the little-big speakers that could.

https://www.bendingwaveusa.com/

Kharma, Conrad-Johnson, 20/20 Evolution Systems

Kharma loudspeakers under the supreme control of Jay Truitt of 20/20 Evolution Systems‘ one-of-a-kind electronics displays is always a fan favourite — if one were to say that audio shows had fans. It’s been our tradition in recent years to stroll into Jay’s exhibit room on Sunday afternoon like we own the place, take a center seat and riffle through an hour or more of what we consider demanding music. Not to say it’s demanding on the listener, but demanding on the playback system. Mr. Truitt’s Kharma helmed systems never fail to leave us speechless.

Making their US debut, a stunning pair of Kharma Enigma Veyron 4D loudspeakers. If you’re an automotive nerd, or just happen to have a pulse, you know the name Veyron well, and know what the word means: powerful, fast, and prestigious. All things we would say are duly earned by the commercially popular toys that bear the moniker. Present company included.

The rest of the ultra-high-end system featured analog playback from Kuzma, digital playback from Taiko and Lampizator, and all manner of signal amplification from Conrad-Johnson.

Our Impressions

• The best Kharma loudspeaker experience we’ve ever had
• Staging extended well beyond the boundaries of the room in both depth and width. The stage was ultra wide, deep, and tall when the music demanded it
• Images were dense and solid with no uncertainty or confusion, all were distinctly outlined and defined
• Overall tone was very warm but without giving up any resolution, supremely enjoyable and listenable, we could (and nearly did) absolutely listen all day without fatigue
• Fleshy and textured, while still forgiving to poorly recorded content
• As with all previous Kharma demos, treble went right to the edge of extension without ever crossing the line into anything unpleasant
• Dynamically true and rendering all types of content, instrument, and voices with fantastic timbre and textures

Overall, 20/20 Evolution Systems always deliver a best-of-show level sound at any show you put them. Though, with our highest praise comes also our highest scrutiny. The Kharma Enigma Veyron 4D was Jameson’s favourite ultra-high-end loudspeaker of Capital Audiofest 2024, while Eric’s favourite of the ilk was the other perennial favourite, TIDAL Audio loudspeakers as shown by The Voice That Is (read about TIDAL speakers further ahead in this article).

To establish a bit of context as to why I (Eric) still prefer the TIDAL speakers, I’ll say this: If I were a younger man, looking to “run at it” still like Jameson, I’d welcome the extra color and interpretation that Kharma brings. Alas, I am a middle aged man now, and looking to the future, I would prefer to plant my roots with the more definitively fresh and clean sound that TIDAL speakers and electronics bring to any listening space.

https://kharma.com/
https://www.2020evo.com/

Kroma Atelier, Blink High End

The Kroma Atelier loudspeakers are made in Granada, Spain by Javier Millan and his son. Each of Kroma’s “Reference”, “Signature”, and “Classic” line of creations merge artistry with technology, in the aim to deliver extraordinary listening experiences. Our staff of experienced audiophile writers agree with that company sentiment, and now so in a bigger way.

The Turnadot model of loudspeaker — on hand at Capital Audiofest 2024 — represents the middle-child of three designations that populate the Reference flagship line of Kroma creations, each being: a big, bigger, and biggest. Each cabinet is fitted with two 12-inch woofers, two 6.5-inch aluminum mid-bass drivers, and two AMT tweeters (one front facing, one rear). Electrical sensitivity on paper is quite good; and impedance, amplifier friendly at 8 ohms. Frequency response is full-range (20Hz-25kHz), and recommended amplifier power is anywhere from 30 to 1,000 watts. Wisdom tells us to aim high.

Our Impressions

• Very classy sounding; no bass bloat or boominess, no harsh or splashy treble, and a midrange section that is balanced and communicative but never interrupting or shouty.
• Presentation of the sonic character may be considered slightly softened to some listeners, but for our ears it’s done so in a pleasant and comfortable way.

Overall, we were quite taken with the high-end sound and finish of the behemoth-like (460 lbs per speaker) Kroma Turnadot loudspeakers. Of special note was how excellently the Turnadots commanded the air of such a gargantuan listening space, possibly the largest ballroom listening-room of the exhibition.

https://kromaatelier.com/
https://blinkhighend.com/

TIDAL for Bugatti, TIDAL Audio, Döhmann Audio, The Voice That Is!

The Voice That Is — is — a Philadelphia based ultra-high-end dealer of prestige audio brands from around the globe. Think, the best-of-the-best. For further context, there are probably no exhibitors/dealers at Capital Audiofest 2024 who play in the same atmosphere as Doug White, founder of The Voice That Is, and the proof is in the system.

It was a “world premiere” for the MC1 Preamplifier from TIDAL for Bugatti, sidelong with the previously exhibited MC1 Digital Controller of the same crossover-brand. From TIDAL Audio‘s own lineup, Akira Loudspeakers and Ferios Monoblock Amplifiers. At the center of the activity, a Döhmann Audio Helix One Mk3 Turntable, outfitted with a SAT CF1 Tonearm and Air-Tight PC-1 Supreme Cartridge. Cabling throughout from Turnbull Audio, audio racks from HRS, and power management from Equitech. All available through The Voice That Is.

Our Impressions

• Described best as a cleansing drinking of pure water on a hot day, the signature sound of TIDAL loudspeakers and electronics is ultra-high-end and clean to the ear
• Imaging is pinpoint and staging is accurate for both width and depth of the background
• Scale of soundstage and instruments, along with layering of instruments and vocals, is portrayed in a way that shows off varied recording techniques
• Jameson says this year’s exhibit presented an ever so slightly thinner sound than in years past but that’s just nitpicking
• We’ve heard best-of-show sound in this exact room on several occasions with TIDAL and The Voice That Is at the helm, and this year looks to be no different

There are a few things you can count on at an audio show: crowds, late nights, and Doug White of The Voice That Is bringing a consistency in exhibition performance, no matter the location, that has dazzled audiophile press writers for over a decade. Also making an appearance for the weekend-long exhibition, Mark Döhmann (as himself) to answer questions and extoll his turntable design philosophy.

As mentioned in a previous writeup (Kharma and 20/20 Evolution Systems, above) the sonic wonderment of TIDAL Audio and The Voice That Is is nearly unmatched. We remain divided on where to attach the best-of-show ribbon, so we ask that they both respectfully share the honors. But wait… there may be another contender ahead.

https://thevoicethatis.com/
https://dohmannaudio.com/

Acora Acoustics, Ayre Acoustics, Now Listen Here

Showcasing modestly priced fare — as shown above, the entirety is just under $240K — we have one of two exhibits from Pennsylvania based dealer, Now Listen Here. As the business name suggests, our attentions were forced to remain as an audience to familiar gear that was producing a yet unfamiliar sound. It honestly left us scratching our heads.

On display Acora Acoustics QRC-2 loudspeakers, which feature solid quartz cabinet construction, shown in white. Electronics from Ayre Acoustics the KX-R Preamp, PX-8 Phonostage, and a pair of MX-R Monoblock Amplifiers. At the center of it all, two choices: for digital the EMM Labs DA2i DAC fed by an Innuos PULSAR music streamer, and for analog the Rega Naia Turntable outfitted with an Audio-Technica ART1000X Phono Cartridge. Bringing things to a close, Finley Audio’s Cirrus line of cabling throughout, and power management via an AudioQuest Niagara 5000 conditioner.

Our Impressions

• The most relaxed and smooth upper frequencies we’ve ever heard from Acora QRC-2 speakers, or possibly even Acora as a brand
• An impressive outing for Ayre Acoustics as well, with the pairing of speaker-and-amplifier producing an inviting and yet remarkably more detail laden output than we’ve ever heard from Ayre when paired with other transducer based loudspeakers designs
• Great imaging in what we know to be an architecturally difficult room
• This level of performance is a testament to the dealer’s knowledge of system set-up, and more specifically sussing out proper speaker placement

Our overall impression of this exhibit from Now Listen Here was that of “everything sounds elevated.” Which shouldn’t surprise us as much as it did, as it wasn’t long ago that Now Listen Here won Eric’s Best-of-Show award with a brand assemblage that many in the audiophile world would never have considered.

https://nowlistenhere.net/

Acora Acoustics, VAC, The Audio Company

It’s been said (by me) that The Audio Company’s (of Marietta Georgia) exhibits should charge an additional-hourly-fee to show attendees, due to the number of audiophiles who flock and loiter the space, soaking in all the luxurious sounds as if they were free Costco samples. Though it’s also unlike me to say that we need to erect walls either, so do with that what you will.

The Acora Acoustics VRC (retailing well plus of $200k depending on granite finishing) is no stranger to our pages. You can read about them HERE, HERE, and HERE. What’s new for Acora and Capital Audiofest 2024 was the first public introduction to the equally market-disrupting MRC series of loudspeakers that range in price between $8k-$16k respectively, with additional marble finishes adding a considerable extra cost over the base price. Acora is known for granite construction loudspeakers, so the departure to marble doesn’t seem like such a novelty at first, but its workability are key to the more affordable pricing. The new MRC series of loudspeakers consist of five models: two stand mount monitors, and three floor-standers. All feature Accuton speaker drivers, which should pique the interest of knowledgeable audiophiles.

Our Impressions

• The VRC was excellent as usual with gigantic staging, huge dynamics, nicely extended low-end, even frequency response, etc, etc.
• Our consensus critique: “The VRC could use a little more solidity in mid-bass fleshiness, specifically the 70Hz-200Hz range.”
• The MRB-1 (in the big room) was extremely impressive and often confused press and show-goers alike as to which speaker was playing between the MRB-1 monitors and the VRC towers
• The soundstaging scale of the MRB-1 was groundbreaking for a speaker of its size, they found a way to pressurize the gigantic room
• The MRB-1 midrange was nicely sculpted and without audible etch, while creating an appreciable balance among the slightly softened top-end
• Overall, the MRC Series experience was almost Kharma-like in its delivery of enjoyability and smoothness without ever crossing into unpleasantness
• MRC-3 (in the atrium exhibit) was able to fill the noisy hotel’s largest possible space despite its modest size.
• Sound with the entry level VAC separates excellent, and didn’t sacrifice any sense of fullness despite being in such open space.

One of our most immediate takeaways, “Dang! Those entry-level VAC electronics are certified giant-killers!” Another, “So are the MRC series loudspeakers.” — Valerio Acora, The Audio Company, and VAC do it again. Not to say that we didn’t expect showstopping results, but to say that we were prepared to be blown away, and yet the sound still caught us off our guard. Bravo!

https://www.acoraacoustics.com/
https://www.vac-amps.com/
https://www.theaudioco.com/

YG Acoustics, Air-Tight, Supreme Acoustic Systems

Preamble: YG Acoustics in partnership with Supreme Acoustic Systems (distributor) brought forth a total of eight Capital Audiofest 2024 exhibits, each in a way showcasing: the upscale linearity of the product lineup, how well they played with others, and how each level of upgrade brought something greater to the sonic table.

Our first and most anticipated visit was to the YG Acoustics and Air-Tight exhibit. The reason? Air-Tight’s all-tube electronics have a sound and build quality that is beyond legendary. Being familiar with the YG Acoustics Haley 3 loudspeakers, we had an idea of what to expect. Still, we entered with clear minds and biases turned off.

As the only source in the room, handling the analog duties, a Danish made Bergmann Modi Air-Bearing Turntable outfitted with a Bergmann Thor linear-tracking tonearm, cartridge to us was unknown. AirTight electronics  included a new Air-Tight ATC-7 Stereo Line Control Amplifier, and a pair of Air-Tight ATM-3211 Power Amplifiers, each delivering a well endowed 120-watts of current per channel. More than enough horsepower for the rigorous trials we intended on putting the loudspeakers through.

Our Impressions

• The best sounding YG Acoustics display at the show, was even better than we expected
• Great frequency extension from end-to-end
• Imaging was extremely three-dimensional with lifelike tone and density
• Staging was sized exactly as it should be (depending on the content) but also revealing of the ambient artifacts of the recordings
• Texture and welcomed coloration for days

While this was our consensus favourite YG Acoustics exhibit, we can’t say this was our consensus favourite YG loudspeaker. We pondered throughout the weekend if YG Acoustics would allow us to bring the XX model (also on display, read ahead) down the hall a few rooms for some afterhours experimenting. Though, we never asked. Maybe next time.

https://www.yg-acoustics.com/
http://www.airtight-anm.com/

YG Acoustics, Soulnote, Supreme Acoustic Systems

In the solid-state realm, the YG Acoustics and Soul Note pairing is looking to be where it’s at. We found in our review of the YG Acoustics Carmel 3 loudspeaker (read HERE) that the Soulnote (also reviewed, read HERE) integrated we had on hand was a stand-out pairing for the loudspeaker review, and thus made the bulk of our sonic determinations based on that marriage.

At Capital Audiofest 2024, the magical pairing was brought to extremes, or should I say XXtremes? Corny ramblings aside, the YG speaker of choice is the XX model, a passive loudspeaker that represents the most current and complete representation of technological expression possible within the YG Reference model line. Married once again to Soulnote electronics, a safeties-off assembly of flagship Series 3 components. The only racked components of non-Soulnote production were the sources; digital music storage and management (but not decoding) was handled by Innuos, and analog duties by a new turntable from Benny Audio, reported about HERE.

Our Impressions

• Yes, we would’ve preferred the use of Air-Tight electronics with the XX passive model of speaker
• The signature of the Soulnote sound came through the XX extreme clarity and expressiveness
• Excellent transient response, extension, and tactility (despite being slightly under-driven by the amplifiers)
• Slight inner warmth, which seems to be a recent theme with newer YG models
• The XX have unlimited potential, and the Soulnote though light on power, impressed nonetheless

The new XX is likely our favourite loudspeaker from the YG model lineup, and would likely be a stronger candidate for best-in-show were it not for the chosen exhibit pairing. Don’t take us wrong, if it weren’t for the Air-Tight exhibit down the hall, this exhibit would have us drooling for more.

https://www.yg-acoustics.com/
https://www.soulnote.audio/soulnote-en/

YG Acoustics, Vinnie Rossi, Supreme Acoustic Systems

The YG Acoustics Haley 3 loudspeaker gets a sequel audition at Capital Audiofest 2024 with new hybrid electronics from Boston based Vinnie Rossi.

The Vinnie Rossi BRAMA Integrated has been making waves in the audiophile press since the report of its inception, along with product renderings. Built for war in the ballroom, the new BRAMA series of electronics: an integrated, preamplifier, stereo amplifier, and a rumored monoblock — look to dominate a segment of hybrid electronics where the density of tube signal handling and the raw power of solid-state amplification converge.

Our Impressions

• Excellent as usual with fantastic resolution
• Dense images, excellent immersion, and gobs of 3D-ness for solid-state
• Great pacing and snappiness, a slight warmth, and certain grace that seems unique to Vinnie’s latest electronics

Both brands are power players in the market spaces they inhabit, and both make a great pairing for those who aren’t quite ready to dive headlong into the deep end of the all-tube electronics. To better the Haley 3 Loudspeaker or BRAMA Integrated — together or separate — would require a preternatural sense of audiophile synergy, possibly deeper pockets, and definitely longer arms.

https://www.yg-acoustics.com/
https://www.vinnierossi.com/

Vivid Audio, True Life Audio, Master Fidelity, GTT Audio

GTT Audio — a New Jersey based dealer of worldwide high-end audio — was displaying the Vivid Giya range of loudspeakers — which we have been fans of for years; you can read our Vivid speaker review HERE — alongside amplification from True Life Audio (TLA), and digital-to-analog conversion from Master Fidelity. We’ve long wondered what tube electronics combined with Vivid loudspeakers would produce, and the combination did not disappoint.

The Vivid Giya G3 S2 speakers supplied for the show system were slightly larger than the ones reviewed by Grover Neville (linked above). The True Life Audio TSI 300 Integrated Amplifier is a hybrid design. The “integrated” is combining two tube preamplifiers (right and left channel) to drive two solid state monoblock power amplifiers for right and left channels. All in one chassis. For the music source, the Master Fidelity NADAC-D and NADAC-C, a two-chassis DAC and Master Clock, which offers state-of-the-art ‘Native True 1-bit’ decoding for the first time. All cabling by Kubala Sosna.

Our Impressions

• We heard a holistic richness of textures and depth that produced a sound like a match made in audio heaven.
• The recently debuted Master Fidelity digital converters, to our ears, have an even more liquidity and tangible texture than the Merging digital converters from which the company evolved.
•  Grover says: “It’s hard to imagine digital audio sounding better than this. Everything from Caroline Shaw to Prince sounded as good as I’ve ever heard it.”

Overall, the GTT Audio exhibit was one the best sounding small rooms and did as such for several reasons. The TLA Integrated performs flawlessly, and the Vivid Audio Giya speakers allow for all upstream components to communicate their complete sonic attributes. In short, this is a nod to Bill Parish of GTT Audio for being able to assemble a system package that exponentially achieves a high-end sound.

https://gttaudio.com/

Qln, Audio Hungary, Alma Music & Audio

Alma Music & Audio, along with help from Well Pleased A/V, were debuting two distinct audio components from a bevy of high-end brands, most of which we are quite familiar with. Alma is a bi-coastal dealer of audiophile treasures with showrooms in both San Diego, California and Sterling, Virginia. I recently paid a visit to Loudoun County, and dropped in to Alma for a whirlwind event. The article of my audio adventure is forthcoming.

Making their debut at Capital Audiofest 2024, a loudspeaker from Swedish manufacturer Qln, dubbed the One V7. This new speaker borrows its looks from existing Qln Prestige series designs, but lifts its sound and internal architecture from the flagship Qln Signature monitor series. Powering the whole affair, the new Audio Hungary Qualiton 300B Integrated Stereo Amplifier, which outputs a stout 25-watts per channel into stereo. If you’re new to the audiophile scene, and you doubt that 25-measly-little-watts can get a loudspeaker moving, let’s hook you up the speaker cables and see how much you wiggle. Carry on.

Our Impressions

• The One V7 leans audibly more toward Qln Signature tuning than Prestige, which is to say more balanced and high-fidelity than Prestige while retaining a smidge of the fun found in Qln’s more affordable designs.
• Jameson says “Teeny Tiny!”, but Eric Franklin Shook says “Big Sound!”

Overall, we can’t express how much refinement and composure these little Qln One V7 monitors express, along with them covering a frequency that left little to desire. It also goes without saying that what we heard was powerful and rich in tone, thanks to the Qualiton 300B amplifier doing its part to leave nothing behind in the audio signal.

https://qln.se/
https://audiohungary.com/
https://almaaudio.com/

Okay, I promised you some kinky audiophile stuff, and well… here it is.

Semrad Audio – Capital Audiofest 2024

“Favorites are fun, Bests are boasts. Temptations are many in the world of hifi reviewing. Perhaps the most alluring, the one that sings the sweetest siren song is the temptation to pretend we know more than we know.”
—Michael Lavorgna of Twittering Machines on Semrad’s CAF 2024 Exhibit

https://www.semradaudio.com/

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Reporting by Eric Franklin Shook

It wouldn’t have surprised me one bit if Acora Acoustics founder Valerio Acora had stayed by the door of this sprawling exhibit and committed himself to the duties of handing out Acora branded socks throughout the weekend. The reason? Because anyone who took a seat for audition (anywhere in the room) would have surely had their socks blown off when the music started.

Yes, it definitely got loud, but the Acora VRC display was also one of the highest quality sounding exhibits of the show — even at high volumes.

Acora Acoustics loudspeakers feature granite throughout each and every speaker (and rack or stand) they make. Granite provides a most stable material to abate unwanted cabinet vibrations, and allows the enclosure interior to remain uninterrupted by bracing structures that are often necessary in wood construction loudspeakers. Though, granite is not the whole story.

All of the Acora loudspeakers are painstakingly researched and modeled in various wood-type materials, and in that R&D form would still represent some of the best sounding designs available. Once the designs are finalized and transferred to granite modeling, and subsequently tweaked more, does the granite loudspeaker prototype go from just ‘class leading’ to attaining ‘untouchable heights’ of detail and musical insight.

Also on display were the Acora granite slab equipment racks, which offer an idyllic platform staging high-end electronics, but also for bringing to a standstill any unwanted room vibrations from making their way into the delicate tube electronics. Several of our team members have experienced the benefits of granite slab racks from Acora first-hand, and in-home, myself included.

If there’s anything lastly to be said about an Acora Acoustics exhibit it is this: The Acora VRCs are mandatory auditioning for those with big boy money looking to enter into high-end home audio at the summit level of sound. Yes, you can spend more, but the sonic capabilities of the VRCs may bring an abrupt end to your search for the ultimate in sonic bliss.

Acora Acoustics (speakers)

VRC-1 in Sunset Fire granite (as shown, price upon request) – base price $218,000 USD pr

VAC (electronics)

Statement 450 iQ Amplifier – $67,000 USD ea
Statement Line Stage – $80,000 USD
Statement Phono Stage – $80,000 USD

VPI Industries (analog)

Titan Direct Turntable – $60,000 USD
Hana Umami Red Cartridge – $3,950 USD

LampizatOr (digital)

Poseidon DAC – $23,000 USD

Cardas Audio cables throughout the system, prices vary.

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I’m visiting on the occasion of Common Wave’s official premiere as an Acora Acoustics dealer, and present are a host of talented folks, including Acora Acoustics VP of Sales and Marketing Isaac Markowitz, to present the entire Acora line up to and including the flagship VRC speaker. After a short luncheon, it’s down to brass tacks, and I strolled past several very nicely arranged setups which included the SRB and SRC speakers in Wes’ chic industrial space.

Words and Photography by Grover Neville

What is most striking about Common Wave is not the taste with which it is decorated, but the feeling of just how intentional and home-like the environment is. There’s a self-contained ecology to the space, which is not limited by mindless Minimalism. Each and every piece here has a story: the lacquered record boxes, Ukiyo-e prints and posters of Jazz legends all feel unified by more than an eclectic aesthetic sense, and more by what they say about the taste of the owner. Everything here belongs without shouting.

The total effect is one of a very nice yet comfortingly lived-in space, and the underlying organization never comes off as antiseptic. Plunking down in any of the plush Danish Modern sofas or lounge chairs I’m treated to the effortlessly clean sound Acora Acoustics is well known for, combined with systems of various price points and one unifying trait: they are all easy to use and sound not only excellent but expensive.

In the main room with the Acora VRC speakers and new flagship gear from Simaudio’s Moon line, the sound was quick, explosively dynamic and even in a way I don’t often hear from a living-room style space. Sure there’s treatment here, but the furniture and overall environ is much closer to a typical living room than a totally customized studio space. The VRC speakers perform splendidly here.

The nearly mirror-polished granite cabinets of the Acora play brilliant tricks in the concrete playground of Common Wave’s art-loft. Minimalist electronic designs Nagra as well as Leben and the aforementioned Simaudio electronics pair for that enviable combination of sleek and stark that defines so much of what is desirable about modern East-Asian interpretations of mid-century modern.

Sound is neither cold nor overly warm, but instead simply human and lively. On the Acora speakers horns snap and bite in that intricate rhythmic dance we call swing, but feel as something unnameable that combines structure with the unbridled desire to dance. When the sound is this good, it’s hard not to want to share the music — another thing I think sets apart Common Wave from other dealers where the experience is focused solely on the individual’s pursuit. Like the Kissa spaces that have clearly inspired it, thoughtful communal experiences
are alive and well here.

Wes Katzir, Common Wave HiFi – Los Angeles, CA (pictured)

In some ways this mirrors the trajectory of Jazz — from the dancehall swing of the 1920s to the more cryptic, cerebral bebop of the ’60s. Jazz has always been an art form seeking to make sense of American life. What then does America reckoning with itself look like when exported to Japan and back? Like playing telephone with Google Translate, you run the risk of the message getting garbled.

And yet Common Wave does not bow to the grey square modular sofas or sad beige of modern Minimalism. The cultural rapport between the United States and Japan that exists in say, the conversation around Spaghetti Westerns, Kurosawa and Tarantino is not a case of garbled translation, but respect and enhancement. Like a great improv it says: “yes and…”

In this case, the Japanese and foreign perspective enhances and asks us to listen afresh to the familiar tones of Miles Davis and John Coltrane. These Jazz giants have moved from trailblazers to members of the canon, and in so doing, lost some novelty. The Japanese pursuit of structure and patterns shows us in some ways what the true meaning and core of the message is.

Jazz is dead because it must die for the next thing to come along. Miles Davis killed Jazz with In A Quiet Way, Bitches Brew and Agharta, by abandoning what had been done and moving to new horizons, expanding and stretching the meaning of the genre beyond its limits. This same diversity and color is vibrantly on display in Common Wave’s unpretentious but precisely curated living-room-esque listening spaces. What’s here feels real because it charts its position in time by referencing the canon. It is not just for the connoisseur of hi-fi but those who live and care about music.

Besides giving you a realistic taste of what a high-end living space can be both sonically and visually, Common Wave has an excellent selection of ‘real’ music and records – as opposed of course to fake music. You won’t find a plain musical choice here, from rare cuts of Yoko Kanno and The Seatbelts to import copies of live recordings by Bebop titans from Tokyo venues, the message is more than clear. Jazz is dead, Jazz is alive. It was the best of times, and the worst of times. But most of all the music — whatever you choose to call it — is living, breathing, and in the flesh at Common Wave.

www.acoraacoustics.com
www.commonwave.net

About the Author

Wanderer, Wonderer, Musician, Actor

Grover Neville resides in sunny Los Angeles, California, and is a graduate of the Oberlin Conservatory of Music where he studied music and creative writing. After graduating he pursued a freelance career in audio, and professional research in the fields of Auditory Cognition, Psychoacoustics, and Experimental Hydrophone Design. He is a native of Chicago, Illinois and previously did work there as a mixing and mastering engineer, working in music genres such as Avant-garde Classical and Jazz.

As a transplant to Los Angeles, Grover still works in the music industry, but now adds the video game and film industries to his calling. He is actively pursuing a career as an independent musician, composer, and producer.

Grover previously contributed to Innerfidelity, Audiostream, and Part-Time Audiophile—before becoming an editor and co-founder of INDULGR magazine.

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Reporting by Eric Franklin Shook

This year’s CAF show was larger than ever, and I will attest that the vibes were off because of this. There’s just so much work and play that one can do in a single weekend. There’s true work to be done on the side of the exhibitors that also includes b2b meetings. For “the press” there’s a ton to see, cover, and hear.

Our coverage spans the usual three days, and will include a few auxiliary pieces that spotlight specific exhibits that we felt merit a deeper dive. Look for those extra articles to arrive in the coming weeks. For now, let’s take a quick tour of what caught our attention at CAF 2023.

Do stay tuned-in to this page and our social media outlets as our daily coverage from CAF 2023 rolls out over the following days. For quick access, each day’s article will be linked below as they publish.

Capital Audiofest 2023 | PREVIEW
Capital Audiofest 2023 | DAY ONE
Capital Audiofest 2023 | DAY TWO
Capital Audiofest 2023 | DAY THREE
Capital Audiofest 2023 | BEST OF SHOW

Capital Audiofest 2023 | DAY ONE

ModWright Instruments + ACORA Acoustics

The new ModWright KWA 99 monoblock amplifiers (and associated MWI electronics) really showed us what they’re made of in this reference performing system. Be it digital bits handled by a stellar Weiss DAC 204 or an analog chain that included a SOTA Cosmos Eclipse w/SME V 9-inch tonearm, the final result was insightful, layered, and dense.

The Acora SRB speakers are a well known entity within our camp of writers, and to hear them driven as such with the new ModWright electronics feels like a bit of a climax in the long-term narrative of ModWright Instruments designs. The MWI LS 99 preamp, KWA 99 monos, PH9.0 XT phonostage, and Analog Bridge all seem ready for high-end primetime without the high-end price.

Right now, the MWI electronics sound like a reference value that only you and I know about. Other parts of the system included a phono cart from Ortofon, cables from Cardas, and rustic rack from Fern & Roby.

www.modwright.com
www.acoraacoustics.com

BAYZ + VAC

There will be several who encounter a Bayz exhibit with prejudice due to the visual appearance of the Bayz Counterpoint loudspeakers. Thinking of them to be a gimmick wrapped up in high-end materials. I’m ready to debunk those thoughts. What I heard from the Bayz flagship speakers was dynamic, spatially immense, and laser cut with details.

Radial type speakers are known for transmitting the venue of the recording more convincingly than conventional driver-in-box designs, but what’s more special here (IMO) is that the radial design isn’t the story. The story is the bottom-to-top cleanliness of the presentation. The only imparted distortions were the ones we welcome from the VAC tube electronics used upstream.

Other parts of the system include digital sources and cabling from Aurender, Esoteric and Shunyata, new analog cables and power handling from Bayz, and a hybrid rack from Solid Tech.

www.bayz-audio.eu
www.vac-amps.com

Zu Audio + Black Ice Audio

Zu Audio and Black Ice Audio had two exhibit rooms at the show, with this one featuring Zu Soul 6 speakers grabbing my attention in unexpected ways. The coherent driver design is one of my favorites, but only if it’s done well. In the wrong hands this formula can sound constricted and shut-in, which to my ears goes against the idea of stereophony in the first place.

In the right hands, which in this case is Black Ice Audio tube electronics, the presentation has the opportunity to play with time and space like no other. This is what synergy is about. I’ll be honest, I didn’t expect to be as impressed with this system as I was. My own experiences with Zu audio out in the real world have been a mixed bag of trial and error when it comes to amp matching a Zu fronted system.

www.zuaudio.com
www.blackiceaudio.com

MSB + MAGICO + Acoustic Signature + Overture AV

If you know, you know. It’s MSB and Magico — do I need to say more? In fact, yes.

This system brought forth by Overture AV of Delaware totaled in cost just a tick over $380K. It’s well known that digital and amplification from MSB when pushing Magico loudspeakers is like butted sex on a cinnamon roll. But something I don’t think I’ve ever experienced before, is analog in an MSB and Magico show system.

Enter Acoustic Signature and their Montana NEO turntable, mated to a Van den Hul Grail SE phonostage. One of the younger members of my team, which could be any of them considering I’m the oldest, remarked positively about the sense of added dimension when going from a digital recording to analog in this system.

This room was set up with expert precision. From speaker placement to component matching. Bravo!

www.overtureav.com

Primare + Stenheim + VPI Industries + Nexus Audio Technologies

My listening notes say: simplicity equals transparency.

I’ve always had a bit of a crush on Primare electronics. For the last two decades their facade design has only refined itself, while always looking ahead of its time. For this exhibition it was Primare throughout,  preamp with DAC, a component phonostage, and two stereo amplifiers to fill out the rack.

On the speaker end of things, a pair of Stenheim Alumine Two.Five (2.5 colloquially) which feature minimally invasive (my words, not theirs) crossovers and drivers that do well to add soul and character to their all aluminum enclosures.

In a discussion with the youngest member of the team, we talked about this exhibit system’s components and asked the question: who benefits? The Primare electronics are remarkably affordable, while the turntable and speakers are between four and ten times the asking price. The answer: everyone. Primare shows that it can hold its own when it comes to tying together pricier gear. Stenheim flaunts its efficiency and the ability to play well with others.

www.primare.net
www.stenheim.com
www.nexusaudtech.com

Heretic Speakers + Thöress + Wattson Audio + Luna Cables + Olde Forge Audio

Is there such a thing as a maestro in high-end audio?

David Cope of Olde Forge Audio has been imitated by more new dealers of hi-fi than I can even begin to list without offending someone. If anything, this CAF exhibit is exactly what it should be: an invitation. Curation is such an important part of system building, and Mr. Cope has a sense of taste in the matter that is as right on trend with where several members of the industry would like to arrive one day. That’s high praise, and rightly earned.

Partnering with Phonographe Distribution for this exhibit, which distributes Luna Cables, Wattson Audio, and Thöress in North America, Dr. Cope paired the aforementioned brands with a distinctly old-school set of loudspeakers. The Heretic AD-614 are a coaxial 12-inch driver speaker which eschews modernity by choosing serial crossovers and slot venting as opposed to the more common tuned port and parallel crossovers of today.

With somewhere around 20 wpc of amplifier power, the system didn’t sound short of dynamics or headroom. Nor did the fact that digital as our only source available make the experience seem any less settled and inviting for long term listening.

www.thehereticspeaker.com
www.thoeress.com
en.wattson.audio
www.lunacables.com
www.oldforgeaudio.com

Audio Note UK Ltd + Deja Vu Audio

An all-Audio Note UK system, that in total reaches above a $100K outlay, the vibes are here in spades.

Before permanent magnets like alloy and ferrite were commercially sensible, field-coil electromagnet drivers were all the rage. Yes, I’m speaking about way back when, the early days, the twentieth century. The field-coil does things differently, and maybe for now, that’s all you need to know.

The electronics are more conventional, as far as one can say that tube electronics in 2023 are conventional outside of high-end audio circles. The speakers are of the field-coil type, and for those who dabble in such things, they will tell you that FC-type speakers are superior in concept. For myself, I hold the rest of my judgement on the matter to implementation. I have a heap of respect for brands that still design around the FC design scheme, and more when they make solid choices of where to use them.

Deja Vu Audio is a Virginia, USA based dealer and purveyor of system building.

www.audionote.co.uk
www.dejavu-audio.com

Vivid Audio + Mola Mola + Grimm Audio + GTT Audio

Undoubtedly one of the most high-end experiences at the show that may have not worn that label so strongly. When it comes to Vivid Audio you kind of get caught up in the art of the design. However, the engineering backs it up sonically without fail.

Much of what I heard at CAF for the GTT Audio exhibit can be further bolstered better by Grover Neville’s latest review of the Vivid Giya G4 S2 loudspeakers. This won’t be the first time I defer to Grover’s writings to better encapsulate the experience.

www.vividaudio.com
www.mola-mola.nl
www.grimmaudio.com
www.gttaudio.com

VAC “Valve Amplification Company”

Though only on static display, I felt it necessary to cover the existence of the new VAC Essence line of tube electronics.

All VAC electronics are handcrafted in the USA and define what “heirloom quality” can be in terms of audio components. The Essence line receives exceptional engineering and design from its upmarket brethren. So we expect them to sound as musical and as insightful as their brand moniker implies.

VAC Essence Linestage – $9K
VAC Essence Phono – $9K
VAN Essence 80 Monobloc – $9.9K

Countless systems we’ve heard and reviewed from have included VAC tube electronics. Take this as our stamp of approval.

www.vac-amps.com

TriangleArt

TriangleArt is a US based manufacturer of high-end audio dream-fodders. Each of them clad in gold honey, and built as if the US military had spec’d the design requirements for NORAD use. The brand is an audio show mainstay and does well to put on an eye-catching exhibit.

A recent addition to the TriangleArt family of products is the new Metis horn loudspeakers, which from a few of the show attendees I spoke to was remarked as their favourite horn speaker of the CAF 2023 weekend.

This wraps up day one, stay tuned for more coverage to come.

www.triangleart.net

The post Capital Audiofest 2023 | DAY ONE appeared first on INDULGR.

Reporting by Grover Neville

More of our reporting on THE Show 2023 can be found here.

Aurender

Ari Margolis of Aurender presented Aurender’s new AP20 integrated amplifier, which combines streamer, DAC and amplifier into a single elegant Aurender housing for the first time. The Amplifier modules are Bruno Putzeys’ Purifi Eigentakt 1ET400A units, and will put out a beefy 200W into 8 ohms. DAC duties are accomplished with an AKM4497. Volume control is a resistor stepped attenuator. Overall a very classy package… but that’s not all.

The AP20 is loaded with additional features, some technical like the OCXO fpga-based clocking system, while others are more functional such as the suite of analog and digital inputs, analog pass through, hard-drive expansion slots, and critical listening mode which darkens the front panel screen for those late-night listening sessions. My impression of the featureset is that this an exceptionally livable product.

The question remains however, how does it sound? Driving the Estelon Aura speakers on display, which have a rather punishing 4 ohm nominal impedance and 2 ohm impedance dip at 58hz, the sound was clean, clear and actually a little on the smooth and sweet side of neutral. Color me surprised – I’m quite impressed with what I’ve heard of Bruno Putzeys’ Purifi modules, and this was no exception. Ari Margolis’ excellent DJing didn’t hurt – seriously, this guy is one of the nicest and most knowledgeable folks in hifi – and I’m eager to hear more of what this unit can do.

Aurender AP20 all-in-one – $22,000

Boulder

The Acora Acoustics room mentioned in the speaker part of our T.H.E. 2023 coverage was being driven by a pairing I have not personally heard before – that esteemed Colorado manufacturer of solid state gear. While Acora is often spotted mated to VAC 452iQ monoblocks, these were replaced this time with Boulder 2100 series gear.

Amplifier duties were done by the 2150 monoblocks, delivering an earth-shattering 1000W into 8 ohms, doubling right down to 2 ohms. This was paired with the 2110 linestage which is no less imposing a piece. Together these brought out a purity and precision in the Acora VRC speakers that made for what was probably the best sound of the show. Loads of clarity, width and imaging precision were on offer without a hint of antiseptic qualities. Seriously impressive.

Boulder 2150 monoblocks – $128,000/pair
Boulder 2110 line stage – $76,000

Nagra

Doing phono and digital duties in the Acora and Boulder room were Nagra tube units, mated to an Innuos Statement and TW Acustic turntable respectively. The Innuous Statement was leashed to a Nagra HD DAC X, and the TW to a Classic Phono with external power supply.

Both digital and analog had plenty of impact, dynamic and palpability, but the tubes in the Nagra did not make themselves known much – the sound was so quiet, clean and clear through both chains you might not have known there were tubes in the path at all.

Nagra was also displaying alongside YG speakers and a Moonriver Audio integrated, and to my ears the Nagra tube gear here was again making that very classy precise sound with near-solid state precision.

Nagra HD DAC X – $70,875
Nagra Classic Phono Package with PSU – $42,950
Innuos Statement 2TB music server/streamer with Next-Gen PSU – $22,100

TW Acustic

TW Acustic provided the turntable and tonearm for the Acora room, and while digital was excellent in-room, the Vinyl was on another level altogether. Rich, vanishingly quiet and punchy in a way that is altogether TW – my experiences with these tables have been nothing but superb time and time again. T.H.E. 2023 was no exception, and at the asking price, while they may omit some of the bling of more expensive tables, the TWs offer stunning levels of sonic performance.

Although the digital in the Acora room was fully satisfying and rich, the vinyl setup added additional density, lower register dynamic slam and a slight sparkle to the treble that I found just that much more musically engaging. I could live with either setup, but I’d probably pick the vinyl everytime given the choice.

TW Acustic Raven LS-3 turntable – $24,000
TW Acustic 10.5 tonearm – $6,000
Lyra Etna Lambda SL cartridge – $9,995
Erodian EVO step-up – $6,000

Westminster Labs + Ars Machinae

Gary Leeds of Here This was present showing off Westminster Lab Rei Class-A amplifiers which were bridged as monoblocks for even greater power output. These are pretty amplifiers, boasting clean lines and a modest form factor – things usually antithetical to the North American concept of Class-A amplifiers as large, hot and heavy. With a pair of Raidho speakers however the sound in the room was extremely dynamic and more even than I am accustomed to hearing with these speakers. I came away quite impressed, and you’ll hear more from me about these little amps.

Equally responsible for the sound was likely the Westminster Lab matching Quest preamplifier which features a fetching minimalist front panel with dot-matrix display. Again, this is design I expect to see at Munich High-End, not so much stateside, but I’m delighted to find brands executing products with beautiful form, great functionality and great sound.

Sources included a Berkeley Alpha DAC, and an Ars Machinae M1 turntable from Germany – an absolute beast of a turntable, that not only matched the Bauhaus-minimal aesthetic of the system, but was among the best built turntables I’ve ever laid eyes on. Stay tuned for more from Gary and both of these brands.

Westminster Labs Rei monoblocks – $32,900
Westminster Lab Quest preamplifier with full carbon shielding – $24,000
Ars Machinae M1 turntable – $35,000
Ars Machinae Isolation Base with Finite Elemente footers – $2,750

The post The Electronics | T.H.E. Show 2023 appeared first on INDULGR.

Reporting by Grover Neville

More of our reporting on THE Show 2023 can be found here.

Acora Acoustics

With a price north of $200k USD the Acora VRC loudspeaker is an absolute assault on the state of the art in audio reproduction. Designer and owner Valerio Cora, while humble about his achievements, is a consummate connoisseur of high-end audio, and his sensibilities show clearly in his speakers. This room threw a huge soundstage, with a sense of never-ending headroom, huge dynamics and nearly limitless clarity. Partnered with Boulder and Nagra electronics, this room was among the cleanest and most even sounding rooms at the show.

Acora VRC – $218,000 (pair)

Estelon

Showing with Scott Walker Audio, Estelon loudspeakers had several rooms, but this one, with presentation and music selection by Ari Margolis of Aurender stood out not only for its music selection, but also for its sweet and inviting sound. Some of the smaller Estelon Aura speakers demand amplifiers with plenty of power and refinement, and the Aurender integrated was happily cruising along, demonstrating with ease just how good great a single-box solution can be. A marriage of excellent design and sound.

Estelon Aura – $19,900 (pair)

Linn Audio

Hi-Fi icons, Linn Audio of the UK, long absent from the North American show circuit made a debut of their new 360 loudspeaker system, which is firmly entrenched in the digital realm. Digital output from the Linn LP12 turntable goes into the Linn Klimax DX for DSP (digital sound processing) and then on to the new 360 loudspeakers, which have a dedicated D/A converter and amplifier for every driver. While unashamedly digital, the results were impressive on the familiar ‘Paper Tiger’ cut off Beck’s Sea Change LP. Tonal balance in the mids and bass was excellent, and despite a rather large boost above 8-10khz, the system was very listenable. A good example of a bright speaker done well, and like the aforementioned Estelon/Aurender room, a nice example of great design married to good sound.

Linn 360 Speaker

• Exakt Integrated Variant (for use in conjunction with a Linn DSM Network Music Player): This model incorporates all crossover, amplification, and digital-to-analog conversion circuitry within the speaker. Prices start at €87,500 (pair)
• Passive with Aktiv Bass (PWAB) Variant: This version requires 3rd-party amplification or an all-external Linn Exakt system using Exaktbox. Prices start at €55,500 (pair)

TAD Labs

TAD Laboratories (Technical Audio Devices) had one display of their newest Compact Evolution loudspeakers (TAD-CE1TX), looking smart and running on an all TAD Electronics stack. This room was packed throughout almost the entire show, and the sound was nothing less than smooth and even handed. Though bass was not thunderous, the speakers filled up the modestly sized hotel room well and I can see these being excellent for those with space constraints who don’t want to give up output.

TAD CE1TX – $32,500 (pair)
TAD CR1TX – $89,000 (pair)
TAD ST2TX Stands – $2500 (pair)

Von Gaylord

Though not a new brand, it’s one that I was previously unfamiliar with. Alas, this room was quite the sonic surprise. Both the amplifiers and loudspeakers were made by Von Gaylord, and were putting out a very sweet and musical sound with particularly wide and stable imaging and a lightning fast midrange. This is definitely a brand I’ll be keeping an eye on.

Von Gaylord – Return of the Legend $4,900 (pair)

YG Acoustics

Showing with D’Agostino and MSB Technology electronics, YG Acoustics loudspeakers had their new line of more affordable Peaks Series making excellent sound, a trend continued from Axpona 2023 this year. My preference was for the smaller bookshelf room, which seemed a little livelier and more open, whereas the large MSB and D’agostino stack, though impressive, seemed a little unengaging and overdamped. Overall tonal balance and dynamics were spot on in both rooms however.

YG Tor Monitors – $10,500 (pair) + $1,500 Stand (pair)
YG Descent Sub – $7,800
YG Ascent Towers – $19,800 (pair)

The post The Speakers | T.H.E. Show 2023 appeared first on INDULGR.

AXPONA (Audio Expo North America), the largest consumer audio show in North America, returns to the Renaissance Schaumburg Convention Center and Hotel April 14-16. Longtime exhibitors and partners will be joined by more than 25 new manufacturers and dealers making their debut at the 2023 show, offering music lovers and audiophiles the very latest products in the industry.

AXPONA is known for featuring world-renowned brands and manufacturers, showcasing the most innovative products and services in the high-end audio industry. It is the place where manufacturers and dealers unveil their latest offerings, in a wide variety of price points and mediums.

AXPONA Schedule
Friday, April 14 10am-6pm
Saturday, April 15 10am-6pm
Sunday, April 16 10am-4pm

Open to the public, AXPONA offers a variety of ticket options for attendees.

TICKETS

1 Day – $25 online, $30 onsite
2 Day – $40 online, $60 onsite
3 Day – $50 online, $90 onsite
Student Pass – $10

First Time Exhibitors

The following is a summary of first-time exhibitors that will be at AXPONA 2023, representing a number of product categories including Electronics, Speakers, Turntables, Headphones, and more: Michell Audio, Alex Sound Technology, Alma Audio, AM Belgium, ampsandsound, Audio Craftsmen, Audio-Ultra, Dieses Audio, Grimm Audio, Gestalt Audio Design, American Audio and Video, Just Audio, LCH Audio, Linn, Monarch Systems, Nexus Audio Technologies, Phillips Design, Phonia, Plinius Audio, Sea Wave Acoustic, Serhan Swift, RAAL-requisite, Theoretica Applied Physics, Tom Christiansen Audio, Treehause Audiolab, Volumio, Wathen Audiophile.

New Product Debuts!

The following is a summary of cornerstone exhibitors that will be at AXPONA 2023, showing NEW and never-before-seen products at AXPONA 2023, so take note. These high-end audio brands represent just a portion — and the backbone — of the high-end audio industry that will be in attendance. Product categories including Electronics, Speakers, Turntables, Headphones, and more: Acora Acoustics, Alta Audio, Infigo Audio, Primare, Stenheim, ATC, Luxman, Ikigai Audio, Focal, Ansuz, Aavik, Børresen, Axxess, Zesto Audio, Harmonic Resolution Systems, Qualiton, Merason, QLN, Vinnie Rossi, Synergistic Research, AudioShield, Credo Audio Switzerland, EMM Labs, Van den Hul, YG Acoustics, Triangle Speakers, Electrocompaniet, Ferrum, Gryphon Audio, Avantgarde Acoustic, Axiss Audio, Studio Electric, Iconoclast Cables, Estelon, JansZen Audio, Magico, Soul Note, Westminster Lab, Nordost, Sonner Audio, Rethm Speakers… and that’s just to name a few.

In addition to incredible new products debuting at AXPONA, the show also features three jam-packed days of incredible sounds, technology, and presentations.

AXPONA’s state-of-the-art venue will feature

• 190+ Listening Rooms
• Expo Hall featuring the ever-popular Record Fair and Master Class Theater
• Ear Gear Experience featuring the best-of-the-best Headphone Gear
• A robust Seminar Schedule
• Live Music nightly

All general admission tickets grant access to the exhibits including Listening Rooms and Exhibit Hall, as well as educational seminars, live music, and special events. For more information on ticketing and ticketing options, please visit the link here.

About our show coverage sponsor

ModWright Instruments

“ModWright was founded in 2000 as a company producing modifications to digital products. The mods were cost-effective, yet a high quality alternative for the audio enthusiast. Born from this, our Truth series of modifications, utilizing tube analog stages, won ModWright Instruments worldwide acclaim and led us to the next step: building our own equipment.

The ModWright 9.0 series of preamplifiers was introduced in 2003, continuing the trend of high performance audio with an emphasis on quality and value. This included a phono preamplifier and later a balanced tube linestage in the LS 36.5. In 2009 we proudly released the KWA 150 amplifier to round out a complete ModWright electronics system.

We have continued on this path of building high quality and high value audio equipment, designed to provide the most natural and satisfying musical experience. We pride ourselves as much on the quality of our work as on our level of service and customer satisfaction. As founder of ModWright Instruments, I strive to maintain the message within our mission statement: Elegance. Simplicity. Truth.”

—Dan Wright, President, ModWright Instruments, Inc.

The post AXPONA 2023 | PREVIEW appeared first on INDULGR.

Anything that achieves that elusive b-word quality would mean that the pursuit would be over, and this is sort of the question at the heart of my experience with Acora Acoustic’s QRC-1 loudspeaker. I’m not yet implying that the Acora QRC-1 is the best speaker I’ve ever heard — you’ll have to wait for the conclusion for that particular puzzle to get unraveled. What they do however, redefines the question of the pursuit.

Words and Photography by Grover Neville

So now we have our characters, the pursuit and the best. The pursuit is our heroic protagonist, balancing many things, depending on who you ask. Transparency, detail, dynamics, tonal color or lack thereof, transient fidelity, accuracy of the phantom image, frequency response, and all of those wonderful qualities we search for in various amounts. And the best is our metaphorical sermon on the mount, Nirvana, burning bush if you will — incidentally, fun fact, I just learned today there is actually a bush in the middle east which will spontaneously combust without burning its leaves. Fascinating stuff.

Acora QRC-1

Our goal in the pursuit is always to achieve the best, but we are waylaid by the characteristics any given speaker or amplifier possess – this one is dynamic, but not as flat, whereas this other one is flat but not as dynamic. What to do? The answer is often to swim further upstream. When the Acora QRC-1 speakers first arrived at my house, I had an epiphany about this dichotomy, and it arrived from a most unexpected source.

Classical music and I have a rather complex history — we are at once old friends, but studying classical music in a rigorous conservatory environment sort of breaks your brain. Add on to this a healthy dose of classical engineering and you have a recipe for that greatest enemy of the pursuit: pickiness. I am incurably picky about classical recordings, in the way many of us are picky about audio equipment. This recording has a great tempo, but the dynamics are poor. This recording has a great tone, but the intonation is poor. And the list goes on.

Compounding all of this difficulty is the simple fact that the vast majority of hi-fi audio systems are completely incapable of reproducing classical music in a manner resembling transparent, not to mention enjoyable. It is the equivalent of the magician performing the sleight of hand a fraction too slowly, and allowing the edge of the hidden card to show. Even a miniscule peek shatters the entire illusion.

What mostly causes this is the way classical music is recorded: even chamber music is recorded mostly using small diaphragm condensers and omnidirectional patterns in often excellent acoustic spaces with minimal digital limiting or destruction of the delicate high frequency information that results from such acoustics. This is music which often sounds pure, clean and free of artifacts.

Classical music on many hifi systems is a triptych of bizarre colorations. That slight forwardness in the midrange that sounds so appealing with popular music or rock, functions to make strings and winds honky and harsh, narrow-band bass boosts that give mainstream recordings a little extra bounce simply obscure the intricate string bass and piano lines in chamber and orchestral recordings, and that delicate high end I mentioned often crumbles apart even on systems with only a small degree of high-frequency stylization. Classical music, and by extension other forms of Chronically Extremely Acoustic Music — bluegrass, experimental, some jazz and world music — demand dynamics, frequency linearity and purity of tone. Like spoilt children, hungry hippos and stock traders, they must have it all.

The Sound: Acora ARC-1

What the Acora QRC-1 does, is dispense with this approach entirely. On firing these up for the very first time, leashed to an ampsandsound Black Pearl which warrants its own story, my assumptions had a wrench thrown in them. Now, if you know me, you know I’m well informed on the entire Acora line. Valerio Cora was generous enough to treat me to a direct A/B of all his speakers last year at Acora HQ in Toronto, including the upcoming VRC. I know how these speakers sound. Or so I thought.

Chronically Extremely Acoustic Music doesn’t send me scrambling for my iphone, airpods or any system low resolution enough to fool me into focusing exclusively on the performance. It simply sounds like… well like it’s supposed to.

Ok, so let’s qualify that. There are no tricks that can really accomplish this, and in experience recording classical and acoustic music, my observation was generally because this kind of music relies less on processing for its core sounds. Sure, we use EQ, editing, delay lines for phase correction and even some compression. However, unlike popular and more heavily electronic processes, the goal with classical and acoustic music is to capture the sound of a self-balanced ensemble in a live acoustic, relatively as transparently as possible. It is the photograph versus the digital painting.

Let’s circle back to the high frequency though. Most of the typical western instruments don’t have fundamentals above the 4-6 kHz range except for a few specialized wind instruments or extended techniques. What is lacking in fundamentals however, is made up for in harmonics, which are dense and rich in this genre, and also the enormous amount of ambient information that is often captured by the highly detailed omnidirectional microphones frequently used, and you have a recipe for something that resembles a dynamic bed of noise much more than any popular production.

The Acora QRC-1 elegantly navigates this problem not by achieving the absolute flattest frequency response at all costs however. Oftentimes if a driver and cabinet combination cannot reproduce a frequency, the designer will solve the problem electrically in the crossover, or occasionally mechanically by applying more damping. This has the effect of allowing you more control over the frequency response, but frequency response is only as good as the intended listening level.

My essential theory here is that a driver able to maintain a smooth frequency response with broad Q factor at many levels, and good dynamics, will tend to sound perceptually flatter than a driver which measures perfectly flat only at a single reference level with a sine wave. After all, music is a dynamic signal and not a sine wave.

Back to the Acora though. The combination of an extremely rigid cabinet and absence of excess electrical or mechanical damping beyond what is necessary gives these speakers an almost electrostatically quick midrange and treble, which neither projects nor presents a soundstage, but from which the ambience of acoustic recordings simply emerges as if from some kind of audio ether.

If that seems like a slightly metaphysical take, it is. Along the journey of the pursuit, I have encountered enough compromises that I felt that the best was only the most preferable collection of compromises. In place of that idea the QRC-1 has come along and shown me that if we are talking sheer transparency, and fidelity to the source, as we desire in Chronically Extremely Acoustic Music then this is indeed The Best. But how does it fare with other material?

To answer this question I have to place the QRC-1 in the Acora lineup a little more accurately. Having compared the lineup, the SRC-1 and QRC-1 occupy an interesting position. Though they both use a similar woofer as the SRC-2, the tweeter used in both SRC-1 and QRC-1 completes the sole appearance of a soft dome in the entire product line. Both the SRB and SRC-2 utilize a Beryllium tweeter option. While the Beryllium is a little sharper, a little more defined and yes a hair more detailed, the soft dome I think will appeal to many as an exceptionally linear and slightly more pleasing option. It asks just a little less of partnering electronics, and for my tastes, which tends towards paper drivers and soft breakup modes, it has a tendency to be tolerable a few notches higher into the “loud” zone of any amps volume range. I find it also a little smoother in response than the Beryllium, and just a hint more coherent.

Our INDULGR Audiophile playlist includes 600+ tracks perfect for auditioning high-end audio gear, and was curated by our team of editors.

The absence of a second woofer, a la the SRC-2, also means that given an appropriate size space, the QRC-1 will be perceptually more linear. Now, the second driver of the SRC-2 is meant to fill a larger space, and so it does have a little more output which will result in linearity at further distances and in a bigger space. The proverbial bigger gun. But for many living spaces — mine is a relatively modest sized but lofted room opening up to 1,500 square feet — the QRC-1 provides more umph than most will ever need.

The coherence and liquid smoothness of presentation combine with the true-to-source nature of Acora speakers at large for an experience which is probably my favorite of the entire lineup. The softer breakup modes of the soft dome tweeter, and the slightly softer sound of the quartz enclosure versus the absolute precision of the SRC/B granite, gives an effortlessness of presentation to the QRC-1 that is addicting to me for acoustic recordings.

None of this is to say the QRC-1 does not handle other genres deftly either, and of course it retains the trademark vanishing-act transparency of other Acora speakers, with seemingly endless bandwidth and soundstage width, lightning speed low end, and a total absence of audible cabinet coloration. It was simply with acoustic music where I noticed this most — everything I played sounded so good it almost hurt.

The Conclusion: Acora QRC-1

I rarely mention recordings, but I’ll make an exception: the Sistine Chapel Choir Veni Domine album, or really any of their recordings, were a goosebump inducing experience on the QRC-1s. Something about the acoustic ambience of this space is just electric, and on quiet, high resolution systems, it is an extremely special experience. I could listen to recordings of noise made in that space all day long, it’s just that good.

Apart from sound, I’ll let the photographs speak for themselves. While I’ve certainly never been bothered by the granite cabinets of Acora speakers, the quartzite cabinetry of the QRC-1 in a matte, grainless white was especially striking. In my living room alongside an almost all-white electronics stack consisting of ampsandsound and Meitner, the effect was akin to walking into the MoMA. Objet d’Arte, the QRC-1 in white cut an angular, monolithic figure, yet unlike many white wooden box speakers, have none of the chintzy knock-off Italian mother-in-law looks many have come to associate with white hi-fi. These are avantgarde, post-Bauhaus, Warhol white. Me likey.

I’ve spilled more words on this speaker than I have on a piece of audio gear in a long time, and suffice to say, the QRC-1 have firmly pegged the pursuit in my household. Are they the best? Well, they’re the best I’ve heard for those seeking to end the pursuit of hi-fi with a speaker which tells the auditory truth in all things, or as close as we can get. I can’t think of a speaker which combines this level of transparency, speed, dynamism, and utter lack of coloration in a single package at this price point. Unless of course, you’re looking to buy another Acora…

www.acoraacoustics.com

About the Author

Wanderer, Wonderer, Musician, Actor

Grover Neville resides in sunny Los Angeles, California, and is a graduate of the Oberlin Conservatory of Music where he studied music and creative writing. After graduating he pursued a freelance career in audio, and professional research in the fields of Auditory Cognition, Psychoacoustics, and Experimental Hydrophone Design. He is a native of Chicago, Illinois and previously did work there as a mixing and mastering engineer, working in music genres such as Avant-garde Classical and Jazz.

As a transplant to Los Angeles, Grover still works in the music industry, but now adds the video game and film industries to his calling. He is actively pursuing a career as an independent musician, composer, and producer.

Grover previously contributed to Innerfidelity, Audiostream, and Part-Time Audiophile—before becoming an editor and co-founder of INDULGR magazine.

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The kick-off event to every hi-fi calendar, Florida Audio Expo 2023 returns to its full glory. Attendance and brand participation were at their highest levels in years. The overall mood and vibe of the show was that of celebration, and less of the worry and fear you might still find elsewhere in the country.

Reporting by Eric Franklin Shook and Jameson Mourafetis

And yes, one can’t help but find the sunny, but surprisingly mild, Florida weather a great escape from the doldrums of February’s typical frosty state-of-being. But before we get on to our show highlights and best-of-show selection, it’s only proper that we give thanks to Doug White of The Voice That Is! who powered this year’s Florida show coverage.

Up First, The Show Highlights

Before we get on to our consensus winner for best-of-show, let’s recap the high-end exhibits that got our juices flowing and pockets tingling.

For our complete coverage of the Florida Audio Expo 2023 <— click here.

House of Stereo, Phasemation, Avantgarde, VPI Industries, Wolf Audio Systems, DS Audio, Synergistic Research

House of Stereo a Jacksonville, Florida High-End Audio dealer specializes in creating experiences in audio that rival the live-in-concert experiences. Here at the Florida Audio Expo, we have nothing less. Big glossy horn loudspeakers, tube amplifiers, vinyl on call. What more does one need to have oneself transported to both the time and location …

Tobian Sound Systems, LampizatOr, Westminster Lab, Critical Mass Systems, Final Touch Audio, DSG

Destination Sound Group was upping the ante for the Florida Audio Expo 2023. A year earlier in 2022 Destination Sound Group was making waves with their VAC Integrated, LampizatOr DAC, Tobian Sound Systems 12FH loudspeakers, and Final Touch Audio cables. A considerably sized consensus was formed among press writers that the system was one of …

Next Level HiFi, Børresen, Aavik, Anzus, Audio Group Denmark

Next Level HiFi is a high-end audio dealer serving the Chicagoland area from their showroom in Wayne, Illinois. At the head of their hi-fi activities is Tyler and Dana Mueller, who have become quite renowned for their audio show exhibits. Somehow, always finding a clear path to consistent and honest sound no matter the …

TAD, Wolf Audio Systems, Synergistic Research, Jocavi, Pro Audio Design

Pro Audio Design is the exclusive distributor for TAD HiFI and their professional products in the USA and Canada. How this came to be is quite the story. Pro Audio Design (PAD) founder and president, David Malekpour, has had a long standing relationship with TAD that traces his nearly four decade career in …

Ampsandsound, Acora Acoustics, VPI Industries, Auralic, Cardas

Justin Weber, founder of Ampsandsound, had an incredible dance partner in Acora Acoustics at this year’s Florida Audio Expo. While Acora was downstairs on the main floor stealing all the Florida sunshine with their new VRC, newly minted Acora fans were now roaming the halls of the upper floors looking for Acora’s other listed …

Scott Walker Audio, Synergistic Research, Berkeley Audio Design, VPI Industries, VAC, Von Schweikert

Scott Walker Audio, an Anaheim, California dealer teamed up with Synergistic Research of Fountain Valley, California to put on one of their famous tweak-fest demonstrations that covers every conceivable avenue of audiophile tweakdom. From power conditioning, acoustic room treatments, racks, shelves, grounding, cables — with nearly all categories toiling in both active and inactive …

Aperio Black by Warwick Acoustics

Warwick Acoustics is a UK based manufacturer of ultra-high-end headphone and automotive audio systems. Their unique, single stator, electrostatic drivers carry a bevy of world-first technologies that come together to form all-in-one headphone and amplifier systems — like the Aperio Black — that offer world class resolution …

MSB, Magico, Aurender, Stromtank

US-based digital audio technology company MSB Technology has been at the forefront and arguably at the top of ultra-high-end digital audio reproduction world for more than 25 years. Without fail, at every audio expo they attend, they always put forth class-leading performance at or near a level deserving of the title: best-of-show. …

MBL Akustikgeräte, United Home Audio

MBL is arguably the most well-known ultra-high-end audio brand in the world. MBL is often seen in the homes and apartments of ultra-high-net-worth individuals. MBL is the premiere one-stop-shop for complete, gorgeous, preconfigured systems, not unlike Warwick Acoustics, albeit at a larger scale with a more posh, bespoke touch, that wouldn’t …

Drumroll please!

BEST OF SHOW – Florida Audio Expo 2023

Acora Acoustics, VAC, Oracle, Lampizator, Aurender, Cardas

“The new Acora Acoustics VRC does something almost unmatched elsewhere in audiophile history. It takes the goalpost and moves it so far down the road, that what was once considered true high-end, is in real danger of being demoted to bespoke mid-fi.” —Eric Franklin Shook

Jameson’s words:

For the audiophiles reading, you all have a memory of a system that flipped your perception of music listening into so much more than what you thought it could be. It’s so ingrained in your mind that you’ll never forget it. There’s one for all of us. For me, it was a pair of original Abyss AB-1266 headphones driven by a Cavalli Liquid Gold, all things I had never heard of before until that day.

Hitting play on a needle drop of Led Zeppelin’s Whole Lotta Love changed music listening from something passive, something everyone did, into an obsession. If you haven’t had that moment yet, yes, it’s every bit as meaningful as I’m making it out to be, and I highly suggest you get to a dealer and give this whole audiophile thing a try. Why am I talking about this paradigm shift all of us experience at one point or another? Well. I’m here to tell you it can happen again.

There’s another level. Diminishing marginal returns have been reset. Meet the new benchmark. This is the Acora VRC.

Electrostatic speed and midrange purity? Check. Thunderous, tight, deep, linear bass that could pressurize an auditorium? Check. Staging that’s somehow blows well past the far away walls of the gigantic listening room Val occupied this year while managing to hold a life-sized, rock solid, dense-as-reality center image? Check.

I know this all sounds too good to be true, but you’ll just have to hear it for yourself. And believe me, you’re going to want a pair.

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Reporting by Eric Franklin Shook

On display: speakers by Acora Acoustics, electronics by VAC, Gold Note, Atmasphere, turntable by Acoustic Signature, cables by Empirical Design, racks by Solid Tech.

Mr. Swek really brought the retail experience to the Florida show. Mostly by having a variety of sources and amplifiers to choose from. Though the class-D offering from Atma-Sphere left us wanting more in the lower registers. The Gold Note PA 1175 amplifier with its 200 watt plus power output availability was at the ready to put any doubts of the Acora SRC-1‘s low bass ability to rest.

For us however, new is the news, and VAC was displaying the newest version of their acclaimed Sigma integrated amplifier. Notably this combination of VAC and Acora left us with the most complete picture of the musical information at hand. And it’s not the first time we’ve found the best synergy among these two brands in concert.

For a complete listing of Unique Home Audio‘s featured exhibit models and their retail pricing, please visit: uniquehomeaudiollc.com

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Ampsandsound is known for tube amplifiers that take classic American circuit designs of yesteryear and employ the same care in production execution as you would find in the best Japanese tube amplifiers in the world.

On display: electronics from Ampsandsound, speakers from Acora Acoustics, turntable by VPI Industries, digital by Auralic, cables by Cardas.

Reporting by Eric Franklin Shook

The story of Ampsandsound is one that’s still being written for the two-channel space, with several years of experience in the head-fi market already under Justin Weber’s belt. Though, don’t let that dissuade you from auditioning one of his SET or Push-Pull designs. All of which, flex their rated power harder than any we’ve encountered. Ampsandsound’s 14 watts feels more like 60 watts. All of Weber’s designs feature in-house transformer iron, and each amplifier receives iron specifically designed for that model.

In the system at Florida Audio Expo, the new Casablanca monoblocks, which are based on the famed Eico HF 87. An amplifier you may be familiar with, but trust me when I say that you’ve never heard them sound this clean and free of distortions. The clarity and tonal character of the original design is intact, but now: more clear, more powerful, more tuneful, and more dense in all of the critical frequency ranges.

Loudspeakers and racks from Acora Acoustics donned a stunning matte-ish white Quartz finish. The new QRB standmount (bookshelf) speakers are based on the all-granite SRB. The use of quartz does change the weight of the loudspeaker compared to granite, and sound in such a minuscule way that only if the granite SRB and quartz QRB were side-by-side with available A/B switching might you be able to tell the difference with few prayers and paranormal hearing.

I could go into all of the secret sauce(s) of the Acora Acoustics loudspeakers, but I won’t for the sake of read time — just know that the use of granite (or quartz) is not a gimmick, nor is the enclosure material the whole story. From edge-to-edge the Acora loudspeakers and Ampsandsound amps are state of the art, and (together or separate) represent some of the best sound reproduction available at any price.

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It’s really nice to be first and right. In 2019 when I first heard a pair of Acora Acoustics (linked here) loudspeakers, I felt like I had stumbled onto something dramatically different from the rest of the pack. And no, it wasn’t just because the speakers were made from a few hundred pounds of solid granite. As you already know, the rest of the high-end (and low-end) speaker market almost exclusively turns to MDF when choosing an enclosure construction material. You know, that composite wood-waste panel mostly known for being used in kitchen cabinets? Yeah, that stuff.

Reporting by Eric Franklin Shook

Acora Acoustics founder and chief designer Valerio Cora is no stranger to high-end loudspeakers, or designing his own loudspeakers over the course of twenty-five plus years in the hobby. If there’s a loudspeaker of noteworthy historical audiophile canon, he’s likely owned a pair. When it was time for Valerio to finally bring to market his own dream loudspeaker, he turned to a material he knew intimately — granite.

A detail of note: It wasn’t until recently that manufacturing technology allowed the kind of high-tolerance craftsmanship that we see in Acora loudspeakers. The process of machining and constructing an enclosure like the one Acora Acoustics does, is both costly and demanding on the tools needed to fabricate its components. Only the brave may pass, only the saavy may succeed.

Now, let’s talk about being right.

First, or early, fine. I needed someone of the highest rank and order of magnitude better than myself to confirm my assumptions and testimony about Acora Acoustics loudspeakers, specifically the then flagship SRC-2. I tapped a recent friend, and a long time recording, mixing, and mastering professional from the competitive market — you know him as Dave McNair — a co-founder of this INDULGR concept.

Dave’s decades-long experience in music production has garnered him numerous Grammys, and a reputation among music industry giants worldwide, as one of the go-to-guys in his craft. In short order a review was underway, and with my own guidance as a hi-fi industry professional (whatever that means) a small consensus was formed. The Acora Acoustics SRC-2 had climbed to the summit of everything we’ve ever known about reproduction. It was awarded accordingly.

I’ll skip over the murmur of boos, jealousy, and overall negativity that this market disruption set upon Acora Acoustics, and even myself from the rest of the audiophile press, whom for their own agenda, were happier with the status quo.

Them: “He hasn’t paid his dues!”
Me: “What fucking dues?”

Time passes, and Mr. Cora informs Dave McNair and the rest of us (Grover Neville, Jameson Mourafetis, and myself) that a new flagship loudspeaker is on the horizon, still in prototype stage, and if any of us would like to preview it, that gift shall be granted. Both Dave and Grover find openings in their calendar and when they return, the reports are other-worldly.

Grover: “You know what the SRC-2 does to all other speakers?”
Me: “Yes. Destroys them.”
Grover: “Exactly. The new VRC is that same order of magnitude better than the SRC-2.”

The VRC at Florida Audio Expo

In February of 2022, Acora Acoustics set the world on fire with their SRC-2 and VAC tube amplifier exhibit. Dominating a room large enough to host a professional sporting event. Everyone remembers it.

Come February of 2023, and the new VRC does something almost unmatched elsewhere in audiophile history. It takes the goalpost and moves it so far down the road, that what was once considered true high-end, is in real danger of being demoted to “bespoke mid-fi.”

I’m sure you’ll read reports about how the building crumbled around the new VRC’s bass output or how Valerio has finally arrived. But the reality is, the truth can’t be ignored. That’s the story. At least for us.

And, don’t you ever doubt us again.

The System

• Acora Acoustics VRC ($220k pair)
• VAC 452 ($75k each)
• VAC Statement Line Stage ($80k)
• VAC Statement Phono ($80k)
• Oracle Delphi Reference ($13,920 with the Turbo Mk2 PSU)
• Reed 1H 9.5″ tonearm ($3,750)
• Lyra Atlas Lambda Cartridge ($11,995)
• Aurender N30SA Streamer ($25k)
• Aurender MC20 Rubidium Master Clock ($30k)
• Lampizator Horizon DAC ($50k)
• Cardas Cables throughout
• Racks by Acora Acoustics

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