2008 RMAF – – – all things analog.


I have two questions/comments on the 2008 RMAF below.

1) First thing…

Who’s Going?

I’m going for my second consecutive year. I enjoyed last year a great deal. I had wonderful discussions with analog types like Thom Mackris, Alvin Lloyd, Jeff Cantalono/Thomas Woschnik, and Frank Schroeder. I had time with my own LPs on all of their tables as well as quite a few others. I’m looking forward to this coming year as well.

If you are going to the 2008 RMAF, I’d like to know so I can meet some of you out in Denver.

2) Second thing…

Any suggested Table, Cartridge, Arms to pay particular attention to?

Again, If you are going to the 2008 RMAF, I’d like to know so I can meet some of you out in Denver.

Dre
dre_j
Doug-

It was great getting a chance to meet you and Paul on Friday at Garcia's. Thanks to Larry (Cello) for making the get together happen. I enjoyed putting faces to names.

There was much to like at RMAF this year and much that was disappointing. The biggest surprise for me was a digital based system in the Hilton: CEC belt drive transport driving a Lessloss DAC w/volume control, into 845 based Mastersound amps from Italy and speakers with a billeted aluminum tweeter that was adjustable for position. The speakers were from Germany - Kaiser (sp?)

On to analog: The TW Raven in Highwater Sounds room sounded very good to these ears. For the first time at RMAF I actually enjoyed the music in the Continuum room. I agree with many that the music in the Oswald Mill's room was right on a lot of levels, as was the LP playback in Mike and Nelli's room via the Brinkmann Balance/Lamm ML-3/Coultrane Supreme.

Tape playback on the Technics 1500 sounded good in the Synergistic Cable room via the Vivid Loudspeakers. I am surprised that there were not more comments posted yet about the resonance treatments that Ted Denny and company were showing. Design appears to be along the same same lines as the Acoustic System of Frank Tchang, but at a lower retail for a complete system. They had several sets available at a "show special" price that were gone by Sat. night. One of the members of my listening group bought a set and I will be anxious to see what they can do.

The production version of the Symposium Panorama speaker looks very nice and sounds good too, but at around $110,000/pair.

Disappointing: The new Focal Grand, the Acapella Triolons. Every year I look forward to hearing Audio Limits large rooms with big ticket products, and every year I am disappointed. The Clearaudio TT and Goldfinger cart should sound much better than it does. I don't think they know how to set the table up properly. It always sounds as if the VTA is way off, and the people running the demos are not inclined to adjust it, even when asked.

Once again, it was great seeing so many of you there - I liked the Two-for-one room at Garcia's a lot!
Slipknot1,

I wish I met you there. Couldn't make it friday night but did Saturday. Your impressions are identical to mine and your comments identical as well. The Mastersound Room sounded incredible at the Hyatt. The Symposium Speakers have me more than tempted. But.... they need the long wall which I can't do. I also wish they had SET amplification on them to hear what more they are capable of, although the Emotive gear is no slouch.
I was intigued at the Saskia turntable until I looked a bit further and found that the price was $36,000. Great sound aside, maybe it's time to question the prices of some of this equipment. I'm sure the R&D and build quality are top notch. Well, they should be. How do you arrive at a price of $36,000 vs. say $15,000(still equally ridiculous) This amount will buy you an entry level BMW with thousands of moving parts and thousands of pounds more raw materials. Don't get me wrong, I love audio equipment and I'm fortunate enough I could write a check for two of these tomorrow if I wanted to. I just can't justify it. I'm not trying to pick on the Saskia. It's just one example of how out of hand this can get if you're not careful.
Sonofjum,

perhaps you should look into designing cutting edge products and making them by hand in very small quantities r a very limited market for a living and see what prices you come up with. I think you may find that your income to work hours ratio is what's ridiculous. Those who care to push the edge and have the scratch to do it will always be the envy and/or subject of misunderstanding of those who don't. Some people might not appreciate someone practicing their instrument for 6-8 hours a day for little or no money either. You do what you gotta do.
I mean no disrepect to the designers of this product and I realize I chose the wrong place to post my opinion. My enthusiasm over cutting edge stuff like this is quelled when I realize that virtually no one can afford it.(raised in a hard working lower-middle class farm town) I appreciate people practicing/working for 6-8 hours at a time for little pay more than you know. Unfortunately, those aren't the people who will ever benefit from something like this.