Editor’s Note: This is Drew Gagliano’s first post for The Audio Beatnik, and most of the pictures here are also his. We welcome Drew to our team and know you will enjoy his writing, photography, and point of view. Incidentally, we met him at AXPONA, but he lives here in the Bay area.
The 10th annual AXPONA was the largest yet with an expansive array of speakers, amplifiers and turntables on display across a staggering 197 listening rooms. This is a great sign for the industry because it shows that people are still excited about hi-fi.
Certain rooms featured systems most enthusiasts could probably afford at some point in their lives, and other rooms catered to the small well-heeled handful who are willing to spend extravagantly to obtain the best possible sound. That’s why I divided my top rooms into two categories: the best three “reality” rooms where the systems were more reasonably priced and the best three “dream” rooms where cost was no object.
Both approaches delivered a thoroughly enjoyable musical experience with each having an inherently unique way of presenting that experience. I was happy to see both ends of the price spectrum for the hobby represented, which clearly showed that you don’t necessarily need to own a dream system to have great sound.
Top 3 Reality Rooms
Volti Audio / BorderPatrol Audio Electronics / Triode Wire Labs – #1
This All-American manufacturer’s room is an example of the flawless performance that’s possible when you absolutely nail the synergy of the components in a system. Volti Audio demonstrated their Rival Type II speakers which featured upgraded internal wiring by Triode Wire Labs ($16,200). They were powered by the BorderPatrol P20 EXS tube amplifier with optional Living Voice 300B tubes ($31,400). Once you factor in the BorderPatrol Control Unit EXD preamp ($9,750) and their DAC ($1,350), it’s admittedly pushing the upper limit of a “reality” room, but I feel it still qualifies as one.
The sound produced by this room’s harmonious pairing was forward, lively and engaging. The presentation was exciting and dynamic with lifelike crescendos that had a live-music quality. Everything sounded crisp and clean without being bright or shrill. If there was a cover hiding all of the components, there would be no way I would be able to guess that it was a digital source being powered by a tube amplifier. There was no digital glare, nor was there any inherent “tube-like” quality to the sound. It simply presented the music in a way that put you right in the front row of the performance.
Gary Dews was in the room celebrating the 30-year anniversary of BorderPatrol alongside Greg Roberts of Volti and Pete Grzybowski of Triode Wire Labs who provided the cabling for the room. Conversing with these three and seeing their laughs and smiles showed me that they got along just as well as the gear in the room did. They were genuinely enthusiastic and appreciative that I stopped by their room for a listen and seemed to sincerely appreciate my feedback on their fantastic-sounding setup.
Martin Logan / Benchmark Media Systems – #2
Benchmark teamed up with Martin Logan to drive a pair of their Impression ESL 11A electrostatic speakers with their AHB2 power amplifiers ($3,000 each) in a bridged-monoblock configuration. The source was an Aurender A10 streamer ($5,499) fed through their own DAC 3B ($1,699) and an LA4 preamp ($2,599).
The overall sonic signature of this room had a remarkable sense of ease and purity. Minute details such as a breathy initial saxophone note or a solo vocalist parting her lips and taking a breath before singing were easily discernable. At the same time, they presented all of the musical energy and rhythm contained within the source material. The effortless and free-flowing nature of the Martin Logans paired up nicely with the transparent AHB2 amplifiers.
Additionally, the tonality and realism of the instruments were spectacular. An alto saxophone sounded as if it was in the room with me, and the pitch and timbre of both male and female vocals were absolutely spot-on. It was clear that nothing in this system was getting in the way of the music.
When I asked Benchmark’s Michael Siau about his company’s philosophy, he told me Benchmark prefers to take a minimalist approach and let the gear and its measurements speak for itself. Additionally, he enthusiastically provided me with a brief history of how Benchmark started in the studio and broadcast market. Michael’s confidence in how well the company’s gear performs is warranted. Their room had a remarkable degree of transparency that made every listener feel closer to the music.
Sonner Audio / LUXMAN – #3
Gunny Surya, President, and co-founder of Sonner Audio featured his Legato Unum speakers with matching stands ($5,500), powered by a 30wpc Luxman L-590AxII ($8,995) using an Abbingdon Music Research DP-777SE DAC ($5,000). The sound from these compact speakers was smooth and coherent with a great center-locked image. Vocals and instruments appeared out of thin air in the space directly between the two speakers. Gunny knows how to make speakers that just disappear.
When I requested some music by Stan Getz, his eyes lit up and he put on one of his favorites. The room filled with a sweet and refined sound that never once sounded harsh or strident, even at louder volumes. The tight synergy with the pure Class A Luxman integrated amp was obvious, as the sound struck a perfect balance of dynamics, clarity, and flawless imaging.
As I described what I heard to Gunny, the pride he has in his speakers became immediately apparent. It was clear to me that he is a passionate music lover, and he was absolutely thrilled to be able to share his speakers with me. This was a system that I could listen to all day long.
Top 3 Dream Rooms
Scaena Loudspeakers – #1
Scaena showcased their Model 3 Iso-Linear Array speakers ($90,000), featuring dual 18” subwoofers. They were powered by a High Fidelity Cables MA-1 amplifier ($30,000), and the room’s digital-only source was a full dCS Vivaldi stack ($115,000).
This system sounded absolutely astonishing. There were no noticeable drawbacks or deficiencies whatsoever—it was masterful. The depth, width and height of the soundstage along with the precise placement of specific elements within the music was easily the best I heard at the show. When each individual component of a song has such vivid and stunning clarity, combined with ample room and space for the sound to rise and fall, it creates an experience that is somehow beyond just simply “listening”.
When I closed my eyes I became completely absorbed in the music; it felt like I was transported to another dimension. I finished the show on Sunday in this room and listened for an hour and a half. It was truly a transformative experience. I was on Cloud 9 the entire time and walked out of the room on a musical high. I can’t thank Scaena’s president, Alan Eichenbaum, enough for treating me to song after song as I sat in the sweet spot for a full 90 minutes. I couldn’t have asked for a better way to close out the show. Scaena speakers are simply in a class of their own. Bravo!
Von Schweikert / MasterBuilt / VAC/Valve Amplification Company – #2
Von Schweikert speakers were in several rooms at the show with their primary setup occupying one of the largest ballrooms that actually featured two separate systems. The system that was front-and-center prominently showcased the company’s Ultra 9 speakers ($200,000) driven by the stunning vertically-oriented VAC Statement 450i iQ tube integrated amplifier ($150,000). Cables and power cords were all from Masterbuilt Audio. Esoteric covered the digital frontend with its Grandioso P1 CD transport ($38,000), two Grandioso D1 monoblock DACs ($19,000 each), and the G-01 clock ($20,000). Vinyl playback was handled by the TechDAS Air Force III turntable ($29,500) running through the 450i iQ’s built-in phono preamp.
The gorgeous candy apple red Ultra 9 speakers presented a seamless wall of sound with graceful and refined elegance. Highs were present without being sharp, the midrange was filled with palpable texture, and the low end was extended and clean. Top to bottom, the sound was polished and pristine with a great sense of air and delicacy. I closed my eyes during a classical piece and was transported directly to the symphony hall, seated front, and center in front of the string section. This is a system that I could enjoy every single day and never tire of.
The subtlety and nuance of these speakers took a while to fully sink in before I could appreciate it. When visiting other rooms at the show the following day, my friend said to me, “But remember how the Von Schweikert room sounded with classical, and in that large of a space!” I only then started to fully realize just how impressive the sound was, especially in a room that was too large. I can only imagine how much better they would have sounded in a smaller listening room.
VAC’s CTO Brent Meyer was a versatile and musically knowledgeable room host and played several excellent jazz and classical pieces on vinyl that sounded phenomenal with an organic and surface-noise free presentation. We talked briefly about the design of the impressive Statement 450i integrated amp, and he said the design goal was “for the form to follow function” and that it “has the shortest signal paths possible.” It was obvious to me that this was a true labor of love. While he was somewhat measured and reserved, his passion for high-end audio gear was readily apparent.
Destination Audio / ModWright Instruments / SOTA Turntables – #3
Destination Audio’s owner Sam Wisniewski makes custom one-of-a-kind speakers and brought his newest model to AXPONA, the NiKA 3-way horn speakers ($29,000). They were presented with a full array of ModWright gear including the one and only pair of Ambrose 845 DS SET tube monoblocks ($49,995), an LS 300 preamp ($10,000) and a PH 9.0 phono stage ($2,900). The digital source was a ModWright modded Pioneer UHD LX-500 universal player ($1,500 for the modification), while the analog source was a gorgeous SOTA Cosmos Eclipse turntable ($9,700) with a Dynavector XV-1s cartridge ($5,650).
Art Smuck from Arkamima Audio, Destination Audio’s North American distributor, was running the room and serving up track after track of satisfying music. His music choices managed to simultaneously show off the capabilities of the equipment, introduce you to new music and also present well-known classic reference songs.
While the room sounded impressive when playing back a digital source, this combination of room and equipment excelled when playing vinyl. When Art switched to some of his favorite records, I immediately thought to myself, “These speakers were made for vinyl”. They had an airy, effortless, and rich presentation that drew me in and kept me glued to my seat. Thoughts of visiting the next room faded away, as I quickly became captivated by how realistic they sounded. The NiKA horns had accurate tonal balance, with a wide and deep soundstage that allowed me to see right into the music. They were simply stunning.
Art ran this room as if you were stepping into his home. He greeted and said goodbye to each and every person who entered or left. Aside from the wonderful sound of the gear, Art’s professionalism, positive energy, and obvious love of music all contributed toward this being a room not to be missed.
Conclusion
At this year’s Axpona, I learned that despite all of the great music, beautiful gear, and impressive rooms, it’s the people behind the show that make it all come together. Each room I described was run by incredibly passionate individuals who are responsible for bringing this gear to life. Whether it was a dream or a reality room, the people were what made the experience special.
