So, I would like to talk a little about the sound in our large room.

As a reminder (it has been a few weeks now. Time flies when buried in 1800 page show reports) we had the Emm Labs XDS1 single-box statement player driving the Audio Note M9 Phono preamp and Gaku-On amps. All cables were Nordost ODIN and all components were on M3 HRS platforms and we also used an HRS SXR rack

We had a little hiccup when one of the 211 tubes arrived in a non-working condition. Phil (thanks Phil!), a local audiophile, loaned us a 211 tube [and the next day Nick Gowan shipped us another pair. Thanks Nick!]. Neli arrived back with the 1st relief of 211 tubes and then left to pick up some HRS platforms we needed for under the Gaku-On amps.

All to say that I was left alone to position the speakers. [Yes!]

So, here we have 20+ feet of front wall space minus the 2 feet or so the rack occupies [also up against the front wall] - and the speakers will probably be fine anywhere.

Then Fred Crowder and Paul arrived. OK good. I moved the speaker and their comments and the expressions on their faces told me if it was for the better or worser. Every so often I would step back into the room and listen for myself. Surprisingly enough, this resulted in at least a locally optimized position for the speakers that was pretty decent. It was surprising to me because we seemed to flail around quite a bit, the sound getting a wee bit better or wee bit worse - but all of a sudden they were both nodding their heads a lot and when I stood back it really had snapped in to coolness. With only a few minor mods it became much more fun to just listen to music than it was to play with the speakers anymore.

—> Position 1.

After Fred Crowder, Paul and I positioned them, about oh, 3 feet from the side walls, and oh, 4 or 5 inches from the front wall. Angled in fairly severely to cross in front of the nearfield listening position.

This worked really pretty darn well. It was very engaging, quick, harmonic, with good soundstaging and imaging. There was enough bass reinforcement to be quite satisfying. And I would have been happy showing the system like this. Several people came and went and they all liked the sound.

Then Neli returned with the HRS platforms and we put them under the Gaku-Ons.

The added separation and tighter bass of the sound now wasn’t quite as engaging. It was ‘better’, but the speakers now had to be repositioned because, essentially, we now had a different [sounding] system and the sound coming out of the speakers reflected that fact.

So, I’m thinking… where are Fred and Paul when ya need ‘em?

Then Mario from the Audio Note factory just happened to show up at the door, and I remember that these guys do shows every couple of weeks in Europe [seriously] and they must have run into largish rooms before.

So we start moving them radically this way and that. What I really wanted to know was: What kind of sound does Audio Note go for with their speakers when they do a show in a big room like this?

I mean, I was pretty sure we could get back to the sound that we heard previously, in setup #1. And it really was quite good. But, hey, we got some time, let’s experiment.

We put them closer and closer to the corners - each time hearing no overtly deleterious effects, and each time hearing slightly more room engagement. They eventually ended up just about as far into the corners as we could get them.

—> Position #2.

The sound was very big, pressurizing the room. No lack of bass, let me tell you. In fact, more bass than we let the Coltrane Supremes have in that room [the Supremes could probably do real damage to the hotel fixtures. I mean 2000 watts, 12 9 inch drivers, very efficient speakers. Give me a break]. Perhaps we have been too shy with the bass on the Supremes [trying to differentiate ourselves from the big boom box systems elsewhere in the hotel - you know, the ones that win all the awards from the newbie and want-free-equipment show reporters], because the Audio Note speakers with their more present bass worked pretty well.

The bass and the dynamics was all hitting the big time [all the components in this system are world-class dynamic champions]. The harmonics were like those never heard before [thanks Gaku-On!]. The soundstage was the width of the room. Huge. The musicians were life size. It was like they were really there in the room. Standing in a line across the stage.

Which is also to say that the soundstage depth was not very deep. It was more shallow than it should have been for many people’s tastes. In some ways, this made it more realistic, but perhaps not as much fun. We think the problem had to do with the fake side wall we made on the left, and the big curtained window on the right. Certainly position #1, away from these less-than-optimal side walls, had no problem with achieving great depth of field.

We stayed with position #2, in large part [from my point of view] to further differentiate it from last year and invalidate any direct comparisons. This was a different system… evaluate it as it is, not as last year’s system with different speakers. This is also part of the reason we did not put the system over on the side of the room: to make the system and room look different than last year [the others being 10 meter ODIN is hard to come by - 10 meters is needed to reach the rack when it is on the rear/side of the room - and we were tired of lugging tons of equipment to the show and back].

It really worked and most everybody liked it a lot, in fact everybody except those people who really do prefer a sophisticated and very accurate sound [about 5%, this show is not very kind to these people] - and those [my guess about 20% of the people [NO, I really do not think it is as high as 95%, though an argument could be made… ]] who have no ears anyway and pick rooms they like more or less at random [using a algorithm, in any case, that has zero, nada, zilch to do with the sound. No, I do not think this is criminal - but when you read about what someone thinks about a show, keep these people in mind].

——————–

Compared to our room last year, this was a completely different sound.

Last year’s sound, the Marten Coltrane Supremes speakers with the Lamm ML3 amps, was a very, very sophisticated sound. The delicacy and detail, the preciseness of the harmonics, the shade and shapes of the images in a seemingly infinite 3D space was unheard of. Of course, to really appreciate it you had to know what imaging was, you had to be able to hear the harmonic structures, likely being revealed for the first time ever [they were to us], and you had to relax and trust that the system, rendering difficult notes, was going to do it correctly and so you could relax into the music in a way that isn’t possible with most [which is to say all but one or two] systems.

And this years sound, this year it was danceable, approachable, rocking, boogieable [well, it SHOULD be a real word]. Harmonics were lovelier this year, but not as nuanced or delicate. This year the sound was enjoyable, emotional, impressive. Last year it was OMFG. This year it was “Alive!”.

It is very, very much like Leonardo DaVinci versus Picasso. Leo [can I call him that? He ain’t here so…] paints with excruciatingly fine detail, it is amazing that someone could do that. It is more wonderful than real life photography. Picasso [and I speak only of his ink and brush paintings] uses a half-dozen strokes and makes a woman appear who is so evocative of a real actual person it is just amazing that someone could do that. It is more alive than most people are in ‘real life’.

I love both artist’s work - and the bizarre thing is that some people just like one or the other [yes, now we can put this into the context of some people liking our room this year more/less than the room last year]. I, personally, love both.

I think it is too simple to say that one is of the mind, and one of the body. Or right brain versus left brain. But I think it is indeed something like that. Just not that.

Anyway, since the mind and body [according to most people] cannot exist one without the other - we are now trying to build a hybrid system sound that is OMFG Alive!

And I think, I think we came really, really close the other evening - when Kevin, Neli and I ODIN’d up the system, with the Emm Labs XDS1, Audio Note S9, M9 and Gaku-Ons on the Coltrane Supremes. Horn-like dynamics and ceramic and diamond driver preciseness!

Wes Phillips had some very nice things to say about our Audio Note U.K. room [with Nordost ODIN and Acrolink powercords, HRS M3 isolation bases and Nimbus Couplers] at:

Ongaku Means Ecstasy

We thank Wes and J.A. for visiting our room and posting their impressions and are, of course, pleased, especially Neli [! ] who staffed the room by herself for the entire show.

Have to say, this being the first time I recollect seeing these two in action, they really seem to enjoy being audiophiles and playing music. Not all [aka few] show reporters are like this, many coming off as if it is all a lot of hard work [which it is].

[Not sure how I come off . To Constantine Soo (Dagogo), I think I come off as someone who gets in the way of his trying to listen a lot ))]

Funny thing [or not] while Neli was trying, and trying, and trying some more to find a CD in the folder, I mentioned something like maybe putting CDs at random in the folder wasn’t such a good idea [actually, what I said was probably a lot less coherent], expecting good ole wifey to come back with a witty, if not outright scathing, rejoinder and lighten up the situation a little bit. You know, at least something like ‘ASShole’ with that big smile of hers [no, she doesn’t always smile when she says this ]. But noooooo. So I now wonder if this playfully antagonistic dialog technique between Neli and I is such a good method to lighten up somewhat awkward situations after all.

And yes, we are still preoccupied with all the optimizations that we did not get time to implement with this particular system . Some other time we’ll write about how we tried [and failed, but we got more ideas] to maintain the coherence and lack of strain and harshness, while at the same time opening up the sound-stage and increasing the separation to suit Florian [who has agreed to write for the magazine] - and of course this was Sunday night… AFTER the show when we didn’t have to worry about ‘getting back to what sounded pretty good before’ if we really messed things up].

Anyway, everybody should congratulate Neli. Congratulations Neli!

Took more than 5300 photos.

Now to process them and get them up on the site.

Here are some photos of some new products from the lines that we love:

The HRS SXR now comes in silver

This is a good deal easier to photograph than the black SXR. I am in favor. [In fact, it looks surprisingly good - this from someone who usually prefers black].

The new Audio Aero LaSource. A prototype so what you see here does not have the quality finish that the final product will have. [The player with the black finish was featured in our Show Report Dailies.

Harmonic Resolutions Systems MXR equipment rack in … mahogany. Aesthetix electronics.

CES 2009 Day 1

Thanks so much to Dave for bringing up his new Playback Designs player yesterday so we could hear it back to back with the Emmlabs CDSA SE.

More later about what Neli and I heard, but Dave wrote up his impressions which is available on the Asylum and Audiogon.

Here are some photos…. [still learning to wrangle this fullframe Canon 5D…]

The S1 Isolation Bases and SXR frame systems are now available in this finish.

The S1 is a less expensive version of their M3 Isolation Base, of which we will have almost a dozen by the time Neli sends her next order in.

Well, we both like the silver look for the S1, based on these photos, but we’ll have to wait and see photos of the SXR in silver. We did like their MXR equipment rack in silver, so….

Black and Silver must be where it is at these days. Personally our cars are always black or silver and my clothes are always black Equipment is always black and silver…. Sometimes we are a boring species, you know that?

We have not heard the S1 yet, and specifically not head-to-head in a comparison to the M3.

OK. Enough, Now the photos….

We’ve been spending most of our time downstairs.

We set up the Audio Note TT3 Reference turntable next to the Walker Proscenium Gold Signature turntable.

It has been back-and-forth, Walker –> TT3 –> Walker –> TT3 ….. both through the Lamm LP2 phono stage into the Ongaku integrated amp and the Kharma Mini Exquisite loudspeakers.

How do they compare, you may ask? In raw terms, the Walker is an audiophile’s dream come true and the TT3 is a music lover’s dream come true. Since we are music loving audiophiles, we can’t really talk about one being the ‘winner’. The TT3 is more dynamic, more lively, more engaging… more youthful. The Walker has a lower noise floor, is more accurate top-to-bottom, a more mature sound.

In fact, the idea would be for us to make them sound a lot more alike [which we have to some extent already] - to get a more musical cartridge for the Walker [we are using the Blue Magic Diamond - not so bad obviously, but there are better, unfortunately more expensive ones out there that are generally considered better]. And conversely, to dress up the TT3 with a rack with more vibration control, to correspond to the Walker’s air suspensions [even though the RixRax with HRS platforms comes close, HRS’s MXR rack still laughs at this setup].

Upstairs we still have the EDGE amps on the Coltrane Supreme loudspeakers, with the Lamm ML2.1 amps waiting for us to get our act together and replace the EDGE.

We have our new HRS SXR 3-shelf rack next to our HRS MXR 4-shelf rack.

Look at all that black!

Neli cleaned everything up, but this is two days later and already some Rocky Mountain dust has found its home on our stuff again.

We’ve appropriated some platforms / shelves for our playtime downstairs.

The Brinkmann Balance turntable.

Right now, we only have one phono stage, which the TT3 and Walker share. Even after our Audio Note M9 Phono arrives, we will only have two phono stages. But we have THREE turntables [well, four, but the little TT2 uses the little Audio Note Oto integrated’s phono stage].

We also do not have rack space for digital on the RixRax equipment rack in listening room 2.

What this means is that our Walker is up for sale on Audiogon [Neli is still glaring at me, because this was really my decision]. If anyone is interested…. be sure to think it over… it is not like they appear on Audiogon everyday [in fact, almost never. And for a good reason].

Next : Audio Note SOGON interconnect versus Audio Note SOOTTO interconnect versus Audio Note PALLAS interconnect. And a CES 2008 retrospective.

The SXR is HRS’s new equipment rack, a ‘little brother’ to their no holds barred MXR equipment rack.

The SXR rack, without platforms (aka shelves) is about 1/2 the price of the MXR without shevles.

It is fully configurable, from one shelf (amp stand) to 4 or 5 (or perhaps more, but sonic degradations will start to show its head much higher than this)

All parts are reusable as you upgrade and extend the rack over the coming years…

Yes, including double-wide, triple and more -wide as well…

We hope to get one or two of these in here sometime, probably closer to the end of the summer…. if for no other reason than they are easier to move around and take to shows.

Things have been a little in flux here… which gave us a chance to listen closely to the Ongaku in several different configurations - primarily:

1. On the Rix Rax Outpost amp stand with a $2 OEM black power cord

2. On the Rix Rax with a $1600 Elrod Signature 3 power cord

3. On HRS Nibuses on an HRS M3 Isolation Base on the Rix Rax Outpost amp stand with the Elrod PCs…

And the winner is…

I wanted to try out #1 because that is what some of the diehard AN experts suggest sounds best, and we will try this again in a system cabled with just AN cables and with AN components, but….

Adding the Elrod PC:

a. Removed some of the compression. In some of the guitar notes on Sailing to Philidelphia, really simple notes by the way, with the OEM PC they sounded hardened near the top of the note envelope, like the note just ran into a wall - splat. With the Elrod there was a smooth rollover as the note went from getting louder to getting softer.

b. The Elrod revealed more harmonic content

c. The Elrod removed an ’scratchy agreessive edge’ that the sound had had. As expected. A lot of people associate this edge with ‘immediacy’ (quickness, speed, etc.). If they don’t here it they may think something is missing. It is unfortunate that it is often the case that to get immediacy one has to accept this edge. In this case it did not seem to me to be the case, however, as I listened carefully for just this sort of tradeoff.

Interestingly, some people will sacrifice everything to get a little more immediacy, real or IMAGINED(!) (like AvantGarde owners ) and some will sacrifice everything to get rid of the ‘edge’ (like PS Audio, MIT, and SRA owners…. etc. etc.). The latter group significantly out-numbers the former, in my experience.

d. Finally, the Elrod brought EMOTION to the party. The music became engaging,. Enough so that it was much more difficult to listen to the sound because the music kept distracting me.

Presumably this was because some of the nuances were being lost with the cheapo power cord - or perhaps the ears were shutting down / shuttoing out nucance to protect themsleves from the ‘edge’ and ‘comrpession’ artificats.

When we added the HRS under the amp… first, what a tower, looks very Chinese ….

a. the first thing was very much improved bass response. Everything tightned up - but it was mostly the bass that now had a degree of slam that was quite … impressive.

b. the next thing I noticed was that HRS has a ’sound’. Not sure what this sound is, but with 9 HRS bases here, and after trying them under everything (usually not in soup-to-nuts HRS setups though, but we are gaining more experience here as well), there is a quality to the sound that is recognizable. This is a sound that is hard to do better than - but it is becoming hard for me to analyze anymore - the old noggin just shuts down…. I could convince myself that this was less, the same, or more emotionally satisfying than the previous setup.

Perhaps over time it will be easier to settle this - and one should spend some time evaluating system mods like this - especially if one is subject to emotional swings on a minute by minute basis [aka doing system setups with one’s spouse ].

[This is the official poop. The previous post will be redirected here. Still think the burgundy metallic is going to be the “cat’s meow” … after the gloss black, anyway ]

CES 2007 and THE SHOW - Jan. 8th, 9th, 10th, and 11th

Harmonic Resolution Systems (HRS) will have static and
active exhibits on display again at CES 2007 in Las
Vegas. Please stop by and see our new and existing
products on display and in use by industry leading
companies. Representatives from HRS will be available
for technical and sales consultation.

Our rooms at CES and THE SHOW are as identified below.
We will have the new production SXR frame in the
Asthetix, Shindo, and the HRS static rooms. This new
audio stand frame was designed to be a very high
performance frame designed specifically for use with
our reference level M3 Isolation Bases. The SXR is a
sister model to our reference level MXR frame. The SXR
has a similar engineering approach as the MXR but was
design to be very cost effective for use in low profile
systems. The SXR like the MXR will also be available
is single and doublewide versions. The SXR is also
available in amp stand configuration (1 shelf), which
will be featured in the Asthetix and Vendersteen Rooms.

We will also have a bird’s eye maple version of our MXR
on display in our static room. This is a custom MXR
finish that a few lucky customers have enjoyed over the
past year but we have never displayed this finish at a
show so please stop by and see this unit in person.
The birds eye maple MXR will also include the new
billet machined aluminum cable organizer system
designed for the MXR series frames. This MXR option
was design to allow organization and controlled routing
of signal cables and in particular have the ability to
support the weight of network box cables like that
produced by MIT. Other features at CES this year will
be a new burgundy metallic finished MXR in the BAT room
and a gloss black MXR in Vandersteen room. Rockport
Technologies is using a MXR-1921-3V (shorter 3 shelf
version of MXR) in our mahogany finish over at THE
SHOW.

Harmonic Resolution Systems Inc. - Static Display
Venetian Tower 29-201

Active rooms using Harmonic Resolution products are:

Rockport Technologies - T.H.E. Show
St. Tropez All-Suite Hotel - Room 1104
455 E. Harmon Ave.
Las Vegas, NV 89109
(702) 369-5400

Asthetix - Venetian Tower 29-221

Balanced Audio Technologies - SandVenetian Bassano 2704

Shindo and DeVore Fidelity Ltd. - Venetian Tower 29-327

Vandersteen Audio - Venetian Tower 29-203