CES 2012 – Franco Serblin Ktema, Air Tight, Transrotor
I visited this room twice, the second time with Neli.
Franco Serblin was speaker designer at Sonus Faber and is now designing his own line speakers.
The first time I heard the just the Ktema speakers. The room seating was setup very strangely [see below. one seat in the sweet spot and one couch perched sideways, usually blocking access to the area behind the sweet spot. This made seating for 3 people, 2 of which were facing sideways to the system, one of which had their view and hearing blocked], making it very hard to listen w/o standing up, usually in front of someone else. So it was crowded. I did manage to force my way into the back and take the photo below.
The Ktema speakers sounded good, but I could not decide, in the time I had there, if it was the old Sonus Faber ‘sweetness with balls’ sound, the later Sonus Faber ‘sweet and polite’ sound, or something new. So I wanted to get back there. This was about 10am on the 2nd day.
When we did get back there, the last hour or so on the last day, it was mostly empty except for some German guy from Axiss, I think, who chatted up Neli for a half-hour or so – which gave me a long time to listen – this time to the Franco Serblin ACCORDO monitor speakers.
The Accordo speakers sound quite full, and I was surprised, when I got up close to take photos, that these were playing and not the Ktema. Neli didn’t believe me so SHE had to walk to the front too. These days this shouldn’t be all that surprising – many monitor speakers are sounding more full-range these days – but compared to the old Sonus Faber Electa and Extrema [we’ve lived with both], these give one more a feeling of full-range satisfaction.
Albert Porter wandered in and when I asked him what he thought of these, I think he was surprised that it was the monitors playing too – but overall he thought he did not like this kind of harmonic presentation. I never could find out what he meant. The Air Tight sound does have somewhat dull-sounding harmonics – but the monoblocks drove the speakers well, and the harmonics were even top to bottom and in good proportion to each other. And the tonality was close-enough to real that any differences did not bother me – and I am pretty sensitive to atonal sound, though I do not have ‘perfect pitch’ or anything. When we ended up in the Robert Lighton / Audio Note room, the harmonic colors were certainly more vivid – like the difference between, say, colors on a day when it is very humid and a day where the sun is bright with no humidity [I was going to say the different between the color of flowers on a cloudy day versus a sunny day – but think that is a little too stark. It is somewhere in-between these two lousy metaphors].
I think these speakers, now, are a cross between the old ‘ballsy’ Sonus Faber and the sweet and lovely detailed Sonus Faber designs, taking the best from both. I think these walk the middle line of having a good deal of pep but at the same time being more linear and well-behaved. Some a good amount of resolution, but not really focusing on it as intensely as, say, the Guarneri is.
That said, I would love to be able to hear these on an amp that is more likely to be used with these guys. Have no idea how hard they are to drive – Sonus Faber was all over the place [the Lamm ML2 18n watt SET works great on the Stradivarius, and nothing in this galaxy can truly drive the Extremas]. I can say that this was the best I have heard Air Tight sound.
Took a lot of photos, being there twice and all. The speakers, especially the Ktema, is strangely hard to photograph and not all that photogenic while still being quite fun to look at all the same.
We see here the crazy seating here in this room.
A more quiet time.
The only two Franco Serblin speakers at this point, the Ktema and Accordo.
The Franco Serblin Ktema ‘Proscenium’ loudspeaker [most people seem to drop the ‘Proscenium’].
The Franco Serblin Ktema loudspeaker
The Franco Serblin Ktema loudspeaker
The Franco Serblin loudspeakers
The Franco Serblin loudspeakers
The Franco Serblin Ktema loudspeaker
The Franco Serblin Ktema loudspeaker bottom, spikes
The Franco Serblin Ktema loudspeaker directly from the front, easy to see what the front really looks like.
The Franco Serblin Accordo monitor loudspeaker
The Franco Serblin Accordo monitor loudspeaker
Franco Serblin’s Accordo monitor loudspeaker
Franco Serblin’s Accordo monitor loudspeaker
Franco Serblin’s Accordo monitor loudspeaker
Franco Serblin’s Accordo monitor loudspeaker. The monitor speaker is rear ported.
Franco Serblin’s Accordo monitor loudspeaker closeup. Looks like it is signed by Franco Serblin on the top there, and you can see how the ‘strings’ are threaded to make the speaker front ‘cover’.
Franco Serblin’s Accordo monitor loudspeaker
Franco Serblin’s Accordo monitor loudspeaker directly from the front, makes it easier to see the drivers.
Air Tight ATM 3011 monoblock amplifier
Air Tight ATM 3011 monoblock amplifier
Air Tight ATM 3011 monoblock amplifier
Air Tight ATM 3011 monoblock amplifier
Air Tight ATM 300 amplifier
Air Tight ATC 2 preamplifier
Air Tight ATC 2 preamplifier
Accuphase DD6000 CD player
Several Transrotor turntables were on static display. This is the Transrotor ‘Fat Bob’ Plus TMD turntable
Transrotor ‘Fat Bob’ Plus TMD turntable
Transrotor Dark Star Reference turntable
Transrotor Dark Star Reference turntable
Transrotor Zet 3 turntable
Transrotor Zet 3 turntable
Unknown Transrotor turntable
Unknown Transrotor turntable
Air Tight PC-1 Supreme cartridfge
Air Tight PC-1 Supreme cartridfge
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I had forgotten I stopped by here in the middle of the 2nd day – and shot the backs of the speakers and the particular turntable they were using.
The rear of the Franco Serblin Ktema speaker
Rear of the Franco Serblin ‘Accordo’ monitor speaker. Looks like there is a second port near the bottom of the speaker that is covered/stuffed with something.
Rears of the Ktema and Accordo loudspeakers
The TAOC equipment rack in this room [the platforms look like those from Finite Elemente but the support structure does not. See comments]
The Transrotor Fat Bob turntable being played here sometimes
The Transrotor Fat Bob turntable
I’m really enjoying these reports, and this update was especially meaty. Your comments on Air Tight are interesting because they enjoy quite a lot of popularity over here. I’ve heard ATM-3 monos mate well with Kharma 3.2s, and for quite a few Kharma owners over here the monos or the ATM-2 are the amps of choice. I’m not entirely convinced by the ATM-2. Have you any other thoughts on their sound?
As an aside, it’s actually quite alarming that there are SO MANY high-end manufacturers and designers out there plying their wares. Obviously we see only a tiny fraction in Ireland, but is the market in the US really big enough to sustain so many?
Hi Simon,
Wow. That is fascinating. I’ve never thought about putting Air Tight on Kharma. My experiences have been with the local Air Tight dealer’s showroom and his exhibit rooms at shows, as well as the distributor’s exhibit rooms at shows. The systems have always sounded under-powered and somewhat dull harmonically – most notably on the Tannoy Churchill speakers. I know, it doesn’t make sense looking at their design and specs, but… one hears what one hears.
It could be that these guys just had no clue how tube amp systems are supposed to sound. They were both experienced professionals, but some people just eschew the tube world, if you know what I mean – not liking tubes and never taking the time to understand what a good tube setup is supposed to sound like.
Hmmmm…. I had never before considered this possibility, and it would explain a lot of what I hear at shows and dealers. It would be very interesting to hear from others about this – as they are / were fairly well known in these parts. I’ll ask around and see what the consensus is.
Maybe the Air Tight has a special synergy with the Kharma. Would be great, if true. If I were thinking about that combo, I would listen, if possible, to a few classic combinations, like the Lamm ML2 on the 3.2 and Kharma’s own MP 150 solid-state on the 3.2, and if you like the Air Tight better, or it better matches your overall needs, then go for it and be confident you are doing the right thing.
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Yes, I also find it alarming. In times of financial crises, one is supposed to find consolidation at the top of the market [I guess we are seeing a little of this. Mostly hedge funds buying things like ARC and Sonus Faber, Naim merging with Focal, etc.] and some small startups formed by people with newer better more efficient ideas.
But instead we see a ton of ‘startups’ with the only new idea being to charge $40K+ for their first, unknown amp and $50K+ for their first, unknown speakers. I can only think that:
a. the cost of manufacturing continues to plummet even though the cost of materials is going up. I know this is true for circuit boards. The ease of using modern software to create an attractive industrial design and then outsource most of its manufacture must be increasing, and
b. they must either be able to get away with selling only one or two a year, and still break even [i.e. Just In Time manufacturing] or they are spending their savings on this endeavor, hoping to be a break-out success.
As far as the market in the U.S. goes, it sucks. People here are not currently into high-end audio [we seem to be very fashion driven and it is not in fashion].
But! Things manufactured here sell well in Asia and to some degree in Europe. Kind of weird, but even the really good brands make most of their income from overseas. There is some kind of ‘Made in America’ appeal that does not appear to have any basis in logic [:-)]
So maybe some of these startups are actually really smart and want to get a few ‘reviews’ here in the U.S., ‘establish’ themselves, and then go straight to international distribution, not selling a single product here in the U.S. [I know this to be the case of at least one, actually superior quality in this case, product].
But [another but] IF [when!] high-end audio became fashionable here… Well, I think people who do not live here do not have any idea how much we like to spend money. I have been gaining some insight into European sensibilities [by reading ‘trash’ novels like ‘Girl with the Dragon Tattoo’ 🙂 but also other, more scholarly works] and we have so much more pressure and fervent desire here to each be the Best… Consumers… Ever. If HiFi was fashionable – we could support 10 times the current number of manufacturers and all the current people in the business would be virtual millionaires. Then 10 years later things could dry up again. I think this fickleness confuses a lot of overseas manufacturers – they want the good times to start Now! [don’t we all] and get frustrated with their distributors when it doesn’t happen for them.
Take care, and thanks for your interesting comment!
-Mike
Mike, thank you so much. I appreciate your taking the time to put together such a comprehensive response in the middle of the show reports!
Added a few more photos I had forgotten I had taken the middle of the 2nd day sometime. I had really wanted to see what the back of the strangely shaped Ktema looked like. Apparently, it looks as one would pretty much expect.
These new photos have been added to the bottom of the post.
I wish we could have more info about Ktema’s and Accordo’s sound in comparison with Sonus Faber speakers.I am curious if the sound is leaning towards the old school SF sound or the current one.Photos are amazing by the way.Congrats!
Hi Christos,
Thanks.
I don’t have much more to say about the comparisons to Sonus Faber beyond what I said in the original write-up, up above. There is only so much I can tell about the ultimate flavor and quality of something on equipment that 1) I am not all that familiar with and 2) has a good degree of its own sound/flavor.
I thought one of the more interesting characteristics was the good separation [better than either Sonus Faber], which requires good midi-dynamics, which starts putting these speakers closer to Avalon speakers – but perhaps easier to drive that those, which are typically a little difficult, esp. in the bass [but then again, the Amati, at least originally, was also quite reticent in the bass as well]
I’d really love to hear these speakers on top-of-the-line gear that I am familiar with, of course – but in reality I can hope to hear them at the next few shows on, say, the better Ayre amps [which are often paired with Sonus Faber at shows, successfully to my ears], a decent solid-state preamp [Ayre would be OK] and a turntable. Oh, and cables that don’t muck with the frequencies / harmonics too much.
Take care,
-Mike
Hi Mike, FYI the cartridge in the pic is the PC-1 Supreme as only the Supreme has a gold body. Also, the racks that house the Air Tight gear is not from Finite Element. I believe that they’re from TAOC.
Thanks, Cecil.
Yeah, the platforms on the rack look like those from Finite Element but the support structure certainly does not. Thanks for the correction… Can’t remember if I made this mistake in another room… So many rooms… Drowning in rooms… 🙂
Take care,
-Mike
How can we buy Accordo Speakers directly to Franco Serblin
Hi Rosalie,
I am not sure how to contact and buy speakers directly from Franco Serblin.
Here in the US, Axiss Distribution was showing with Franco Serblin speakers at CES a few months ago in January, and seemed to have set pricing and everything – so I presume they can get them for audiophiles even though they say nothing about them on their website.
Good luck – I hope you get a pair!
Take care,
-Mike
Hi Mike
I can not understand your comments about the AirTight amplifiers. I have a lot of experience with the AirTight amplifiers, ATM-300, ATM-1s, ATM-2 & ATM-3 amplifiers at Parmenter Sound matched with the AirTight ATC-2 preamplifier. I have always had excellent results when I have set up our systems with the AirTight amplifiers and a matching sensitivity loudspeaker.
The AirTight ATC-2 preamplifier & ATM-1s power amplifier matched with the Harbeth C7ES3 or SHL5 provides wonderful sound. I would suggest that it is not the amplifiers to blame but probably poorly set up audio systems, by this comment I mean loudspeakers that do not match in sensitivity to the amplifiers or just poorly designed loudspeakers, I have found just because a loudspeakers is a high price does not make the loudspeaker a high end audio product.
Thank you
Jason Parmenter.
http://www.parmentersound.com