2008 RMAF – – – all things analog.

I'll be there, my first RMAF. Looking forward to meeting up and to it being a step from the usual CES insanity.

Twer definitely a pleasure putting faces to names, and thanks again to Cello for his kind facilitation.

Aside from all the human connections, A'gon member and otherwise, that are always a stimulating and gratifying aspect of the shows, there were a few standout rooms for me, in various capacities. Intuiting which components are doing what, in the context of a system and room, is always an interesting sport. Doing this without reference discs is a losing battle. I brought a CDR of minimalist acoustic reference tracks including a couple that I engineered myself, as well as a wonderful test pressing of Analogue Productions Li'l Hatch LP, which impressed and revealed wherever I went. It shouldn't be too surprising how many rooms had minor to major set up problems, from accidental channel reversal to phase problems, not to mention the usual room reflections in the midrange and bass.

It was a major coup to connect with Todd Garfinkle of MA Recordings and hear his treasure trove of stunning CDs of mind blowing music form his world travels. Beautifully and naturally recorded, they came to life through the always magically nuanced VivA Solista amp and Trenner and Friedl Ella speakers, although not my favorite model in their line. I came home with nine CDs, and that from someone who rarely buys anything but LPs anymore. Another highlight was hearing live unamplified music up close and personal in the Soundsmith room, associated with a charity recording project that should be quite special from a number of angles.

I was gratified to hear how well the Wilson Benesch Speakers coupled with a new DeHaviland integrated push-pull amp. There were a number of successful implementations of Lowther style drivers that didn't exhibit the mid treble peakiness and lack of bass, albeit usually supplemented with woofers. One of the best of show for me was the Sante Fe Audio room featuring the Continuum Criterium/Copperhead table/arm fitted with a PC-1 mated with Wavac electronics and Lansche Speakers. The system was delicately articulate and dynamic through the entire range. No surprise there.

One interesting demo sticks in my mind in the always entertaining Acoustic Revive room of the Ultra Low Frequency Pulse Generator. Although the sound, both before and after, was not great, the difference with the device activated was astounding to all present, and better.

So many rooms... so little time.

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.

Sonofjim,

you have my sympathies, but I'm not convinced that the challenges of the economics of this situation are best solved by lowering the prices of the upper echelons of this cottage industry. When as many Saskias sell as do BMWs, I'm sure we'll see lower prices. Some would have it that the Technics SL1200 is your answer. I think if you compare the two you'll find out why the Saskia has two zeros added to the price. I know it's hard to imagine how that is justified but if you actually looked into it, it would come into focus. Sorry to jump on you, but it's an all too common oversight.