Hifi Network
Hifi Network‘s system consisted of an AVM Ovation SA 8.3 Lite amplifier, a CS5.3 CD player/streamer/integrated amplifier, and a pair of Elac Concerto S503 speakers. A Clearaudio Innovation turntable was also on dem, but not whilst I was in the room. Still, streamed music sounded particularly open and spacious, demonstrating the resolving powers of the Elac speakers well.
Vertere
The sound coming from this room kept me seated longer than I should have been. The core system was based around a Naim 332 preamp with an NPX 300 PSU, feeding the stunning ATC SCM50 ASL active speakers. Records were played on both the high-end SG-1 and the recently launched, more affordable DG X turntable, arm and cartridge through Vertere’s phono stages. The new design retained more of the qualities of the reference deck than it had any right to considering the price disparity between them, but sounded notably leaner and less resolved. I was fascinated watching Vertere’s Mike Burn perform an arm wand swap to demonstrate the company’s range of cartridges, a task he accomplished in under a minute.
To celebrate the summer solstice, Mike pulled out a well-worn copy of This is Spinal Tap, from which he played the track Stonehenge, which brought about many a chortle from the visiting crowd. As you would expect from a system built around Vertere and Naim components, speed, timing, weight, and control were all out of the top drawer. Equally impressive were the tonal colour and soundstage, as well as the sheer involvement this system could muster.
MCRU/Longdog
Yorkshireman David Brook always brings a great assortment of records, SACDs, and accessories to shows, but when he brings a system along, it tends to be a highlight. The Longdog speakers, housed in their acrylic cabinets, were a lockdown project for proprietor Nick Gorham, initially for his own entertainment. They provided thrills to all who sat in front of them. With the Soulines Kubrick DCX turntable once again spinning the tunes, this time featuring a Nagaoka MB700 cartridge, which feeds Longdog and Music First amplification. We enjoyed music from the likes of Blind Faith. Tool and Jah Wobble, among others, which was replayed with a rarely heard combination of power, dynamics and natural texture. It was one of those rare systems that impressed by simply sounding like real music, without skimping on the hi-fi niceties such as sound staging and a full frequency range. I could have stayed in there for hours, but duty called.
A pair of Alchris TX25 speakers was also in the room, but not playing during my visit. Alchris had a room of their own, which, judging from the queues every time I tried to enter, was extremely popular with visitors.
ATC
ATC’s Dave Spiers told me they wanted to put together a sensibly priced system for the show, this consisted of a Technics SL1200G turntable, ATC CDA2 CD/DAC/pre into a pair of the new active SCM20A active speakers. The music was clean, fast, precise, and lively, with good timing qualities. All in all, it fulfilled its brief of making an enjoyable noise for a respectable price tag – bravo.
Trilogy/CAD
This was the other digital system that really surprised me, sounding unexpectedly natural, organic, and involving, even at low volume levels. I suspect CAD’s Ground Control devices for removing high frequency noise had something to do with it. It was a simple setup, featuring an Innuos Zen Mini server and CAD’s latest 1543 Mk3 DAC. A Trilogy 921 integrated amplifier and Kerr K300 speakers completed the picture.
Ophidian
Ophidian’s Gareth James produces some interesting speakers which have gained many fans over the last couple of years. I got to listen to the floorstanding Ffions hanging off the end of an Atoll streamer and a tasty pre/power combo from Italian brand EAM Labs.
This system sounded natural and effortless, yet with no lack of detail despite the low volume levels when I visited. It turns out Ffion is James’ daughter’s name; she should be proud of her dad’s tribute.
The Chord Company
This most famous of cable manufacturers had a closed-door demonstration room but due to my tight schedule, I wasn’t able to see what they were up to. Thankfully a good friend, Matt McNulty, alias The Rockdoc, was on hand to take a couple of photos for me on Sunday and describe the events.
The main news was a new, Shawline-level subwoofer cable. As you can see from the photos, a REL subwoofer accompanied a pair of Kerr K320 Mk III speakers. The demonstration also covered the Phono Aray turntable grounding system, the EE1 Plus streaming filter from sister brand English Electric and the Powerhaus P6 mains distribution block. I may not have heard them at NWAS, but all were demonstrated at the Bristol Show, with extremely positive results.
Musicworks
Accuphase is a brand whose products have always impressed me at shows and dealers’ demo rooms, but I have yet to sample its produces at home. On display here was the DP-770 SACD player, the E800 amp and Peak Audio’s Sinfonia speakers. Naturally, mains products were from Musicworks themselves, with cables from Audiomica and supports from Acouplex.
The music was well-balanced, tuneful, and extremely dynamic, yet controlled, especially in the lower frequencies. It’s one of those systems that manages to involve the listener without drawing attention to itself. The jazz/funk track I heard sounded rhythmically assured, with great timing and instrumental separation.
Sound Fowndations
The dynamic Chris Green and his meticulous accomplice, Alex Denyer, have always put on a great display. And since taking on distribution of Soulines turntables, the music they played in their demo room has had an extra spring in its step. The brand’s distinctive-looking Kubrick DCX turntable, equipped with a DS Audio cartridge, fed a Music First preamp and Gamut power amp and the dream-level Kerr K100 speakers, meaning I spent far more time in there than I should have. Not even the hair metal excesses of The Darkness or mid-period Van Halen convinced me to leave.
The musical highlight though, was a well-worn copy of the LCD Soundsystem eponymous debut album, which took me back to when I first saw them play it live, two decades ago. This system had everything, but dynamics, life and impeccable timing are among its many strengths.
Gpoint Audio
Gpoint Audio’s Greg Drygala booked two rooms, the larger of the two proved to be one of the highlights of the show. On the analogue side was the J. Sikora Aspire turntable, fitted with a KV9 arm and a Wooden Aidas cartridge, this was connected to the recently launched Circle Labs V1000 phono stage. A digital stream was provided by the Lucas Audio Minimax server, which fed a beautiful, limited-edition Lampizator Horizon 360 DAC. Amplification was the impressive Circle Labs P300 preamp and N200 bridged mono power amps. The final box on the rack is the Lampizator Kraftwerk 8 power conditioner. Cables were from PSC Audio Pure Silver Connection and Skogland.
The music from this system was incredibly natural, spacious, and relaxed, yet full of detail. This system allowed the music’s full colour palette to shine through, with no lack of bass weight or fullness, even at low volumes.
Kerr Acoustics
Kerr speakers appeared in no less than six rooms at this show. Jes Kerr will no doubt have been rushed off his feet, but still had time for a chat and appeared relaxed. The Kerr room featured the Ultima 5 amplifier from Chord Electronics, paired with their Hugo II DAC and MScaler, using an Innous Zenith Nextgen server, along with Townshend cabling and supports. Pumping out the tunes was the Kerr K200s, which we have earmarked to review later this year.
Jes is a master of setting up a show system and knows how to apply acoustic treatment effectively. Despite the small room, the bass from these large speakers was exceptionally well controlled. The music was sweet, dark, three-dimensional and yet remarkably dynamic.
Connected Fidelity/Malvern Audio/Coppice
This was another room I was unable to get on the Saturday, so photos are again courtesy of Matt McNalty and friend of the Ear and all-round top bloke, Sean Griffin. The setup appears to have been similar to the fine-sounding one I have enjoyed at other recent shows. This room was shared between Connected Fidelity, who brought along their TT Hub Turntable, fitted with a Hana Umami Red cartridge on one of its two arms, and a Hana MH cartridge was fitted to the other.
From Audio Detail came the 101D phono stage, using a 101 triode, the 205D preamp with type R triodes and the PX25 stereo power amplifier in push/pull mode, with a separate valve PSU. Coppice Audio was showing both their BG3 floorstander and a new, open-baffle, modular speaker called the Modular BG. According to Matt and Sean, this was a standout room at the show, which makes it even more disappointing that I missed it.
Chasing the Dragon
Mike Valentine’s astonishing recordings were being demonstrated in a large room on a big but not excessive system. The Technics 1200G and Tascam DA3000 pro recorder provided the tunes, which fed into a Quad 33 preamp and ATC SCM 150 active speakers. The sound emerging from the speakers was pure and emotive. Despite my own classical and opera philistinism, I recognised a track from Bizet’s Carmen, which is the one opera I have seen live. The music belied the system’s price tag and drew many complimentary comments.
Super Natural Audio/Clip Audio/CML Music
Now regulars on the show circuit, the combined talents of Danny Baty (SNA), Chris Harrison (Clip) and Chris Liauw (CML) ensured this room was as popular as always. On display was the Clip Audio Dolomite turntable, featuring the Nine Wave tonearm and a modified Ortofon Cadenza cartridge, which was connected to an EAR 834 phono stage via a Marantz step-up transformer. From SNA was the preamp and new 300B, 8Wpc power amp, with a Lucas Audio server and SNA Reference DAC crunching musical numbers. From CML were the Etude EHSB speakers, which, with a sensitivity of 105 dB, had no trouble in producing high volume levels when required. I only got to hear a well-worn copy of Terence Trent D’Arby’s first album, but it sounded suitably funky, even at low volume levels.
Chris Baillie