LOUDSPEAKERS: Does the Totem Mani-2 still rate as one of the ...

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locks and
a pair of
l a r g e
Villa-
R e a l e
s p e a k -
ers. It was
a lively and wonderfully
syncopated version
of the legendary Brubeck composition.
We had another treat on LPs with My Funny
Valentine from the 70’s direct-to-disc album The Great Jazz Trio
Direct from L.A., with Hank Jones, played on a Brinkmann La
Grange turntable and introducing the Brinkmann tone arm.
That was followed,
in the
same room, by
Rachmani-
nov’s Piano Concerto No. 3 on a completely
rebuilt 1956 Thorens 124, with amplifiers by Brinkmann
and Litho Phon speakers with ribbon tweeters.
Actually, turntables were almost everywhere this year, and
we enjoyed tremendously the music of De Falla from his Three
Cornered Hat ballet played on a Red Point turntable, a VAC
Renaissance Signature preamp and a Manley Steelhead tube
phono stage, amplified by a VAC Beampower amp linked to
a pair of sculptured, large, shiny black Hansen speakers.
Michael was eager to try his CD of Le Pacte des Loups, on
the Raysonic vacuum tube CD 128 player and the Raysonic
SE-30-A integrated amplifier (shown above left). The opening
track of this impressive film score sounded accurately dark and
ominous on the new Living Voice IBX (Auditorium Series)
speakers, similar to our reference OBX but with a built-in
crossover filter.
As we walked toward another room, Jimmy suggested
exhibitors should keep their doors shut and post a clear sign
inviting people to walk in. The noise carried along the hallways
(of male audiophiles talking passionately about…the gear, what
else?) was always too invasive, and as a result, many rooms
had to raise the sound to absurd levels. Michael nodded and
remarked that this year he noticed how loud music was being
played in most rooms. And by the way, during the three days
of the Festival, that was the most common complaint I heard
from a large number of visitors.
So here is a hint to those with have access to the volume
control: don’t try to impress audiophiles by flattening them against
ULTRA HIGH FIDELITY Magazine
the wall. Strange as it may
seem to some, most of us
want to be soothed by good,
rich, natural sound. When
it’s too loud, we can’t hear it.
At left: the new CD player and
integrated amplifier from Raysonic.
Below: David Berning with
his new preamplifier.
“And, yet,” Jimmy added, “I can tell that the overall level
of sound quality has increased, this year.” We all agreed.
The next room was large and dark and all eyes were
focused on the large, widely-spaced Lohengrin speakers by
Verity Audio, flanking a pair of single-ended triode WAVAC
monoblocs; huge, brightly lit amps delivering 150 watts each
(one of them can be seen on the next page)! The source and
control came from the trio of dCS Elgar, Purcell and Verdi.
Stravinsky’s A Soldier’s Tale filled the room smoothly, effortlessly,
the musicians spread across the wide stage.
In another room soon after, Michael remarked again
about the high sound level as single piano notes were struck
repeatedly with a furious right hand. “Not to worry, ” I said,
“it sounds like the karate style of a Three Blind Mice recording.”
And sure enough! The new Mirage OMD-28’s (Omnipolar
Reference Speaker System) were doing their best with that
recording, fed by a pair of Bryston 7B SST power amps, a
Bryston preamp and power supply and an Arcam CD36 player,
all filtered through a Torus Power Line conditioner.
Enjoy the rest of this article in our print issue, or in the
electronic version, available from MagZee.
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