LAAS 2017 - Show Coverage Thread

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Vinnie R.

Re: LAAS 2017 - Show Coverage Thread
« Reply #20 on: 21 Jun 2017, 03:21 pm »
All,

This was just posted by Jack Roberts / The Audio Beatnik (LAAS2107: Room Awards)

http://theaudiobeatnik.com/index.php/2017/06/20/la-audio-show-report-11-vinnie-rossispatial-audioanticables-room-wins-beatnik-bongo-award-best-room-50000/



Quote from: Jack Roberts / The Audio Beatnik
Discovering the simplicity of this system and it’s total cost blew me away. I have heard and reviewed digital sources that cost more than this entire system. That would still be true if you added the phono preamp module to the LIO and a first class analog source to the system. You could also make these additions and keep the system price under $50,000. 

So, it is a very easy call for me. This simple and great sounding system wins the Beatnik’s Bongo Award for the Best System Under $50,000. Don’t forget, as the room was set up, this incredible system was just a little over $25,000. Well done to all!

:thumb:

Vinnie

targa02

Re: LAAS 2017 - Show Coverage Thread
« Reply #21 on: 24 Jun 2017, 04:23 pm »
Congratulations to Vinnie, Spatial (Clayton) and AntiCables!  It truly was a great sounding room!

Vinnie R.

Re: LAAS 2017 - Show Coverage Thread
« Reply #22 on: 27 Jun 2017, 08:50 pm »
Congratulations to Vinnie, Spatial (Clayton) and AntiCables!  It truly was a great sounding room!

Thank you, targa02! 

Vinnie R.

Re: LAAS 2017 - Show Coverage Thread
« Reply #23 on: 1 Jul 2017, 01:17 pm »
Another LAAS2017 show report - this time from John Stancavage of Part-Time Audiophile:

https://parttimeaudiophile.com/2017/07/01/la-audio-show-2017-spatial-speakers-and-vinnie-rossi-lio-literally-made-for-each-other/


Quote from: John Stancavage / Part Time Audiophile
The combination of Rossi’s electronic wizardry and Shaw’s innovative speakers did create a spooky sense of realism that was noticeably different from most traditional high-end systems.

Demo tracks such as the classical selection and tunes by Tori Amos and Dire Straits revealed a presentation that was close to what I imagine it would have been like to be sitting in the studio during recording.

Voices had electrostatic-like clarity and reverb trails seemed to hang in the air forever. Instruments were clearly defined and located precisely on a wide, deep soundstage. In addition, soft passages still had weight and clarity, while louder moments remained free from congestion and glare.

In particular, Amos’ piano was extraordinarily live-sounding, while Knopfler’s electric guitar had an especially beautiful tone. Overall, there was a cohesiveness across the audio spectrum that multiple-cone box speakers can struggle to achieve.

Indeed, the total price of the rig was less than what I’d seen for wire alone in a number of systems at the LA show — and the Rossi-Spatial room did more things right than some of those megabuck exhibits.


Photo credit: www.parttimeaudiophile.com


Photo credit: www.parttimeaudiophile.com

Many thanks to John (as well as Lee and Rafe from the Part-Time Audiophile team) for the coverage our LAAS room!

 :notworthy:  8)  :thumb:  :dance:  :thankyou:  :beer:

Vinnie

Vinnie R.

Re: LAAS 2017 - Show Coverage Thread
« Reply #24 on: 2 Aug 2017, 03:30 pm »
This LAAS Show Coverage page was just posted yesterday by Robert E. Greene of The Absolute Sound:

http://www.theabsolutesound.com/articles/a-quick-tour-of-the-la-audio-show-with-reg/


Quote
Clayton Shaw presented a new (to me) speaker dubbed the Spatial Audio X1 Uniwave. This is a dipole bass plus wave-guided compression driver operating from 300Hz up, bi-amped (the compression driver’s sensitivity is so much higher than the dipole bass’ that only bi-amping makes sense). Driven by Vinnie Rossi’s electronics, the speaker gave a depiction of orchestral sound of truly remarkable realism. I cannot recall any show demo ever that sounded more like an orchestra than this, and there have been few that were its equal. In a moderately large room—the exhibit was in a suite-sized room—this system was producing both truthful timbres and a stunning sense of the recording venue’s actual space on one of my perennial test CDs, Rachmaninoff Symphonic Dances, Dallas, Mata conducting on ProArte (not the dry-as-dust Johanos-conducted Dallas recording). I have heard this recording many, many times on many systems. This was one of the best, with a really surprising sense of the spatial and sonic scale of an orchestra—what I personally think of as the “Wednesday night” experience (Wednesday nights being when the orchestra I play in rehearses). And, as mentioned, one really felt transported to the acoustics of the recording venue. The speakers sounded natural and convincing on smaller-scale music as well. Harnoy/Dussek’s Schubert Arpeggione Sonata (cello and piano, on RCA) was bewitching in its tonal naturalness and spatial realism as well. At $14,000 a pair ($17,500 in wood finish), these X1 Uniwaves offer so much that one has to consider them a real bargain as well as masterpieces on their own, independent of price, if I can go by my vivid first impressions. (I was fascinated and went back several times.) This system may be a bit difficult to find for audition at first, until it becomes as established as it deserves to be. But meanwhile, as the Michelin travel guides say of their top-rated things to see (or in this case, to hear), it is “worth a journey.” (Pending editorial approval you can expect a review.)

Thanks for visiting (multiple times), REG, and thanks for posting your impressions!  8)

Vinnie