Excuse my language, and that is how investment banker talk behind the scenes with armani suit.
Hey guys, just looking at the pictures of the show, I could tell it was one fucking hell of a job. And those photos shot by Kahw are magnificient. The focus on people instead of audio pornography (on fucking electronics) set this team part from the rest of the world. These photos make a big ideological difference.
I may not understand fully on the discussion of recording quality but what the hack, the show was great! I was in Hawaii but I know how much people over here in the US is following this event.
I wanted to attend but it is always conducted in Chinese language. Can you do a special session for English speaker audiences next year?
Maybe Marvel big brother can become the MC of this session? That will draw a lot of attention!
This year's AE Show is without a doubt one of the finest single company audio shows ever staged. However, it was marred by an extremely poor digital music selection (and poorly recorded as well) in the Trinity/Goebel room. The volume setting was also very poor. I was surprised this was allowed to happen. How can a Ferrari (or any car for that matter) run on water? The people in charge of music selection are supposed to be professionals but their music selection was shocking! Was it deliberate? I don't know. The music being played before the show began was of much better quality and should be used instead. This was a real shame as it has put this room in bad light compared to the Cessaro room.
Marvel, I think the primary reason for the the seismic bass from the Universe is the Universe. It looks as if you could drive a small car through the bass horn.
It would be interesting to extract the influence of various cables, ground and power conditioning from such a system and see what truly contributed to that majestic sound....
I am intrigued by your findings with the linebacker as most subwoofer amps are digital these days....
The Linebacker XE makes a tremendous differences in fine details of bass frequencies. Contour and harmonic decays are much clearer with it installed. It does not make the speaker go deeper. I think what Marvel refers is the resolution of deep bass improves with the linebacker XE.
I wonder why linebacker XE was not applied in the trinity/goebel room. Because the unspoken sense of calm and serenity was present in the cessaro room as evidenced by very fine reproduction of violin and piano.
I also believe the mixture of different cables used also compromised the sound in the Goebel room. Since the Speakers are wired with Goebel cables, it only makes more sense to use only Goebel cables for the entire system.
After reading the post written by Marvel I very agree this sentence:
“It is the precision of musical wave…structure harmonic decays”
and could recognize the same from the sound of instrument producing harmonic decays in Mozart Sonata even at my seat at the last 2nd row. The first song by Jacky Cheung was also nice that could be naturally presented the solo. Perhaps I am familiar with every song by Jacky, I could still be told the details under the combo of Trinity and Gobel speakers at a relatively low level sound pressure.
I agree one more thing suggested by Marvel to add a session of “Designers’ Choice” and let the designers to briefly introduce their selection to those audiences who can only listen to English.
However, only small portion of strengths of Trinity could be demonstrated by those songs. When I was accessing the music presentation I have taken the factor of bad seating into consideration but all the selections could not shock me at the unlimited power delivered from the power amps. Together with the unmatched frequency setting in crossover between speakers and subwoofer, the show would made audiences have doubts on the omnipotent Trinity amplification.
Just talked with PT over the phone during lunch time, he will have permanent Trinity mono amps always available at AE for people to audition in conjunction with the Goebel again.
As an user of Trinity amp, I am very happy and very proud of it. The best is to audition at AE, then it will be point of no return.
PT will soon demo Black/Grey Wagner with Trinity amp.
We have no issues with the Trinity amps. I own Trinity mono amps and am extremely happy with them and like Raymond said, possibly the end game in amplification. Only issue during the show was the poor selection of digital music which made them sound compromised.
Joe Cohen here with PranaWire. First I would like to congratulate AE on their successful show and the reported stellar sound in the Cesaro room.
No one is more frustrated with the slow delivery of Linebacker XEs than I am. To those who have been waiting, or even worse, who have given up waiting, I offer my deepest and most wholehearted apology. This product run should never have taken this long. The order for chassis was placed with the machine shop 6 months ago. Due to a series of missteps on their part, they have only managed to deliver 4 out of the 20 ordered to date. The most recent batch of 5 had to be returned due to cosmetic defects. I am confident that they have worked out all of the bugs now and that the next batch of units will be acceptable. When all are delivered, we will have chassis to spare, plus we have opened discussions with another shop that I am confident will be able to deliver the required level of finish for all future product runs. All sub-assemblies and advance work that can be done on the remaining units has long since been completed and sits in our workshop awaiting the delivery of chassis. Once they are here, we will have them completed, conditioned and shipped in the swiftest manner possible.
I ask you to keep your faith in PranaWire. My intention is to deliver products that will compliment your system in the deepest and most transformative way possible and that will bring you satisfaction for decades to come.
For the third year in a row, the duet Audioexotics and Audiotechnique, have put together a show that is singular in Global terms. Such a collection of the utmost Masterpieces is extremely rare to align together, especially if it is a single event that lasts for one day. Chris is always eager to show the latest of the latest and its incarnation, be it in the form of a turntable, a loudspeaker, .. or maybe all at once. It is not easy to make an idea of the amount of effort –among others- involved in making this happen.
Working on the edge of the State of the Art, deploying and setting up ultra-complex systems in ONE setup day, is an incredible challenge by its own. All of us, with shows ‘on our back’, know that getting the system to perform at its best, rarely –or never- happens on the first setup day. Taking the Munich show as a reference point, it has 1 unload day plus 2 setup days. Then 4 show days. It would be fair to say, as a fact, that the last day of the show, before system goes into dismantling, delivered performance is the best.
The AE Supershow adds extra challenges to the equation. The complexity of the setup –A pure Holistic approach- with different degrees of AC-supply management for the audio system (Tripoint, Dalby, Vertere,..) means the results and final effectiveness will require a set of tests done at the setup room to find the optimum combination and how they will integrate with the rest of the system. This cannot be predicted until the system is setup and all different products interact with each other, so puts out an extra degree of *everything* on one day.
Aware of this challenges, I have to thank AE Crew for striving to deliver the best possible sound -within the available setup time- and results attained. For all comments related to the selected music, maybe something to learn for the future.. All critical live performances have a ‘general rehearsal’ and allow a time in the schedule for such a purpose. But fitting that, together with setup, tunein, possible technical issues, etc. is virtually impossible to condensate in a single setup session.
‘The proof is in the pudding’ - It was rewarding for me to see in the Cessaro horn room, playing our Wadax phono –digital technology-, see happy faces and am thankful to all supporters of Wadax in HK.
The 3rd AE Super Hi-end Show for me cemented the foundation of a true, unique way of conveying music reproduction to the general public. People from all walks of life were given opportunities to witness a collaborative effort of showcasing world class audio equipments perform in a controlled environment. Along with the designers present in the show even made it more informative and exciting.
Even though there were issues concerning room acoustic and song selections on the Goebel/Trinity room, my main concern was really the matching of the amplifier to the speaker. Atleast after hearing the system, I can conclude that a 100 watts (into 8 ohms) amplifier can drive with ease a low sensitive speaker.
With regards to the Cessaro Universe system, this is an audiophile dream come true. If only I have the money and room, I would have bought the whole system right on the spot.
Congratulations to AE for their effort and enthusiasm in bringing up this show for the whole world to see. It was a very enjoyable and memorable event to me. Thank you.
This is my 3rd time to attend AE’s super high end show. This highly anticipated annual event has again brought unsurpassed visual and audio experience to its lucky audience. The sight of the 2-tons of Cessaro horn speakers is forever imprinted in my memory - surely not an easy task to transport these pair of giants - thanks to AE crew for all the hard work. My personal preference is the set-up in the Trinity/Goebel room. I arrived early and was lucky to have the "king seat". I really like the sound of the Goebel speakers due to its unusual wideband driver and the crossover's inherent lack of intrusion on the musical signal. The highs of the analog remained pure, the lows resolving to the very depths of the recording. This was before the show started. However when the show started, the whole sound system was compromised by poor selection of music files and LPs. Further I think it was a shame that no HD music files were played. The audience seated further away from the "king seat" would have been the most affected. However, despite these issues, it was still an excellent show. Thumbs up to AE for their great efforts in making this show a reality. It is also at this show that I had the chance to meet with the designers, Mr Oliver Göebel and Mr Lee Dalby and the pleasure to have a chat with these gentlemen.
I really like the Goebel/trinity room. I have never experienced a pair of dynamic speakers with such coherence by goebel. It is so coherent and pure. It was good that I could talk with both Dietmar and Oliver personally. I sat in the 4th row middle position. The music selection could have been better but the supreme coherence of goebel and ultra resolution of trinity were clear to my ears. I am a big fans of trinity. And it seems my next step is to get a pair of goebel. The EPOGUE is too expensive, I may get a pair of Fine instead.
Oliver, if you read this message, please offer some discount to AE, I have decided to give up my Wilson Alexia.
Comments
Hey guys, just looking at the pictures of the show, I could tell it was one fucking hell of a job. And those photos shot by Kahw are magnificient. The focus on people instead of audio pornography (on fucking electronics) set this team part from the rest of the world. These photos make a big ideological difference.
I may not understand fully on the discussion of recording quality but what the hack, the show was great! I was in Hawaii but I know how much people over here in the US is following this event.
I wanted to attend but it is always conducted in Chinese language. Can you do a special session for English speaker audiences next year?
Maybe Marvel big brother can become the MC of this session? That will draw a lot of attention!
It would be interesting to extract the influence of various cables, ground and power conditioning from such a system and see what truly contributed to that majestic sound....
I am intrigued by your findings with the linebacker as most subwoofer amps are digital these days....
I wonder why linebacker XE was not applied in the trinity/goebel room. Because the unspoken sense of calm and serenity was present in the cessaro room as evidenced by very fine reproduction of violin and piano.
“It is the precision of musical wave…structure harmonic decays”
and could recognize the same from the sound of instrument producing harmonic decays in Mozart Sonata even at my seat at the last 2nd row. The first song by Jacky Cheung was also nice that could be naturally presented the solo. Perhaps I am familiar with every song by Jacky, I could still be told the details under the combo of Trinity and Gobel speakers at a relatively low level sound pressure.
I agree one more thing suggested by Marvel to add a session of “Designers’ Choice” and let the designers to briefly introduce their selection to those audiences who can only listen to English.
As an user of Trinity amp, I am very happy and very proud of it. The best is to audition at AE, then it will be point of no return.
PT will soon demo Black/Grey Wagner with Trinity amp.
No one is more frustrated with the slow delivery of Linebacker XEs than I am. To those who have been waiting, or even worse, who have given up waiting, I offer my deepest and most wholehearted apology. This product run should never have taken this long. The order for chassis was placed with the machine shop 6 months ago. Due to a series of missteps on their part, they have only managed to deliver 4 out of the 20 ordered to date. The most recent batch of 5 had to be returned due to cosmetic defects. I am confident that they have worked out all of the bugs now and that the next batch of units will be acceptable. When all are delivered, we will have chassis to spare, plus we have opened discussions with another shop that I am confident will be able to deliver the required level of finish for all future product runs. All sub-assemblies and advance work that can be done on the remaining units has long since been completed and sits in our workshop awaiting the delivery of chassis. Once they are here, we will have them completed, conditioned and shipped in the swiftest manner possible.
I ask you to keep your faith in PranaWire. My intention is to deliver products that will compliment your system in the deepest and most transformative way possible and that will bring you satisfaction for decades to come.
All my best regards to all at AE and this forum.
Joe Cohen
PranaWire
Working on the edge of the State of the Art, deploying and setting up ultra-complex systems in ONE setup day, is an incredible challenge by its own. All of us, with shows ‘on our back’, know that getting the system to perform at its best, rarely –or never- happens on the first setup day. Taking the Munich show as a reference point, it has 1 unload day plus 2 setup days. Then 4 show days. It would be fair to say, as a fact, that the last day of the show, before system goes into dismantling, delivered performance is the best.
The AE Supershow adds extra challenges to the equation. The complexity of the setup –A pure Holistic approach- with different degrees of AC-supply management for the audio system (Tripoint, Dalby, Vertere,..) means the results and final effectiveness will require a set of tests done at the setup room to find the optimum combination and how they will integrate with the rest of the system. This cannot be predicted until the system is setup and all different products interact with each other, so puts out an extra degree of *everything* on one day.
Aware of this challenges, I have to thank AE Crew for striving to deliver the best possible sound -within the available setup time- and results attained. For all comments related to the selected music, maybe something to learn for the future.. All critical live performances have a ‘general rehearsal’ and allow a time in the schedule for such a purpose. But fitting that, together with setup, tunein, possible technical issues, etc. is virtually impossible to condensate in a single setup session.
‘The proof is in the pudding’ - It was rewarding for me to see in the Cessaro horn room, playing our Wadax phono –digital technology-, see happy faces and am thankful to all supporters of Wadax in HK.
Javier
Even though there were issues concerning room acoustic and song selections on the Goebel/Trinity room, my main concern was really the matching of the amplifier to the speaker. Atleast after hearing the system, I can conclude that a 100 watts (into 8 ohms) amplifier can drive with ease a low sensitive speaker.
With regards to the Cessaro Universe system, this is an audiophile dream come true. If only I have the money and room, I would have bought the whole system right on the spot.
Congratulations to AE for their effort and enthusiasm in bringing up this show for the whole world to see. It was a very enjoyable and memorable event to me. Thank you.
Oliver, if you read this message, please offer some discount to AE, I have decided to give up my Wilson Alexia.