Ascendo/CAT/Virtual Dynamics

The Ascendo System M ($45K in chrome stand) flanked by a beautiful pair of CAT JL-3 monblocks ($30K) was eye-catching to say the least. Centered on a Sistrum platform was the legendary CAT Ultimate pre ($7K) and the up and coming Harmonix Reimyo CD Player ($14K). The room was put together by Avatar Acoustic's prez, Darren Censullo (left). Standing next to Darren is none other than Virtual Dynamics guru himself, Rick Schultz and to the right of  Schultz is none other than Antonio Bandaras' twin Jurgen Scheuring of Ascendo GmBH.

The room proved to excel dynamically while never relinquishing its luscious midrange and wonderfully open soundstage (tubes? you bet!). Now the System M loudspeaker is a show-stopper based on its exotic stand and hovering tweeter section. I personally own a pair of System Ms and find their sound quite remarkable when paired with Schultz's new top-of-the line VD Revelation Series cables. These cables were used here throughout as well and the results were what I would have expected: full of life with a tactile sense of image specificity. Bravo!  


           Luminance/Virtual Dynamics/Sistrum/Acoustic Systems

This room boasted yet another design from yes, that's right Rick Schultz in the Luminance Audio Threshold amplifier ($3K). Luminance is a spanking new amplifier company co-founded by Schultz of Virtual Dynamics and Steve Kaiser, formally of B&K (he and John Beyer designed the famous B&K ST-140). The newly designed Threshold (rated at 150/w per channel) incorporates Schultz's Speed of Light technology (SOL) and Kaiser's sophisticated circuit design which claims very high input integrity and purity. What's interesting is the design is analogue through and through. No Tripath, ICE or anything remotely digital is used. Speed, accuracy and integrity, based on circuit design and SOL are said to set new benchmarks according to Schultz.

Considering the size of this room and the size of the music, I would have to say this room was absolutely stellar sounding. The Ascendo System E ($12K), actually sounded quicker and more surefooted than the room boasting the System M. It didn't hurt that a Linn CD12 was playing host to all CDs while a Reimyo preamplifier controlled the output (and knowing Schultz, you know the Linn and Reimyo were both tweaked). All rested free of ground resonances by virtue of the Sistrum Isolation 4-tier platform ($3k). Lastly, Acoustic System's Franck Tchang, blessed the room with his Acoustic Resonator treatment.

We could argue all day as to which is more musically involving because the CAT/Ascendo M setup was no joke either strapped to those CAT monoblocks. But I liked the speed of this room. I also liked the overall control factor as well. The sound was neater, tighter and more intimate due to it being a smaller venue. Bravo to Rick for a marvelous setup and a excitingly good and affordable amplifier.    

                                Isophon/Acoustic Signature/Li Ko Design

There was great anticipation in what the Behold and Isophon setup would sound like considering it totally blew me away at last year's Munich High End Show. I came home excited telling everyone who would listen what an incredible sounding setup this proved considering I already own the Isophon Europa MKI. I NEVER heard them sound this good and chief designer Dr. Roland Gauder assures me that the MKII version is a better one (don't you just hate that?). Well, that may be true but I've got to say that neither I, Don Dixon or Robert Jorgensen were prepared for this level musicality coming from such newcomers. This time around, the sound came via a stereo Behold amplifier ($30K) and a smaller, less expensive line of Isophon loudspeaker called the Corvara (price TBA). In addition, Behold also debuted their new prototype transport that looked more like an extra preamp chassis with a CD slot due to it being devoid of buttons or controls. The remote however is one slick son-of-gun that uses Bluetooth technology (more info please Munich HE above). There are few things I lust over anymore with the exception of the Behold line.

Here once again, the music did not disappoint. No, the room wasn't nearly as large, nor was the setup as elaborate as back in Munich. But that didn't seem to stop the music from flowing through totally unimpeded. I played my jazz sampler CDs and was quite impressed with what I heard once again. The sound of this combination was as quick, tonally centered - especially around voices yet didn't give way at the extremes, just as wonderful sounding as I remembered in Munich last spring.  

Clement Perry

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