CAF 2025

 

 

 

This year’s Capital Audiofest turned into an absolute showstopper! What started as a modest, personal, nerdy hifi get-together back in 2010 has morphed into a show that rivals any other in the USA. I have to admit, I was caught off guard by the incredible growth that was apparent as soon as I walked through the Hilton’s double doors in Rockville, MD. The sheer scale of this venue and the event took me aback. As usual, the big rooms were held in the grand ballroom-sized suites located on the ground floor. Starting on the 8th floor and snaking my way through the building, I was intimidated by how many manufacturers were actually in attendance.

 

The list of attendees literally froze me in my tracks, knowing I only had one day to get through this event. In addition, I was running into so many old faces from years past, it made it all the more impossible to get to where I wanted to go. Truth is, it’s really the people who make the show, as I’ve lost my compulsion to try something new a very long time ago. Personally, I find it very rewarding to say, “I’ve found what I was looking for.” It takes so much stress off attending events like these. Yes, quite a few systems hit the proverbial LIKE button for me, but not after seeing the sticker price! I never said OUCH so much in my life as much as I did at this audiofest.

 

I gotta admit, the hallways were busy, the elevators packed, and the rooms were well attended. But most important was the smiles and friendly atmosphere that was immediate on this relatively warm Saturday afternoon.

 

Thanks, in large part, to the Capital Audiofest staff and its leader, Gary Gill, for hosting such a fantastic show. While I was reminded of the pre-COVID days of RMAF, nothing was more of a blast from the past than running into its former curator, Marjorie Baumert (along with her late husband, Al Stiefel).

 

After a decent breakfast with my good friend and neighbor, Oliver Solomon of Delve Audio, we went our respective ways to capture what we could.

I hope to offer much more commentary in the coming days, but first, I wanted to serve it up as a teaser. Stay tuned for more…

 

Audio Note UK businessman Adrian Ford-Crush has been quite busy these past few weeks (saw him at a recent NJ audio show in late Oct). Once again, the Meishu Phono Konzertmeister 300B SET integrated amplifier ($75k) looked both beautifully built and ultra-delicate-sounding, driving the AN/E Signature Field Coil loudspeakers ($150k). The room also spun vinyl via the TT-Three Reference turntable with the AN1-S 10” tonearm (using an IO I moving coil cartridge and AN-S8/L Step Up Transformer). Digital on display was the AN CDT-Four Red Book CD Transport feeding the new DAC5 (using the latest IZOR resistor ladder DAC). Sound was remarkably realistic and relaxed with a dynamic prowess that belied this large stand-mounted monitor.

I get goosebumps whenever I power up my Meishu Tonemeister strapped to a pair of AN Es monitors as well (my review here explains it better). Since that review, I’ve been blessed to have upgraded to the Meishu Silver version and a CD4.1x player. I really want to hear that Konzertmeister, however, right here in my own home.

 

 

 

This is from Greg Takesh…I have partnered with these dealers and manufacturers before, but I gotta tell ya that the Transformatic Tara 30 tube preamp put the system over the top, but at $80k, it damn well better! As for my Giulietta Bellissima speakers. They are named after my late wife, whom I lost to cancer only a year ago. I had dropped off the high-end audio scene for a few years to take care of her. One of the last things she told me was not to sit around and mourn her; she wanted me to get back to work. At shows starting in 2012 at the NY audio show at the Waldorf and CAF, she was my right hand, keeping me focused; she was always one step ahead of what I needed. So here I am back with my best design to date.

GT Audio Works Specs. 3-way planar magnetic bass panel, planar magnetic midrange, and a pure ribbon tweeter using an impedance matching transformer. 81 inches tall x 22″ wide x 3″ deep. All drivers are my own proprietary design, built in my NJ shop using high-energy Neodymium magnets. What sets my design apart from others is that there are no electrical filters on the bass panel.

Its frequency response is mechanically tuned and damped, so there is nothing electrical between the amp and the planar magnetic panel. This driver is more than a bass driver; it covers a wide range. Think of it as a large, coherent single driver.

Its slope is relatively shallow and gradually blends well with the mid driver and ribbon drivers, each of which uses a single high-quality capacitor (VH Audio V-Cap ODAM). I use this method because it creates a very firm handshake between the driving amp and the planar panel without any phase, capacitance, or parasitic electrical losses. This gives my speaker jump factor and resolution that are lost in many other designs that use electrical filters on the main driver. 93 dB and a benign 6 Ohm load make it an easy speaker to drive. The Westminster 100 wpc class A monoblocks we used were more than enough. I use Manley Snappers 100 wpc EL34 monoblocks in my home system. 

Forgot to mention my 12″ 1000 wpc active open baffle subs, used below 60 Hz. The drivers are very good, but very expensive: Acoustic Elegance dipole woofers. Driving amp is Audio Control RS1000.
The subs are modular so that you can stack 2, 3, 4, 5, or 6 per side.
6 per side in a proper room is an experience. A wave of pressure vibrates your spine, but quickly and articulately. You can easily EQ and trim bass gain on your phone, which comes in handy since all tracks record bass differently.

The main speaker bass panels don’t go lower than 50 Hz. I do that on purpose. Big panel speakers that claim to go down to 20Hz can’t hold a candle to what these OB subs can do. My logic is to leave planars to what they do best and cones to what they do best. Plus, no box creates the same radiation pattern, so they integrate very nicely. 50 Hz is a good cutoff for the main panels; it captures the articulation without reproducing bass that would require a large panel with high excursion, which can cause distortion. Greg Takesh

 

Unique Home Audio LLC of Dunedin, FL put on a hell of a demo that featured the Popori Acoustics WR2 Arrabona electrostats ($35k), Atmasphere Class D amps ($6200), VIABLUE cables(?), BACCH SP ($30k), AGY AC powerline filter ($4500), and a glowing plasma red, pyramid-shaped, custom-built music server made by none other than the Audiophile Junkie! (I love that guy for turning me to the BACCH). 

The first thing I asked was “where’s the subwoofers?” “There are none,” was the response. I then gathered myself, listened more intently, and discovered that the Popori Acoustics WR2 Arrabonas are expensive, yes, but cheap compared to other electrostats, especially in terms of looks and performance. I’m pretty familiar with the BACCH SP and consider it a Godsend for anyone trying to enhance their system’s performance (especially a digitally based one). Of all the folks at the show, Unique Home Audio was the only one boasting a BACCH setup, and it was immediately apparent from the low-end energy produced in this way-too-small-for-this-system hotel room. Marvelous!

 

 

There’s something about designer Jacob George’s Rethm loudspeakers that always makes me smile. And here was no exception. His new lineup features four new models, while the self-powered Rethm Aarka monitor boasts a newly designed isobaric woofer section, a 25-watt hybrid amplifier with FET output (using a 6H6P tube driver stage. It was evident from the first moment I sat that something was different here. The system maintained its inherent delicacy and tonal correctness, compliments of its 5″ wideband driver, while the bass output and dynamic range improved noticeably. Bravo!

 

The Living Voice Vox Olympian is perhaps one of the finest-sounding loudspeakers I’ve ever heard (and most expensive at around $800k). When I saw that Living Voice was attending this year’s CAF, I got nervous, and my palms got sweaty.

 

 

When I entered the room, I did not see the UK-derived Living Voice Vox Olympians, but instead a more realistically priced floorstander, the Living Voice R80 (starting at $51k-$65k, depending on finish and crossover option).  In my travels to the Munich High End, I often saw the R80s, and they, too, are held in high esteem for their remarkably natural flow and seamless balance. The 300B-tubed, 16-watt BorderPatrol S20EXD ($22,500) drove the R80s with aplomb thanks to its 92 dB efficiency rating. Needless to say, I was impressed by the sound of this room, as well as by the sound quality at a more realistic asking price.

 

I was lucky enough to catch up to the big CAT, Ken Stevens of Convergent Audio Technology, and industry pro Brian Walsh right outside the CAT suite.

First things first, that granite-built, Acora VRC 3-way floorstander ($218k), is a lot of scratch for its size, but at 430 lbs per side, it’s a beast. This 4-Ohm, 94.5 dB-efficient loudspeaker reproduced the music in this room with a quality that belied its relatively modest footprint. The photo shows that the VRCs were widely spaced. Almost too far for conventional types. Yet, coupled with CAT electronics that included their CATJL7 HPA ($74k), and new SL1 Extreme preamp ($100k),  they provided an extremely detailed and focused soundstage that seemed almost too good to be true. This is one loudspeaker I would love to do the tango with, but its weight says otherwise. I’m a sucker for loudspeakers set up on my periphery and yet focused like they’re right in front of you. The Acora VRCs are kings of focus, image specificity, and soundstage. Especially when paired with electronics and ESP cables. 

 

 

Bella Sound’s Mike Vice put on a wonderful-sounding demo featuring his new Kalalau preamplifier ($20k), Unfortunately, the preamp was lost in transit and them found a week later, so it wasn’t there. I think the best summary of the product is on our website: https://bellasoundaudio.com/kalalau-preamplifier.html. This is a no-holds-barred design that should satisfy the most discerning audiophiles. The matching Kahili stereo amplifier and Hana AC conditioner ($12k) did impress, however. His Kaula 2 AC cords received my Publisher’s Choice and have been reviewed quite favorably by Moreno Mitchell and me (here). The Bella Sound electronics drove a pair of YG Hailey 1.2s with ease and comfort, making me sit down, relax, and reminisce for a moment. Mike Vice and the late Jack Bybee were partners, and truth be told, Vice was the guy behind the scenes who helped Bybee develop his AC conditioners. Every time I speak or see Mike Vice, I am reminded of how much I miss our friend Jack Bybee. I know one thing for sure: if Jack were here, he would have been more than delighted by the sound of this room. Congrats, Mike.

 

 

I haven’t seen the German company Fischer & Fischer on this side of the Atlantic in over twenty years. This is the first time I am seeing and/or hearing them with AGD GaNTube Technology products. Fischer & Fischer employ unique cabinets made from natural slate, a material chosen for its density, rigidity, and ability to minimize cabinet resonance. With the launch of the GaNTube Technology, the sound here was absolutely superb. Quick afoot, yet tonality was spot on while bass was nothing short of authoritative. 

 

 

It was nice to see M101 Audio’s Dr. Lubomir Dostal at this year’s CAF. His AC cables are available at different price points depending on the model series. The Flare power cable starts at approximately $599, while the Nova power cable starts at around $2,500. The higher-end Supernova and Hypernova cables are more expensive, with the Hypernova available only by special order. Using his Flare series speaker cables ($1200), strapped to a pair of Paradigm Persona 3f loudspeakers ($6k), and a PS Audio Stella Strata amplifier via some unknown streaming source, the sound was both involving and vibrant. It was a sigh of relief to be able to sit and enjoy a system as excellent-sounding as this proved to be, especially at an asking price of less than $25k total. The aesthetics are compliments of RDacoustic, who contributed nicely to the lovely balance of this room.

 

 

 

MC Audiotech’s Mark Conti is an industry icon for unique and innovative products. Showing off his MC Audiotech TL-8 loudspeakers ($17k), being driven by a Heaven 11 Audio Billie 3 integrated amplifier ($2,750). I have not heard of Heaven 11 or many of the other new components I saw at this year’s show.  The TL-8s are the smallest of the three that MC Audiotech designs, but they hit all the buttons that made me want to stay and listen. And let me state, it was a sonic relief to know that something this sweet-sounding (and optionally fitted with a DAC and phono stage) really made the TL-8’s sing. Here’s another great-sounding setup that could be had for less than $25k.

 

 

Blink High End’s Tim Lukas imports The Fink Team products. At this year’s fest, Tim showed the Borg Episode 2 ($38k) for the first time in the USA. Electronics included an all-Linn setup featuring the Klimax DSM Organik streaming preamplifier ($48k) and a pair of (not too sleek) Linn Solo 800 monoblocks ($100k). I have remained fond of the Borg loudspeakers despite what Lukas pairs them with. This new model seemed a tad more expansive and dynamically charged. Great job, Lukas!

 

Kharma, Conrad-Johnson, TW-Acustic, Taiko, and Siltec, among others, were put on grand display compliments of DC distributor 20/20 Evolution Systems of Potomac, MD. The mightily handsome Kharma Exquisite Midi Grand Signature loudspeakers ($330k) were driven by a bevy of Conrad-Johnson electronics, including the ART-88 preamp ($30k), ART-Phono phono preamp ($30k), and ART-300M monos ($45k). The Taiko Olympus ($100K) served up all the goodies for a digital source, while the TW-Acustic Raven anniversary edition provided a delightful serving of your favorite handpicked vinyl selections. Cabling on hand listed both Siltech Double Crown and Kimber KS Select. It was nice to see such an outstanding dealership showcase some of my favorite electronics, with a sense of what makes these components shine.