On the last day of the show, loudspeaker designer Jeff Joseph showed no signs of slowing down. Remote in hand, he bounced around his room like the proverbial battery bunny, welcoming attendees, switching his rig between analog and digital playback, and generally smiling his way through it all.
Jeff’s rig included a Feickert Firebird turntable ($12,995), Thomas Schick Tonearm ($2290), My Sonic Lab Signature Gold Cartridge ($8995), Balanced Audio Technology VK-P12SE phono stage ($9995), Unison Research CD Due DAC ($4995) and Unico 150 Integrated ($6495), and his Joseph Audio Perspective2 Graphene Loudspeakers ($14,995/pair).
Though this system had good soundstage width and depth, imaged well, and exhibited fine transparency, it lacked low-end warmth. I think Jeff was having room setup problems.
Louis Armstrong singing “St. James Infirmary” sounded visceral and alive. The Blue Note Tone Poet vinyl reissue of Tina Brooks’s Minor Move presented good dynamics and punch, but a lack of warmth made Brook’s tenor sax sound small. Rhino’s reissue of Chicago’s 1969 debut album, Chicago Transit Authority, revealed what the system was capable of, with beautiful instrumental layering and depth. But what surprised me was a digital track from the album Jazz Variants by the O-Zone Percussion Group. At one point, when a player struck multiple timpani notes, the sound was so deep, large, resonant, and forceful, one visitor exclaimed, “where are you hiding the sub?”
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