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Exhibitor Symmetry: The room here was no issue when it came to sampling the Stax headphones - sorry, earspeakers. As a former Stax owner it was like making the reacquaintance of an old friend or at least some very similar family members.

The SR-007 Mk2 Omega System ElectroMod version at £3.895 might have seemed steep but on a sound-per-pound equation was well worth consideration by well-heeled enthusiasts who have bat-eared neighbours or a significant other. Then again at just £549 the SRS-2050 2 Basic System was making a very good showing as were various intermediate combinations. Headphones are always worth a listen if only to hear how speaker cabinets and rooms affect what we otherwise hear. Esoteric electronics on display included their X05 SACD/CD player, C-03 preamp, E-03 phonostage, G-03X master clock generator and RZ-1 which integrates a Super Audio CD player, USB DAC and 100wpc class D amplifier.


Exhibitor Jordan Acoustics: Decent sound from a system comprising a pair of 845 valve monos, Systemdeck 3D turntable and Art Deco 20 Signature floorstanders came by way of a larger room that still was too small for these speakers which I've heard elsewhere over the years to always find something to like. Usually very smooth and refined with good integration and excellent on vocals, this wasn't the case with the bass-heavy track I heard on the first day which only demonstrated the general unsuitability of the room.

In a second Jordan room a pair of Adam Audio Tensor speakers were sounding quite nice with McIntosh electronics for which I have a soft spot along with the garish blue/green light show despite the purist in me questioning the need for it and the analogue meters of course. Whatever your preference,  a photo of the system using flash didn't look half as sexy as it did in the flesh so another was quickly taken without. You decide which you prefer – accuracy or coloration.




Exhibitor H.G.Rapkin: Solid-state class A amplification at its finest, Sugden has an unmatched pedigree and can be relied upon to provide a highly musical sound through a wealth of transducers that don't require megawatt monsters. Here the Masterclass series of CDP, pre and power amp drove Jamo Reference 909s in a yellow that would embarrass a banana. The Jamos sport twin 38cm paper woofers mounted on a 43mm thick MDF open baffle and even sans cabinet weigh in at 63kg each. Kudos to the exhibitors of these and similar beasts for transporting and erecting such behemoths across the country at various shows.


At a previous show Sugden had demonstrated their new floorstanders to good effect but no sign of them here.

Exhibitor Zouch Audio: Making its world debut at the show, here a meaty-looking 100-watt class A power amp from Musical Fidelity took pride of place described in MF's literature as "the most advanced Pure Class A amplifier ever made". This is a bridged design deriving technology from both their Titan power amp and less substantial AMS50.

Power doubles into 4ohms and is just 0.25dB short of repeating the feat into 2 ohms. One curious listener decided to touch the heat sink and removed his hand as if stung. It's safe to assume this thing gets as hot as its £13.000 price tag.

Source components were an AMS CDP/AM1 DAC...

... and Roksan turntable/phonostage driving...


...Focal Electra 1038Be speakers. The sound was 'quite good' which under show conditions was very promising to be worthy a listen another day in another place.

A welcome respite from the hustle and bustle came from Welsh singer/songwriter Jess Childs whom I found rehearsing alongside guitarist Julian Lewis in one of the courtyards later in the day. Talking about the sound quality of a live performance might raise eyebrows but invariably live performers—even street corner buskers—more and more rely on amplification and I suspect not just to amplify. While it adds warmth and richness to vocals for a pleasing effect, hopeless geeks like myself would prefer no amplification and smaller more intimate environs.

This was brought home again later that evening at a concert by audiophile-friendly Eleanor McEvoy whose excellent album Yola I've enjoyed for a year or so before an ex-girlfriend claimed it as her own. The size of the Grand Prix suite meant amplification was a must. McEvoy really showed herself an accomplished songwriter, singer and musician who made performing look effortless while her interaction with the audience felt genuine and natural. At one point she explained that "the thing about performing to hifi people is that they're so attentive. That's great. I don't take that for granted..." before adding with a chuckle" ...but it's also a little freaky seeing all these faces staring right at you!"


Whilst performing one track she unplugged her instrument and walked among the audience. The change in character of her voice—not just volume—was striking. As she sang within three or four meters of my seat being roughly in the center of this spacious venue meant very little room interaction. What I got was her voice warts and all stripped bare of any mechanical or acoustic assistance. The fact she still sounded great was testament to her vocal quality but the reference of unamplified live music will still vary widely from room to room to be no absolute reference at all.


Eleanor performed her set in two 40-minute halves with a 20-minute break at 8.40pm. Afterwards I was able to buy a couple of CDs from Diverse Records which she signed, one a replacement Yola and the other her new I'd Rather Go Blonde, both SACD hybrids also available on vinyl and both recommended. Disappointingly there were still plenty of seats left during her show which I found surprising given the quality of the artist and the fact that show attendance itself seemed very healthy. Certainly the bar was full of industry and visitors. Possibly for many it's the equipment rather than music they're focused on.