Jude's CES 2008 Recap (Including Head-Fi's Best of CES 2008)

With only the Sunday pre-CES get-together, Monday, and part of Tuesday, I didn't get nearly as much time as I would have liked to explore the endless variety of new gadgetry and technology that CES week brings each year. In fact, I was pretty much limited to trying to explore only those things at CES most relevant to headphone audio / personal audio--which is hardly anything for a headphone audiophile to complain about.

Like many of you, I was hoping like crazy that Sennheiser was going to be announcing a new flagship full-size headphone. Alas, that didn't materialize at CES 2008, but their other product announcements were still very relevant to this community. The three new Sennheiser products that I played the most with were two of their new IEMs (in-ear monitors), the Sennheiser IE 6 and the IE 7, and their upcoming fully wireless earphone, the Sennheiser MX W1. With its elevated bass, the IE 6 was intentionally designed more for bass enthusiasts, and the IE 7 was designed to be more neutral. Unlike most high-end universal-fit IEMs available today (most using balanced armature drivers, some with multiple drivers per earpiece), the Sennheiser IE 6 and IE 7 both use a single dynamic driver in each earpiece. According to Sennheiser USA's Eric Palonen (Product Manager, Sennheiser Consumer Electronics), and Sennheiser Consumer Electronics GmbH’s Sven Wilhelmsen (Product Manager Portable Audio) and Katrin Huss (Product Marketing Manager), the decision to go with dynamic drivers over balanced armature drivers was a result of heavy testing, trials and research by Sennheiser.

I've since spent quite a lot of time with both the IE 6 and IE 7 (especially the IE 7), and, as I stated in another CES-related post, I think both models will be popular IEM choices in our community; but I do think, as far as Head-Fi'ers go, the more neutral IE 7 will likely be the more popular of the two. Even though it's designed to be more neutral, the IE 7 has what might be called one of Sennheiser's house signatures--slightly thicker than neutral, with a little bit of bass bloom. As Edwood said when he listened to it through his portable rig (during our two-man Head-Fi Meet at Wadia's exhibit) the IE 7's tonal balance reminds him of the Sennheiser HD650. (Actually, it became a three-man Meet when ALO Audio's Ken Ball showed up--see photo below.) In the IE 7 especially, Sennheiser comes to market with a solid, Sennheiser-flavored competitor to the best universal-fit in-ears by the likes of SHURE, Westone, Ultimate Ears, etc. (Klipsch can probably be included in this bunch, too, but I wasn't able to make it to Klipsch's CES exhibit, and haven't actually heard any of Klipsch's in-ears yet, but expect to soon.)

My only criticisms of the IE 6 and IE 7 have to do with their cable, which, though strong- and durable-feeling (it's Kevlar-reinforced), is a little stiffer than ideal for me. Also, the IE 6, as currently specified in its manual, does not come with the same "fit kit" that the IE 7 comes with, and so may not come with the excellent double-flange tips that the IE 7 comes with (if the current manual drafts are correct). I've recommended to Sennheiser that they include the IE 7 fit kit with the IE 6 (or at least include the double-flange tips with it). If they end up not including it with the IE 6 upon its release, and you think the IE 6 seems more to your sonic preference, make sure to order the double-flange tips separately, as they're definitely worth it (I use the larger of the two double-flange tip sizes). I like the double-flange tip so much that I stopped by Sennheiser's exhibit just before I left CES, and bummed a few spare sets from Sennheiser USA's Eric Stubbert (Industry Team Manager, Consumer Electronics)--thanks, Eric!

Sennheiser also announced some other new IEMs, like the Sennheiser CX 6 Travel (which, if I understood correctly, is essentially a travel-accessory-packaged version of the IE 6), and the Sennheiser IE 8, which has a screw in each earpiece that adjusts the internal volume of the earpiece, thus allowing bass to be precisely tailored. I didn't actually try the CX 6 Travel, and Sennheiser didn't have a functional prototype of the IE 8, so I can't comment on either of these products at this time. I'll report on them once I've heard 'em.

As for the Sennheiser MX W1: Ohhh yeah, I've had plenty of time with that gem, and I'll get back to the MX W1 later on in my CES recaps.




While in Wadia's exhibit (and I'll also get to Wadia's 170 iTransport later in this CES summary, too), I ran into J. Gordon Rankin, Chief Scientist of Wavelength Audio, high-end, high-priced USB DAC extraordinaire. Finding out I was from Head-Fi.org, he enthusiastically led me down the halls to his exhibit, where he wanted to show me a very Head-Fi-relevant upcoming Wavelength Audio product called the Proton--a rechargeable (lithium-ion), portable USB DAC with a headphone output. The Proton uses Rankin's Asynchronous Isochronous Audio technology, which, according to Rankin, is one of the keys to the fidelity his latest and greatest USB DACs have been credited with. Judging from the sound from his main exhibit system--which was fronted by an Apple Mac as transport, feeding his top-of-the-line Crimson USB DAC and other Wavelength components--a taste of that kind of performance in a semi-portable USB DAC/amp might be something to behold. As for its level of portability (and why I said semi-portable), look at the photograph (below)--we're not talkin' Total BitHead, MOVE, Predator or Pico portability here. Additionally, there's no volume control on the unit itself. Instead, volume is controlled via the source computer, through software custom-designed by Rankin. Unfortunately, I didn't have my laptop with me, so was unable to try the Proton. He could tell I was achin' to hear it, and assured me I'd get a chance to listen to the Proton as it gets closer to release (I believe he said March 2008 was the currently projected timeframe), and I can't wait, as I've read a lot about Wavelength's prowess with extracting truly high-end sound from USB, but hadn't actually heard a Rankin creation until I stepped into his CES 2008 exhibit (and, again, his Crimson DAC and other components sounded extremely good in there).




Stepping away a bit from the headphone audio / personal audio front, I dropped in on Siltech's exhibit. (Well, I guess it's not a complete step away from Head-Fi'dom, as pretty much every rig needs cables.) Siltech's U.S. presence is now headed by Head-Fi'er Yikes (Ethan Wood). Ethan's main Siltech exhibit rig had a modest MSRP of....gulp....USD$386,000.00. (Or about €50.00, given the current status of the U.S. Dollar--just kidding!) Making up a significant portion of that 386k was (if I took my notes accurately) about 180k worth of Siltech's new top-of-the-line amorphous conductor cabling. (Can you say $16,000.00/meter/pair for RCA-terminated interconnects?) About 125k of that system’s price was usurped by the new Siltech Pantheon loudspeakers--that's right, Siltech is going to be offering some very high-end speakers. The Pantheon is the first, and incorporates some pretty trick componentry and design, including two 16-inch low-frequency drivers (isobarically-loaded) per side (with gigantic, powerful motor assemblies), a separately housed 7-inch midrange, and topped by a very high-tech 19” x 5” curvilinear electrostatic high-frequency driver. Fronted by a stunning-looking dCS stack and components by Convergent Audio Technology (C.A.T.), the Siltech room was an exhibit of some pretty serious sonic performance. I was ready to run down to E.A.R./Yoshino's exhibit to abscond with Tim de Paravicini's amazing turntable and one of his E.A.R. phono preamps to hear what those Siltech Pantheons sound like fronted by exceptional analog (more about Mr. de Paravicini later in this CES 2008 recap), as those Pantheons were geysering audio magic from digital.




Right next door to Siltech was the Crystal Cable room (which Ethan Wood is also the U.S. distributor of), Crystal Cable headed by Gabi van der Kleij (wife of Siltech's Edwin van der Kleij), where I was shown an iPod dock cable (I didn't listen to it, though) by Crystal Cable's Marc Bosman. The cable wasn't terminated in a dock plug (so it's not a dock cable as we generally refer to them here), but was instead more of a miniplug-to-RCA-RCA cable, designed to plug into the back of any iPod dock with a 3.5-mm jack output. I'd never seen Crystal Cable's wares in person before, but they're even more elegant looking than in their ads--very thin, flexible looking designs, including even their power cables (and thin, especially for power cables, is an against-the-grain aesthetic in our world). I'll have to give Crystal Cable products a try some time, as I don't think Ethan will be arranging for me to borrow the $16,000.00 Siltech amorphous conductor interconnects anytime soon.

While on the subject of cables, I dropped in on a room that had Virtual Dynamics' name on it, but, unfortunately, didn't see anyone from Virtual Dynamics in the room at the time. Virtual Dynamics, being one of Head-Fi.org's latest Sponsors, is well known in the industry for their massive cables that are essentially bent into place. With his products very well thought of in the audio industry (the reviews I’ve read of their products are almost all gushing with praise), I was hoping to meet the sometimes-controversial founder Rick Schultz (who's been a pleasure to talk to on the telephone), who has offered to demonstrate the benefits of Virtual Dynamics cabling to me by replacing every piece of cabling in my main rig with a big loaner set of Virtual Dynamics cables (with the exception of the headphone cables, which Virtual Dynamics doesn't currently make). Given the opportunity to listen to my system after replacing virtually every cable in it (in one fell swoop) is just too intriguing to pass up, so I think I'm going to have to take him up on this offer some time. Since Schultz has occasion to come down to my part of the world on business, he said he might even be able to come by my house (if the timing is right) to help me with the setup, as, again, there's apparently some technique involved in arranging (read: bending) the Virtual Dynamics cables in one's rig. That'd be a fun context in which to meet Rick, and I hope we can find the good timing to do that.

While still discussing cables….I also dropped in on a room that Cardas Audio was a part of. A long-time user of many of Cardas Audio’s products (my main rig currently looks like a sort of Cardas exhibit, what with all the Cardas cabling, Cardas Caps, and even a Cardas nightlight), I remember when Tyll Hertsens and Colleen Cardas told me (many years ago) that they were coming to market with what is now the well-established Cardas Headphone Cable, and how thrilled I was about it, as, in my opinion, it was one of the early validations of the growing importance of high-end headphone audio in the audiophile world. Alas, neither George Cardas nor Colleen Cardas was there when I came through the exhibit. I was hoping to finally meet them in person, as my communications with both have been nothing but interesting.

Many years ago, as a university freshman selling high-end audio gear at a now-defunct local high-end audio store, I sold components from the first generation of PS Audio products. As such, PS Audio's Paul McGowan (who has since become legendary in audio, in large part for his power regeneration, power conditioning, and power distribution products) has been high on my list of audio icons to meet. We've talked on the phone, particularly during the development of their excellent GCHA "Gain Cell" headphone amp (which I still think is one of the most under-recognized excellent desktop headphone amps), but we'd not previously met in person. I'm glad to report I finally got to meet the man; and the enthusiasm and good spirit he's reputed for were on full display. McGowan's passion for audio comes through with almost every word he speaks, and he was excited to play one of his upcoming products for us in his main listening setup--in particular, something called the PS Audio Memory Link, which (as described by Stereophile) is a “CD/DVD/RAM” transport (click on the following link to Stereophile for more information on the PS Audio Memory Link). I also had my first chance to hear PS Audio's Digital Link III DAC, which, from most of what I'd previously read about it, was something I was very interested in listening to--it was the DAC used in the Memory Link system, and that system sounded very good. The Digital Link III DAC upsamples all its inputs to 24/96 or 24/192 (user-selectable), suppporting USB, RCA coaxial (S/PDIF), and optical inputs. The Digital Link III outputs to RCA or XLR. I still have to send the pre-production GCHA back to PS Audio to have it updated to production specifications. I’ll ask Paul if I can borrow a Digital Link III on the shipment back, to compare to the MSB Gold Link III in my main rig, and to eventually try with Wadia's iTransport. For computer audio in my main rig, I currently run USB to the very cool Trends Audio UD-10.1 as S/PDIF transport, feeding the MSB, and it’s a very nice sounding computer audio setup through any of my favorite desktop headphone amps. I’d like to see how the self-contained USB and upsampling DAC functionality of the Digital Link III compares to this setup, and how its 24-96/192 upsampling compares to the MSB’s 24-132.3 upsampling.

During Paul McGowan's demonstration, I heard a voice behind me that sounded somewhat familiar, and I turned around to see the Electronic Frontier Foundation's (EFF's) Fred von Lohmann (Senior Staff Attorney), who I first met at HeadFest 2007 in San Jose. For those of you not familiar with the EFF, know that Fred and his colleagues there do very important work in battling for our digital freedom in the courts. Fred, it was good to see you again, and I hope you'll also be attending Can Jam '08 this coming May. To you and your colleagues, Fred: Thank you, and keep up the great, important work you all do.




What was easily one of my highlights of CES 2008 was finally getting the chance to meet and talk to one of my long-time audio idols, Tim de Paravicini, known mostly for his E.A.R. (Esoteric Audio Research)/Yoshino products, but also for designs he's done for others. For many years now, I've read about Mr. de Paravicini and heard about him from other audio industry figures, and nothing that he's designed that I've had the pleasure of listening to has been anything short of fantastic. His E.A.R. HP4 was one of the first great headphone amps I've ever heard, many years ago, when Tyll Hertsens wheeled his pre-"World of Headphones" Tour through Detroit (it was also one of the first tube headphone amps I heard). With its simple lines and perfectly polished face, the HP4 was a beautiful sight, and sounded even better than it looked. And the few opportunities I've had to hear the HP4 since reminds me why it's a classic in our realm, remaining one of a handful of my wish-list high-priced fantasy dynamic-driving headphone amps, with the likes of the Cary 300SEI, the mysterious one-off Antique Sound Labs Twin Head MkII pre-production unit (which wasn't as high-priced as it is one-of-a-kind; those few who've heard both the pre-production unit I had on loan and the subsequent production units swear the latter do not match the magic of the former), the Moth Audio Xana, one of SinglePower's top-of-the-line tube behemoths, the HeadRoom Balanced Max, the Ray Samuels Audio B-52, and still another E.A.R./Yoshino product, the E.A.R. V20 integrated amplifier, which drives the AKG K1000 like nothing else I've heard so far. Like the aforementioned PS Audio GCHA, the E.A.R. HP4 is another headphone amp that I'm surprised isn't discussed more often here at Head-Fi.org. (Unfortunately, E.A.R. didn't have the HP4 at their CES 2008 exhibit.)

I went into the E.A.R. exhibit three times before I finally was able to find de Paravicini available to talk, as I'm certainly not alone in the audio world in my admiration of the man and his work. It was definitely worth it, as he is at least as knowledgeable, humorous, oddly charming and eccentric as you may have heard or read he is. With a sort of "mad professor" air about him, de Paravcini will go off on smirk-tinted tirades about the lack of originality in audio design today, punctuating even his most scathing maledictions with that mischievous smile of his, and waving his long arms about expressively to further exclamate points (and exposing that he wears two of the same type of wristwatch--one with leather band, one with metal band--one on each wrist). He is excessively proud of his own designs (and I’ll say very deservedly so), and will gladly discuss the technical points of them well beyond my ability to fully understand him, and then back it up by encouraging a listen (and, in the case of his turntable, to additionally prove its vibration resistance by rapping spiritedly on its base while it was playing, which, remarkably, didn't come through the system at all). As I've found to be true with most of the industry legends I've met, it's obvious that music (not just design) is also a passion of de Paravicini's, and the roster of musicians he's worked with (he also custom-designs pro audio gear, like microphone preamps) reads like a who's-who in British music.

While talking to de Paravicini in the E.A.R./Yoshino room, we were joined by Dan Meinwald of E.A.R. USA, who told me he’s been practically begging de Paravicini to create an E.A.R. headphone amp model designed for a price point significantly lower than the nearly USD$5,000.00 HP4, and wanted to know my opinion on the matter. I agreed with Dan (as the HP4 is certainly out of my headphone amp price range), saying that a more affordably priced headphone amp worthy of the E.A.R. name would, in my opinion, almost certainly find an audience with the Head-Fi’ers who play in the higher end. Despite our tag-team efforts to convince, de Paravicini wouldn’t commit, but also didn’t dismiss the idea. If this is something you’d like to see and hear him do, let it be known. (Tim and Dan, I’m raising my hand and waving frantically over here.) Again, the hour or more I spent talking to de Paravicini was easily one of my CES 2008 highlights, and I was thrilled to finally get to meet him after all these years.




Heading back to LVCC (Las Vegas Convention Center), I stopped by the exhibit of Head-Fi.org Sponsor SHURE, where I ran into Head-Fi’er, musician, and SHURE’s Category Manger for Listening Products, Matt Engstrom, to prod him for information on any new products in their skunkworks, since they weren’t announcing any major Head-Fi-related news at CES 2008. Engstrom just smirked, but wouldn’t budge. What’s going on over in that fancy glass building of SHURE’s, Matt?! Inquiring Head-Fi’ers want to know! I know Matt Engstrom well enough to know that his brain’s always cooking up something good for us to hear, so I’ll keep bugging him for some scoopage.

Sean Sullivan, an Associate Manager of Product Marketing at SHURE, wasn’t about to give up any secrets either (but he did give me several pairs of the treasured SHURE “olive” foamies--thanks, Sean). Sean also showed me the new SHURE Music Phone Adapter, which, combined with one of the newer SHURE earphones, makes for a seriously hi-fi mobile headset.




As if hanging out with the Sennheiser product development team (U.S. and international), Paul McGowan, Tim de Paravicini, and Matt Engstrom wasn't enough fun for a Head-Fi'er over the brief two days I had at CES, I also had a chance to meet another Head-Fi icon in Michael J. Koss of KOSS Corporation (President and CEO, and son of founder John Koss). Always dapper in his bowtie, Michael J. Koss carries a stately air, and is very much a gentleman. When I introduced myself to him, he said he was quite familiar with Head-Fi.org, and even mentioned last year’s HeadFest 2007, and this year’s upcoming Can Jam ’08. Unfortunately, I didn’t get a chance to visit KOSS’ exhibit, where I would have had a chance to see KOSS’ Adam Miklas again, who was at last year’s big Meet in San Jose. Adam, I hope you and KOSS will be at Can Jam ’08 this year, man, and I’m sorry I missed you at CES.

Moving into the realm of desktop speaker audio, I ran into Tony Ou of SilverStone, who, a couple of years back, introduced me to Silverstone’s EB-01 USB DAC. With its excellent performance/price ratio (it’s very affordable, and sounds very good for a purely USB bus-powered DAC), the EB01 has found its way into many computer audio rigs in the Head-Fi community. Though known mostly for their personal computer chassis, SilverStone did have something very Head-Fi-relevant they were showing at CES 2008: The SilverStone EB02. No, the EB02 isn’t a next-generation USB DAC, but a compact, speaker-driving amplifier (Class T), designed to power loudspeakers (4Ω/8Ω) for a small system or desktop rig. Styled to match the EB01, the EB02 is a slick little component that outputs 15 watts per channel. Might the EB02 be capable of nicely driving the AKG K1000? I don’t know, but I have a feeling someone in this community is bound to eventually try that setup.




Moving back to the higher end of Head-Fi things: Philip O’Hanlon of On A Higher Note--the man who’s bringing Luxman back to our shores--and I have been talking recently, as, with Luxman’s P-1 headphone amp, O'Hanlon is prepared to enter Head-Fi'dom with a champagne-colored splash. The Luxman name is a legendary mark in audio that predates many of us; and one that has resonated with me for as long as I've been interested in audio. (In fact, years ago, Tim de Paravicini had designed for the Luxman of old.) As would be expected from the likes of Luxman, their entry into the headphone audio world--the P-1 headphone amp--is intended (and designed and priced) to play in the higher end of our world. (I believe it will retail for around $2,700.00.) The P-1 has actually been around for some time now, but, if I recall correctly, it was previously only available for Japanese voltage, and so had to be used with a power converter, which O’Hanlon says is far from ideal. In other words, for people on this side of the pond, the U.S.-voltage-spec’d P-1 will offer the first sonic glimpse into the P-1 performing at its peak.




On A Higher Note was exhibiting in a penthouse suite at The Mirage, but, despite a round of phone tag between us, we just weren’t able to align our schedules in my brief two-day CES stint--bummer, too, as, in addition to the P-1, I wanted to hear the megabuck Vivid Audio Giya G1 loudspeakers that O’Hanlon was demonstrating. Fortunately, he is sending me a U.S.-spec Luxman P-1 to play with for a little while in my main rig (and he even gave me the go-ahead to open it up to take photos of its insides), so I’m going to see what headphone-driving magic Luxman has conjured up. Maybe it’s Luxman mark nostalgia, but I have high hopes for the P-1, and hope it meets or exceeds my expectations, as the price point it’s at is one that can buy you some very fine competitors.

With only two days at CES 2008, I certainly did not get to see and hear all I wanted to see and hear, but it was still a great time, and I got to meet a lot of new people, and see many old industry friends--and even have a mini Head-Fi Meet with Edwood and KB.

In my next post, I’m going to give you my choices for the Head-Fi’s Best of CES 2008.

NOTE: Here's a link to a few more CES 2008 photos.

Placeholder post for "Best Of" post.

Nah, man, it was my camera settings (or, I should say, the photographer).

The more I use it, the more I love the MX W1. I find it quite comfortable for long-term wear--I think you would have probably found the small fit disks more comfortable (we were using the medium, which fits me best).

I get about 20 to 25 feet, and then it drops out.

Likewise, bro. I always have fun hanging out with you (Michigan, New York, Las Vegas), and wish we'd had more time that day to hang out. Call me when next you're near Motown, and we'll have ourselves some Olga's.

Thank you for the kind words.

It was Dan Meinwald's idea--I just jumped on it when he told me he'd been asking for one, because I'd love to see a more affordable headphone amp designed by de Paravicini.

The HP4 is a wonderful piece of gear. I haven't heard one in a while myself, and was sad they didn't have one on display at CES 2008.

I think Dan Meinwald will obviously have the most influence on de Paravicini, assuming anyone can influence de Paravicini to do anything like this. But, yes, I hope he does make something more affordable in a headphone amp that still has serious E.A.R. magic.

Yes, it was a brilliant piece of gear, and sounded gorgeous. The Disk Master is a very interesting, unique design.

I should have a chance to hear it very soon. The Luxman name brings high expectations with respect to fit and finish, as well as sound, so, yes, I'm hoping it's as special a piece of gear as I would expect something from Luxman to be.

Again, thanks for the very kind words, subtle.

And, yeah, Ed and I had a great time, in the short time we spent together in Vegas. Wadia was kind enough to let us have run of the back of their main listening area for our own little talkative, Head-Fi Mini Meet (there is no shortage of words when Ed and I are in the same place).

LOL. This is quite the thread resurrection.

I'm still a big fan of the Sennheiser IE7. Unlike straight-shaped models (like the Etymotic ER-4S/P, Sleek Audio SA6, and Klipsch Image), the IE7 can be a bit challenging to get a good fit with at first--it takes practice, but you do get it after a couple of days. After a couple of days of initial use, I was able to get them inserted and fit correctly just as quickly as my other somewhat similarly shaped IEMs (like the SHURE SE530 and Westone UM2).

I hope you enjoy the IE7, AmericanSpirit. Please do post your impressions after you've had a chance to give it a listen.