As I was making my rounds, a few of my buddies asked me if I heard the interesting “paperclip” speakers. “You’ll know when you see them.”
The BAYZ Audio Counterpoint loudspeakers (debut) were surely hard to miss – one of the most unique looking speakers I’ve ever seen. I had no idea what the price was and for whatever reason, my expectations weren’t very high.
Plenty of recordings with stringed instruments were played – and I was beyond impressed. “That sounds like a real cello to me.” The tonal variations, transient clarity, and level of tactility were off the frickin’ charts. The experience was convincing – both in timbre and soundstage. It’s just so physical. One of the few most memorable loudspeakers in recent memory. I look forward to hearing these again in Munich.
The Counterpoint loudspeaker achieves state-of-the-art status in consumer electronics by utilizing the internationally patented Bay Radial Speaker (BRS). The Counterpoint is a radical design change and marks a quantum leap in loudspeaker technology. The BRS was developed by inventor Zoltán Bay as an idealized way to provide a superior, phase coherent pulse that radiates a sound field in a full 360 degrees with vanishing low distortions and inaudible ringing. The development of the BRS took over a decade of painstaking development to meet Zoltan’s exacting performance capabilities.
Currently, BɅYZ Audio offers the Counterpoint and the Courante. In the fall of 2019, BɅYZ Audio should be offering a smaller model than the Courante and priced accordingly.
| Product | Counterpoint | Courante | Courante P |
| Freq Resp | 24Hz – 22kHz | 27Hz – 22kHz | 27Hz – 22kHz |
| Impedance | 4Ω | 4Ω | 4Ω |
| Sensitivity | 94 dB | 90 dB | 90 dB |
| SPLmax | 114 dB (Anechoic) | 114 dB (Anechoic) | 114 dB (Anechoic) |
| Power | 200W continuous | 140W Continuous | 140W Continuous |
| Configuration | 2 way | 2 way | 2 way |
| Crossover | Approx. 2 kHz | Approx. 2 kHz | Approx. 2 kHz |
| Price | $97,100 | $45,000 | $42,000 |
| Warranty | 5 year | 5 year | 5 year |
| Trial Period | 30 days | 30 days | 30 days |
| Height | 1.9m (75”) | 1.4m (55”) | 1.4m (55”) |
| Weight | 77 Kg (170 Lbs) | 30 Kg (66 Lbs) | 30 Kg (66 Lbs) |
| Material | Carbon Fiber (full) | Carbon Fiber (full) | Painted Glass Fiber |
Jacob George of Rethm loudspeakers did a wonderful job with this redesign. Aesthetically, it’s more contemporary yet still very elegant. The biggest gains were in the design of the speakers themselves.
Mark Sossa of Well Pleased AV goes into the details below. This is the best their room has ever sounded. The recording in the review does a decent job of imparting the level of clarity and articulation of this setup.
One of the best sounding rooms wasn’t in a hotel room. Interestingly enough, this one was located in the Record Fair area at AXPONA.
I’ve seen Wynn Audio’s “sound box” at previous shows but every time I visit, nothing was playing. I peeked my head in again – and was mesmerized by what I was hearing. It was almost like a live band was projected in front of me. Supremely quiet, well-formed, with tangible grip across the spectrum. I guess it’s a little unsurprising – as this “listening room” has been carefully constructed for optimal listening. If you have ever seen this golden box, duck into it and give it a listen.
Verity Audio made a statement with their huge $1 million system at RMAF 2018. In contrast, when I met with designer Julien Pelchat at AXPONA, he was sitting beside a more modest looking system.
Verity Audio was introducing their new Lakmé loudspeaker along with their new DAC/Preamp, and Amp-45. At first blush, their entry-level loudspeakers themselves looked a little unassuming. A closer look at the designer fabric and overall build – and you start to realize the craftsmanship and thoughtfulness involved.
This is one of the smoothest and most fleshed out systems at the show. Not only that, it had such naturalistic detail and acoustic layering. With most digital playback systems, there’s always some level of artificialness. In the case of Verity Audio, there were no hints of digital grain, edge, or sharpness. And it didn’t matter what genre of music was being played. One of two rooms I had to revisit before the end of the show. Beautiful sound.
One of the first rooms I visited – and one of the most memorable. Wonderfully snappy, well-controlled, and very impactful. In addition, a full-bodied and properly toned sound. There was plenty of textural cues and dynamic heft from these Rosso Fiorentino Fiesole loudspeakers. Especially for the 6.5″ Nomex woofer and 1″ silk dome tweeter. A very resolving and engaging presentation.
The performance to footprint ratio was very high for this setup. An addictively intimate sound that flows delicately yet densely across the room. We spent quite a bit of time here – nodding in approval. A beautifully silky midrange and highs that were sweet yet not overly vibrant.
It was difficult to believe how much power and grip could come from such a simplistic looking (and relatively inexpensive) system. These components sounded like they belonged together.
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I still can't believe how realistic Mandy Patinkin's Pretty Lady vocal track sounded. It sounded like someone physically started singing along behind my right shoulder, and to my far left. And unbelievable value coming out of gold note with that $6k all in one streamer / dac / preamp / amp unit.