Jason Victor Serinus

No less a personage than Jim Austin suggested that I check out all the new products in the T+A Elektroakustik room, presented by retailer Lone Star Audio. Given that every single T+A product was brand new and pressed into service just 48 hours earlier, and that exhibitors are prohibited from running systems at break-in volumes (if at all) at night, the fact that my brief listening session left such a positive impression makes me eager to hear how everything will sound after it settles in.

On the top floor of the Schaumburg Hotel, retailer GTT Audio assembled an alluring system from many of its top brands. Including three premieres—Kronos Reference Phono stage ($45,000), Mola Mola Tambaqui DAC ($13,400), and YG Acoustics Vantage loudspeakers ($32,800/pair)—the system displayed a finely graded range of colors within a cool color palette. How this particular assemblage of components will sound once its speakers have been broken-in for far more than 48 hours is something I'm eager to find out.

Given that I had recently gushed over the pairing, at one of Definitive Audio of Seattle's Music Matters events, of Wilson Audio's Alexx speakers ($109,000/pair), Sub Sonic Subwoofers (two, at $37,500/each), and Watch Controllers (two, at $4000/each); D'Agostino Relentless monoblocks ($250,000/pair) and Progression monoblocks ($38,000/pair), plus Momentum phono stage ($28,000); a dCS and Clearaudio front end; and lots and lots of Transparent Reference XL cabling plus an HRS VXR-19213V-80 rack with two M3x base audio stands ($57,960 total), I didn't know if I would hear much of a difference from the AXPONA system put together by Michigan retailer Paragon Sight and Sound. If anything, I expected the level of sonic excellence to drop somewhat, because we were moving from a purpose-built, carefully treated store showroom to a far more challenging convention hall space.

"OMG, it's music" is the first thing I wrote down in this room. "So much of what I've missed at this show is here." On master recordist Peter McGrath's live 24/88.2 MQA recording of pianist Benjamin Grosvenor playing the Sarabande from Bach's French Suite No.5, I heard the natural ring of his piano's top notes resounding and decaying in an uncannily realistic depiction of a large, open venue. Given that plans to attend Grosvenor's performance at the Chicago Symphony Orchestra on Saturday night were scrapped due to the musician's strike, this was certainly the next best thing.