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The Innuos ZENith Next-Gen ($20,700 as equipped) does what streamer-servers do: store music files, read them into memory, and send them on to a D/A converter to make music. In Innuos's complex (yet logical) lineup of streamers and streamer-servers, the ZENith Next-Gen sits just below the flagship Statement and above the ZENith Mk.3. The ZENith Mk.3 remains in the Innuos lineup for now but will be replaced at AXPONA shortly after this issue hits mailboxes and newsstands.

Though similar in many respects, with a very similar appearance, these two products—the ZENith Next-Gen and the ZENith Mk.3—are very different beasts. There is one rather obvious difference: a CD slot on the Mk.3 (with, of course, a CD drive inside), which makes it easy to rip CDs to the server's internal memory. This feature is absent from the more purist ZENith Next-Gen. But with the Next-Gen you can have your cake and eat it: Attach any USB CD ripper to one of the USB ports, and it will work just the same as the built-in ripper on the Mk.3. The other differences between the Mk.3 and the Next-Gen are less obvious, but those differences go much deeper; see the Details section in this review.

Angie Lisi of American Sound Distribution exhibited several systems in multiple spaces. Room 1620 showcased gear from Grimm Audio, Wadax, Analog Relax, Avantgarde, Phasemation, and Rethm; Room 1642 offered a more compact setup focused on the latter three brands.

Rogue Audio’s Bill Magerman and Nick Fitzsimmons introduced the RP‑3 at AXPONA 2025—a new preamp that’s tube-equipped and unmistakably Rogue. The RP‑3 ($3495) is a feature-packed machine with two 12AU7 tubes in a mu‑follower design, a remote control, home-theater bypass/unity-gain inputs, three sets of RCA inputs, and two pairs of XLR inputs. Also on-board: a mono button, a tube-based high-power headphone amp, linear power supplies, and a three-year warranty. Like all Rogue gear, it’s made in the USA.

Among the many systems at AXPONA 2025, Magico’s claimed the triple crown: most expensive, most imposing, and most sonically impressive. Entering the hushed, curtained-off, two-story Club Room felt like crossing into sacred space.

I’d heard Lithuania’s Silent Pound speakers paired with New Zealand’s Perreaux amplification at several audio shows in Warsaw. This year at AXPONA, the two companies brought that same transcontinental partnership to Illinois. It was my first encounter with Silent Pound’s flagship Challenger II floorstanders ($32,500–$36,150/pair, depending on finish), and they didn’t disappoint. The system also included Perreaux’s 300ix integrated amplifier ($9995), fronted by an Aurender A15 server/streamer/DAC ($8400). Cabling from Life Audio and Titan Audio, plus a Solid Tech Radius Solo 3 rack, completed the setup.

In partnership with Playback Distribution, TEAC debuted its new AP-507 stereo power amplifier ($2799) early in the day, luring this reviewer with strong coffee and stronger specs.

February 2025 marked the release of a new recording of my compositions: Fillmore Street/Little Woodstar. This is the sixth album of my music. My first solo outing as a composer—Steel Chords i-5, on AudioQuest Music—was in 1993.

When I set out to assemble something musical, I don't think in terms of songs, tracks, or playlists—I'm trying to put together an album. Even more old-school: I'm thinking in terms of an album that has two sides, two parts to the program, like an LP. Figuring out what that program should be takes a long time.

In the case of Fillmore Street/Little Woodstar, I decided on a two-piece set consisting of one old composition and one new one. These two works live in two different musical ballparks. Fillmore Street, on side 1 of the LP, is scored for a jazz orchestra. It tells musical stories about three locations in California. The older work on the album, Little Woodstar, which I composed while in grad school, leans classical.