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The room presented by importer Vana LTD of Lake Grove, New York, featured (in addition to some record cleaning fluid and Okki Nokki record-cleaning machines) analog components by the European Audio Team (EAT) and loudspeakers by Audio Physik.

I am not a bot. I measure my own DIY audio gear. But as an audio-show reporter, I'm only interested in those biologically significant sounds that connect my mind as directly as possible to the music being played. I want to see and feel some inkling of a real orchestra floating between the speakers. I found that connection right away in the room sponsored by retailer-distributor Refined Audio.

Happily, extremely listenable and well-balanced sound from a 24/176.4 file of Brubeck's "Take Five," and a 16-bit file of a track that I think was titled "Camptino," from the Erik Truffaz Quartet featuring the wonder Rokia Traoré, was the hallmark of a large, air-walled space sponsored by multiple companies. Here, chatting was minimal, perhaps simply because the sound was so good. I really enjoyed how mellow the sax sounded, and how drums were rendered with truthfulness without becoming clattery.

One of my first stops this morning—the first morning of AXPONA 2019—was the Shunyata room in the Renaissance Schaumburg Hotel. Shunyata, as you're probably aware, has long been one of the more scientific-minded of the companies focused on quality power for home audio systems.

The show was scheduled to open at 10am today (April 12), but at 9:55am there was already a line of people at the registration desk. AXPONA looks on track to replace CES as the premier audio show in North America.

Last year, American audio shows felled more than ten million 100'-tall trees—just for their ink-on-paper floor plans. They had to reopen two nuclear power plants just to keep the elevators running in Las Vegas. The Chicago River backed up like a toilet—clogged by discarded show guides. This year, all you need is a smart phone, the the AXPONA app—and the stamina to visit almost two hundred rooms filled with some of the world's finest, most exciting, new audio products. Are you ready?

Which loudspeakers do audio professionals listen to? And why should we care? After all, it's not as if recording engineers are the kind of refined, sensitive, music-loving types who read Stereophile. As much as they may love music, many audio pros appear only to view the original sounds of musical instruments as raw materials to be creatively reshaped and manipulated. (Okay, there are exceptions. But recordists who care about the sounds of real instruments usually record them in real acoustic spaces rather than in studios, and use as little signal processing as they can get away with.)