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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.

Illinois dealer F1 chose the sonically challenged, glass-encased Nirvana Lounge, on the second floor of the Renaissance Schaumberg's Convention Center, to stage its $428,871 crate-décor system complete with an important premiere: the Dan D'Agostino Momentum HD preamplifier.

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.

In the middle of AXPONA's annual pre-show industry reception, held Thursday evening in the huge Schaumburg Ballroom of the Schaumburg Hotel & Convention Center, Paul Miller (on the right in the photo above), Director of AVTech Media/AVTech Media Americas—which publishes Stereophile, AudioStream, InnerFidelity, AnalogPlanet, Sound & Vision, and the UK's Hi-Fi News & Record Review (amongst other properties)—unexpectedly took to the stage . . .

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.)

It's been a long time since we've seen a really new tweeter design. Only five basic types have ever been developed: cones, domes, panels, ribbons, and ionic plasmas. And the most recent of these—the long-defunct DuKane "blue-glow" Ionovac—was introduced 40 years ago. Since then, tweeter development has been more evolutionary than revolutionary, a series of refinements that has made them more efficient, more reliable, and smoother and more extended in response.