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I don’t know about you, but I find the design of Esoteric’s Grandioso series enclosures quite attractive. In Long Beach, they also sounded great. Paired with Von Schweikert Endeavor E-5 MKII Speakers ($40,000/pair), an entire SUV full of Grandioso gear (including multiple outboard power supplies) impressed as exceptionally lively, solid, and musical.

It always helps to end 7.5 hours of show coverage on a high note. That was certainly the case in the Audio Concepts room, where the midrange sounded gorgeous on a recording of Beethoven’s Paris Trio

Please join me in giving a hearty shout out to newcomer Alaia Audio, whose exhibit proved that all is not parched in the state of Arizona.

An intriguing system from MK Audio LLC of Charlotte, NC, brought to the fore Arion Audio’s nearly full-range AMT line-array Apollo System loudspeaker ($24,900/pair). The Apollos, which were paired with active subwoofers, claim an astounding 105dB sensitivity—sensitive enough to work with Triode Labs' 2A3 3.5W vacuum tube amplifiers (no price supplied). At least I think I was hearing the 2A3s, because also in the rack were Arion Audio’s LS-500 hybrid Class D amplifiers ($6995/pair). Preamplification was the company’s LS-200 hybrid line-stage ($3995).

After trying more than once to get into the CAD room at Munich High End, I ended up hearing a significantly smaller version of their system in Long Beach. This time, the hybrid integrated amplifier was the excellent Aesthetix Mimas ($7000 without optional modules), which I’ve reviewed for the August issue of Stereophile, and the speakers the diminutive Swiss Boenicke W8 SE ($12,500).

See that weird looking thing? It’s the outboard crossover to end all outboard crossovers, and it belongs to the relatively slim Evolution Acoustics Exact Series Maestoso 3-way loudspeaker system ($18,900). Heading an impressive and hardly bargain system from Blue Light Audio of Portland and The Audio Association of Anaheim Hills, the Maestoso made one of its first show appearances since I covered its debut at the Rocky Mountain Audio Fest—was it three years ago?

When I entered my penultimate Scott Walker Audio room, Kevin Wolff of Bowers & Wilkins was playing outtakes from a 1989 recording by Branford Marsalis. The sound of Marsalis's sax was so distinctive and, to my ears, beautiful that I began to smile. (Trumpet was another instrument whose sound this system conveyed with perfection.) As Kevin segued into a 16/44.1 file of Thomas Dolby's "I Scare Myself," I scribbled in my notebook, "This is a system that reminds you of what the high end is all about."