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Loudspeakers by Danish manufacturer Dynaudio were featured in two rooms; both demonstrated exactly how clearly, and authoritatively precise, their speakers could sound when driven by amplifiers from the German manufacturer Octave. In Dynaudio's big demonstration room I heard the $5000/pair Evoke 50 loudspeakers (the floorstanders in the photo above) being driven by an Octave V80SE integrated amplifier ($10,500), itself fed by a dCS Bartok DAC ($13,500), with all Nordost cables. Every musical selection made me think, very consciously, that this is the kind of sound 90% of the audiophiles on the planet would be proud to show off in their homes: well-voiced, properly punctuated, tight as a drum head, and clean as fresh snow.

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.

It was hard to get a good photo of the Aavik/Børresen/Ansuz system from Next Level HiFi of Wayne, IL, distributed by Gated HiFi, because the premiere Børresen 05 loudspeakers with D-TC Resonance Control ($120,000/pair) were spaced so far apart. But that spacing certainly didn't stop the system from wowing listeners with its extremely strong bass, which on genuinely danceable party music was vibrating in my gut and propelling the 05s' drivers back and forth. The exhibitors in the conference room underneath may have been cringing, but I ate up my opportunity to receive my first sonic massage of the day.

"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.

"What the heck?" Behind the Master Class Area was a giant tan-colored hooded construction, looking like a giant Zamboni machine and labeled "Wynn Audio," with a viewing window at the front.

Canada's Wynn Audio sure mixed it up, to good effect, in a system that included two premieres: Crystal Cable's Future Dream 15th Anniversary limited-edition series, which combines proprietary monocrystal silver and silver-gold alloy in a four-coaxial-conductor construction insulated by Dupont Kapton and Teflon, and the Entreq Silver Tellus Infinity ground box ($2400 each), a passive device that, using a different technology to Nordost's QKore grounding units, claims to remove ground noise from components.

Vandersteen lovers, of which there are many, may stare in disbelief at these words, but AXPONA 2019 marks the first time that I truly got why so many people rave about Vandersteen's sound. At least I think I did. Even if I didn't fully get what other people get, I got enough to say, "Oh yeah, uh huh, that Vandersteen midrange is surely something worth writing home about." In fact, based on what I heard, I see why some people would prefer to cart up the whole thing and let it do the speaking.