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Even Mikey Fremer is surprised at vinyl's current popularity. Some pundits postulate that eventually CDs will die out, and we'll be faced with the choice of LPs or downloads. (I hope not. I'm just getting used to CDs.) With abundant sources of new pop releases and a wide range of reissues on vinyl, and a variety of used LPs, every audiophile should own a turntable. And with the availability of affordable turntables such as the Pro-Ject Debut III, which I <A HREF="http://www.stereophile.com/turntables/pro-ject_debut_iii_record_player"…; in the February 2010 <I>Stereophile</I>, the cost of entry to VinylLand is not very dear. The problem is that so few entry-level integrated amplifiers and receivers available today include phono stages. (The Marantz PM5003, which I <A HREF="http://www.stereophile.com/integratedamps/marantz_pm5003_integrated_amp…; in the January 2010 issue, is a notable exception.)

If you've followed their story here and elsewhere, you probably know that Tokyo's Shindo Laboratory (footnote 1) has a reputation for defying the two most monolithic of all high-end audio commandments.

Anyone who participates in this hobby for a few years develops some insight that is worth sharing. What is the most important pearl of audiophile wisdom you can bestow on someone?

I was hardly alone in my appreciation for Robert Silverman's playing. The audience was packed. Performing both Friday and Saturday nights at 6:30pm, Silverman drew large audiences that packed both downstairs and the three upstairs balconies that ringed the performance area. On Saturday night, Bea Lam of VTL was spotted in rapt attention, as was Charlie Hansen of Ayre, <I>Stereophile</I>'s John Atkinson and Laura LoVecchio and, of course, Ray Kimber.

Applause rang out after Silverman's performances. Among the most appreciative were those in the standing room section in heaven, aka the mezzanine balcony. Notice Roy Hall (third from left), who really socks it to Mikey Fremer in the "Manufacturers Comments" section of the November issue, among the admirers. On the second night, Gary Koh of Genesis was spied in rapt attention.

The name sounds somewhat cold and diabolical, but the sound was quite inviting. Machined from a full solid slab of aluminum (FSS aluminum), this was the first time that the CRM reference monitors ($8000/pair) and prototype fully active CRS subs ($12,000) were played at a show. You'll note from the photo that, for height's sake, the CRM sits atop the not-auditioned CRG compact reference grand. The CRM has 84dB sensitivity and an impedance of 8 ohms, a response that extends from 45Hz to 20kHz, and claims a "technologically far ahead" crossover.

Taking this year's novel room treatment prize lying down was Artemis Labs of Simi Valley, CA. Undoubtedly wishing to imprint a message that their equipment produces the sound of your dreams, on display were the Artemis Labs SA-1S ($11,000) and SA-1 ($7800) turntables; Schr&#246;der Reference SQ ($5600 Euros) and Artemis Labs TA-1 ($3500) tonearms; Artemis Labs cartridge (not yet priced), PX-1 (LCR) phono pre (ditto), LX-1 linestage (ditto encore), LA-1 linestage ($3500), and SP-1 18Wpc power amp ($18,000). Rounding out the system were the fine Verity Audio Leonore loudspeaker ($15,995/pair) and Purist Audio Design cabling.