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Following in the footsteps of their pro-audio brethren such as Benchmark, Grace, Mytek and Antelope, Prism is "testing the waters" at this CES for their first consumer product. They've made their mark in the pro audio business creating converters for digital recording software.

The first in two planned streaming products from D'Agostino is the MLife shown at CES this year. The MLife is based on the company's Momentum 200/wpc integrated amp, and adds built-in UPnP streaming, AirPlay, Bluetooth and the hot new streaming service at the show, Tidal. There is also a 5-inch LCD screen on the front panel for displaying streaming metadata (where the tone controls on the Momentum used to sit)

Bridging the gap between your network players or NAS drives and your DAC, the new Bel Canto REF Stream plugs into your ethernet network, appearing as a node with IP, and then outputs SPDIF, AES or Toslink. Company president Michael McCormick says it can accept both DSD or PCM streams and outputs the PCM at the native sample rate, but converts DSD to 24/176 PCM.

Almost everyone has their own unique lens through which to view the alternate reality which some call "Lost Vegas." Without wishing to put my own prejudicial stamp on the site of the annual Consumer Electronics Show—would I ever?—I instead offer you this view from the 16th floor of the Mirage Hotel, across the Strip from the Venetian Resort, where the high-end audio exhibits are housed.

It's cold in New York City, but don't expect that to keep jazz fans from dashing through the streets of Greenwich Village this weekend, darting in out of various clubs and theaters, to see a dozen or more topflight musicians playing in the 2015 Winter Jazzfest.

As an audiophile, I've come to associate the size, weight, and price of a subwoofer as quick'n'dirty indicators of its quality. The subwoofers that have worked best in my large listening room—the Velodyne ULD-18 and DD-18+, Muse Model 18, REL Studio III, JL Audio Fathom f113, and Revel Sub30—each weigh more than 130 lbs and cost more than $2500. With some of my reference recordings, all of them have achieved what Robert Harley described in the April 1991 issue of Stereophile as the goals of a quality subwoofer: "seamless integration, quickness, no bloat, and unbelievable bass extension." Yet are back-busting weight, unmanageable size, and nosebleed cost essential to achieving those goals?

A comment by "cgh" in an online reprint of a Stereophile review caught my attention: "The [1990s] were probably the last real decade that we could reasonably bend the truth. Everything since is verifiable electronically."

Everything?