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John Atkinson told me I should go see SOTA’s Donna Bodinet, so I did, and this is what I found: SOTA’s Series II Moonbeam turntable ($800 with S100 tonearm and Ortofon OM5E phono cartridge).

In the AudioQuest room, I was treated to a course on the Powers of Network Attached Storage. It wasn’t really a course and it wasn’t really called that, but it could have been. AudioQuest’s Steve Silberman is convincing. And I am now convinced that, when the time comes for me to dive into computer audio and other digital waters, I’ll seriously consider a NAS for my needs.

While Silberman has found success with several different NAS devices, on display in the AQ room was Synology’s powerful DS712+, which Silberman says is highly reliable, has a very friendly user interface, and never compromises the performance of his system.

Although I was only able to stay long enough to snap a few photos and hear moderator Ken Kessler’s (Hi-Fi News) downer of an introduction, Friday evening’s post-show panel included, from left to right, HiFi Plus editor Alan Sircom, recording engineer Peter McGrath of Wilson Audio Specialties, Kathy Gornick of Thiel Audio, Michael Fremer of Stereophile and AnalogPlanet.com, Roy Hall of Music Hall and "why don’t you join me for a shot," and Kessler himself. Dan D’Agostino of D’Agostino, Inc., founder of and former designer at Krell, turned up after I had shot my photo.

John Atkinson adds: Kessler’s thesis was the high-end audio industry is dying by its own hand; that if it is to continue to exist, let alone thrive, high-end audio has to emulate the example of the luxury watch, pen, and car industries...

Eficion’s distinctly shaped F250 loudspeaker ($9950/pair) combines an Air Motion Transformer tweeter with a 5” carbon-fiber midrange unit and a 10” woofer. The speaker has a high specified sensitivity of 90db and a frequency range of 30Hz–35kHz.

The speakers were partnered with Plinius (“The Heart of Music”) gear: the 125Wpc, Class-A SA-103 power amplifier ($10,125), M8 preamplifier ($5150), and Tiki 24/96-compatible networking DAC ($4775).

I wanted to better understand what I was hearing in the PranaFidelity/Musical Concepts room, so I asked PranaFidelity’s Steven Norber to tell me about his design philosophy.

Norber said something very interesting:

I walked into a highly compressed modern rock recording. Worse than that, the song itself was horrible, dreadful, unimaginative, bad. I mean, it really, really sucked.

I was tempted to blame it on the system:

As familiar as I may be with the Playback Designs/Evolution Acoustics set-ups that Blue Light Audio's Jonathan Tinn brings to shows—one of these, with darTZeel electronics and much bigger Evolution Acoustics loudspeakers, received my Best of Show at T.H.E. Show Las Vegas a few years back—I constantly find myself amazed by the quality of the sound. This time, with Playback Design's MPS-3 DSD-capable high-resolution CD player with USB input ($8500); an Ampex ATR-102 open-reel recorder, restored by ATR Services, Inc of York, PA, playing 15ips master tapes sourced from ATR and Puget Sound Studios; and B.M.C. Audio's AMP CS2 integrated stereo amplifier ($8400) driving Evolution Acoustics' MMMicroOne 2-way monitor loudspeakers with stands ($2500/pair), the sound of a Shelby Lynne demo safety copy of her new album, provided by ATR Services, blew me away with its solid bass, powerful slam, and great depth. True, there was a bit of an edge on Lynne's voice, but it may have been room-induced, and sure didn't stop me from writing "OMG" in my notes.