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"The road to the graveyard is littered with corpses of subwoofer companies that wanted to sell a range of regular speakers," Gary Yacoubian observes with a laugh. We're standing outside the SVS room at AXPONA while on yonder side of the door, a 7.2 SVS Dolby Atmos setup is testing the Renaissance hotel's structural soundness with an explosive fight scene from a Spiderman movie. Fittingly, Yacoubian is ready to, you know, rumble. His company has built a solid reputation by making and direct-selling excellent-value, powerful subwoofers and providing some of the friendliest pre- and post-sale service in the industry.

Some audio equipment makes its presence felt simply by its elegance. With its Versailles-like appeal, the colossal Burmester rig in the Schaumberg A room was magnificent to behold, virtually an audio treatise in luxury. A legacy German brand that manufactures everything from nuts and bolts to speaker cabinets and drivers, Burmester, represented at AXPONA by its US distributor Rutherford Audio, brought some of their classiest, biggest, and boldest equipment—all the listener need do was indulge the senses.

For huge sound in a huge room, you needed to look no further than the Schaumburg Renaissance Convention Center's Schaumburg F. Played at full volume, the momentous, quasi-apocalyptic opening of Richard Strauss's Also Sprach Zarathustra, aka the theme from 2001: A Space Odyssey, virtually knocked me back a row. Only the deep bass, which was eaten alive by the room's spongy air walls, suffered. Which means that the deepest organ pedals on the forthcoming superbly recorded 7-CD Strauss set from conductor Andris Nelsons (heard in 24/96) had about the same weight as on the hi-rez digital transfer of Fritz Reiner's famous RCA Living Stereo recording with the Chicago Symphony Orchestra.

The night before AXPONA's official kickoff, Krell's director of product development, Dave Goodman, was still assembling the latest offering from Connecticut's solid-state powerhouse: the yet-to-be-released KSA i400. (With that model name, no prizes for guessing the number of watts per channel.) The Krell and its associated components were set up in a large, cube-like room—on paper, far from ideal acoustically. But what resulted on Friday morning sounded powerful and impressive. I don't mean to say that anything was excessively muscular. Effortless, poised, and relaxed though? You'd best believe it.

Nothing beats starting a show on a high note. Thanks to Musical Surroundings' Garth Leerer and the Quintessence Audio dealership of Chicago, that's what happened when Charlie Byrd played magnificently on a white vinyl direct-to-disc platter from the late 1970s.

As I started to write this review, the news broke that Sound United, the owner of Boston Acoustics, Bowers & Wilkins, Classé, Definitive Technology, Denon, Marantz, and Polk, was going to be purchased by a corporation that makes medical instruments. Such consolidation is not new. China- and UK-based International Audio Group (IAG) was one of the first organizations to acquire iconic audio brands. IAG owns Audiolab, Castle, Quad, Leak, Mission, and Wharfedale. In 2009, they purchased Luxman.

Oswalds Mill Audio's products espouse a sort of steam-punk-meets-modern visual style, but the company's philosophies are straight from hi-fi's '50s and '60s glory days, an era when idler-drive turntables, low-power tube amps, and horn-loaded loudspeakers were the norm. That history and hi-fi's future fascinate and inspire Jonathan Weiss, OMA's proprietor.