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In a recent email, a reader, having read my review of the Monitor Audio Silver RX6 loudspeaker in the June 2012 issue, said that he'd like to see it compared with the similarly priced Wharfedale Diamond 10.7 ($1299/pair) and Epos Elan 10 ($1000/pair). That sounded interesting. The floorstanding 10.7 is the flagship model of Wharfedale's Diamond series, six models up from the Diamond 10.1 bookshelf (which I reviewed in reviewed in July 2011) and featuring the same dome tweeter. And the Epos Elan 10 essentially replaces the Epos M5i, which I reviewed in February 2011, and which has served as my reference bookshelf speaker ever since. I requested samples of both. (My review of the Epos Elan 10 is scheduled to appear in the February 2014 issue.)

Long experience has convinced me that many audiophiles' stereo systems substantially underperform compared to what they could sound like. This is not because people haven't spent enough money on their electronics or speakers. Instead, people aren't getting all the performance they've paid for because they haven't devoted enough attention to all aspects of the initial setup, and/or to maintenance and updating.

Last month, I'd intended to compare the overachieving Pioneer SP-BS22-LR stand-mounted loudspeaker ($129.99/pair) with the Wharfedale Diamond 10.1 ($349/pair). In fact, I was deep into the process—surrounded by pages and pages of scribbled notes, thumbs swollen and sticky with Blu-Tack—when it occurred to me that something was wrong with the Wharfedales.

Now entering its fourth decade, the Compact Disc player seems to have reached a stage of maturity where the best models within a given price range will sound pretty much alike. The technology of the Compact Disc itself is set, its possibilities and limitations are well understood; and the designers of CD players who figure out how to stretch the former and finesse the latter wind up at about the same sonic place (again, for the same price), even if they've taken different routes to get there.

Tubes?

In a CD player?

Century-old technology embedded in a modern digital design?

I realize that Aesthetix's Saturn Romulus is not the first disc player or D/A processor with tubes, nor will it be the last—but does combining these technologies even make sense? Are audiophiles working at cross purposes to themselves, looking for modern perfection but preferring a little old-school sweetening here and there?

Everyone's favorite audio show is about to get underway. The Rocky Mountain Audio Fest returns to the Denver Marriott Tech Center on October 11–13.

RMAF may not be the biggest consumer audio show in North America—that honor recently passed to T.H.E. Show Newport Beach—but even without a cigar show, car show, wine show, and airport right across the street, RMAF's 440 brands spread over 138 hotel rooms, 25 big rooms (and three more at the Hyatt across the street), a CANJAM headphone ballroom hosting a record 37 exhibitors, 14 software vendors (CDs, LPs, etc.), and 26 lobby exhibits is definitely something to get excited about.

In what may be a record period for audio show acquisitions. Connecticut-based trade show company JD Events has acquired AXPONA (Audio Expo North America). The announcement follows on the heels of UK-based The Chester Group's announcement that it has bought Montreal's Salon Son et Image, and gotten out of the way of AXPONA Chicago by moving its New York Show to a fall date in Brooklyn.

In its own words, JD Events "is dedicated to the creation of targeted and innovative industry-leading events that deliver results. The company brings together highly qualified buying audiences, education-rich content and high-level networking opportunities—all geared toward increasing business transactions in the markets it serves."