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This was a surprise.

When I walked in to this room and saw these skinny towers, I didn't expect much. When I saw that they were wireless, I expected even less. But the Piega 701s made some very fine sounds, with good bass, tweeters that didn't draw attention to themselves, and a stereo image that didn't collapse when I moved off-center.

It's not every day that you encounter a high-end loudspeaker that the end user actually assembles. Pure Audio Project has taken this unorthodox approach in introducing its brand-new Quintet10 Horn2 speaker at the Florida show . . .

I'm surprised how many principals and designers are at this show, as opposed to local dealers and distributors—although perhaps I shouldn't be, considering that it's February and this is Florida.

In the Cardas/Joseph/Doshi room, I found both Jeff Joseph and Nick Doshi. I also found very good sound, produced by Jeff Joseph's Perspective 2 Graphene loudspeakers ($15,000/pair), which John Atkinson reviewed in the July 2018 issue of Stereophile. I won't comment on the speakers except to say that they sounded great; I'll just refer readers to JA's review.

The Audio Company of Marietta, Georgia, has two rooms at the Florida Audio Expo, both featuring Acora Acoustics loudspeakers.

A weekend in Florida in February, plus high-end audio gear galore? Yes, and yes. After five years (that's half a decade, but who's counting?) with rival publication The Absolute Sound, I'm now a free agent, so when Stereophile asked me to fly south to cover the Florida Audio Expo at the Embassy Suites in Tampa, it didn't take me long to accept.

It's Friday morning as I write this—the first day of the Florida Audio Expo, which is being held at the Embassy Suites Airport Westshore, near Tampa. As often happens, breakfast ran long, as colleagues and others stopped by for conversation. By the time I got up to attack the show—a little after 10am—someone told me the show was sold out, as in no more room for visitors. Say what? I've never heard of a sold-out audio show.

When I applied for this job, I wrote a pretend review of the Rogue Audio Sphinx integrated amplifier and emailed it to Stephen Mejias, then Stereophile's deputy editor, who printed it and put it on John Atkinson's desk.

Before I sent it to Stephen, I showed a rough draft to my business agent, Sphere, who said, "Herb, you can't turn this in like this."

"Why?" I asked.

"Because you speak as if you are not an audiophile and think you're superior to audiophiles."