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It was all so familiar. In "Music in the Round" in the January 2016 issue, Kal Rubinson praised JL Audio's latest subwoofer, the Fathom f113v2. He raved about its amplifier's higher power over the original f113, its beefier 13" woofer, its improved, 18-band Digital Automatic Room Optimization (DARO), and its significantly improved deep-bass response in-room.

It was familiar because the same thing had happened when Kal reviewed the original Fathom f113 in his May 2007 column. As he would again nine years later, he'd extolled the sub's high power, small size, built-in single-band Automatic Room Optimization (ARO) software, and "remarkably powerful and clean" deep bass. Those were also my reactions to the Fathom f113.

Let us pretend . . . you have a pair of loudspeakers that have proven themselves to sound articulate and musically responsive in your room, without excess boom, bloom, or frail leanness. They mate with your décor and impress your friends. But maybe you're bored, and feel certain that your speakers would sound better with a better amplifier than the one you have now. Maybe you feel an urge to spend money? Perhaps a new amp will make your records sound the way you imagine they should sound?

I have had these thoughts many times.

How often do you find that a new model of a loudspeaker or other audio component is less expensive than the one it replaces…?

I wrote several issues back that my first high-end headphones were Koss Pro4AAs, which I bought in 1972 following a positive review in the British magazine Hi-Fi News. Although that review didn't mention that the Pro4AAs were relatively fragile (footnote 1), I nonetheless loved their sound. They were the best headphones I'd heard—until, a couple years later, I was playing bass on some sessions for record producer Tony Cox. Tony had a pair of signal-energized electrostatic headphones, Koss ESP-6es, which were heavy and clunky—but they opened my ears to the sound quality that could be obtained from "cans." I didn't hear better until after I'd moved to Santa Fe, in 1986, and J. Gordon Holt loaned me his review samples of the Stax SR-Lambda Pros.

Last spring, when I was listening to Bowers & Wilkins's 802 D3 Diamond loudspeakers, Classé Audio offered a pair of their new Sigma Mono amps for the review. They claimed a synergy—B&W's D3 series had been developed using Classé amps. I declined, only because using unfamiliar amplifiers would add to my assessment an uncontrolled variable. Now that the B&Ws have settled in—three 802 D3 Diamonds across the front, two 804 D3s at the back—it seemed time to hear what they could do when driven by the Classés.

When Rocky Mountain Audio Fest 2016 (RMAF)—the hot hi-fi rager of the Wild West—came to its close, I had one more official stop to make: YG Acoustics.

Located just 30 minutes from Denver in the city of Arvada, is the YG Acoustics facility—including the factory, showroom, and offices. Much like most factories, the exterior is an unassuming vanilla casing, with no evidence of the flavorful, no-compromise, high-tech, high-end speakers living (and being brought to life) inside.

Now in its fifth year, the UK-based Chester Group's New York Audio Show opens to the public this Friday, November 4, at 1pm in the Park Lane Hotel overlooking Central Park. (Friday hours are until 7pm.) The three-day show, a smaller version of what has come before, promises 30 exhibit rooms, half of which are "oversized," two ballroom-sized exhibits, and two more ballrooms filled with exhibits and vendors selling merchandise. All-in-all, the event, whose one-day visitor pass costs $30 ($26 in advance, with significant savings for multi-day passes) promises almost 110 brands.