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None other than designer Terry Miles was on hand to introduce Spendor's "all-new top-of-line Spendor Classic" 3-way loudspeaker ($24,995/pair).

Good sound was a notable achievement given that the new Genesis Forte loudspeakers ($140,000/pair) had been shipped to Las Vegas a mere two days after assembly, and had only three days of break-in on them.

More than a decade ago, I reviewed Music Hall's first turntable, and not only did it play way better than it should for its price; but it felt distinctly like what would surely become the forefather of long bloodline of musical, high-value record players; and it did. The newest, youngest, and most attractive of them all, the MMF 7.3 looks like a new stud breeding horse and a super value for it $1595 price.

Moon by Simaudio's new Neo ACE ($3500, left) looks and sounds and feels like a 21st-century version of a classic Marantz receiver. It is a 50Wpc, class-A/B integrated amp featuring Simaudio's MiND (Moon intelligent Network Device) digital library interface, and a high-resolution DAC with DSD decoding up to DSD256 and 32-bit/384kHz PCM.

Adcom introduced two new products at CES 2016: The 250Wpc, GFA-565se stereo amplifier ($1499, rear) and the Luna wireless music system ($599, front). Like the Naim Mu-so, Adcom's version of "industrial design awesomeness"—the Luna also connects in the most happening ways: WiFi, aptX Bluetooth, USB, UPNP/DLNA, 3.5mm analog input and headphone jack.

George Cardas has been making fine-quality interconnects and loudspeaker cables since 1987. But, in 2009, he saw the future and started experimenting—looking for a technology to create a truly audiophile-quality in-the-ear loudspeaker. I went to the Cardas room at CES with the hope of experiencing his new prototypes; in-ear phones where the tiny earspeaker driver is positioned deeeeeep into the listener's ear. However, George was not there and neither were the deep-ear drivers. But! I was able to audition the brand new A8 earspeakers ($299).

We were clearly off to a good start, so I was wondering what Graham Nash's reaction would be to an all out audiophile assault.

I explained to Nash that the Vivid speakers and Luxman system we just heard were relatively compact, by audiophile standards (though by no means modest), and that the next room would be more typical of the cost-no-object approach. Judged by Graham's "impact of the music" criteria, would bigger necessarily be better, or might it detract from the musical intent he was looking for?