AXPONA 2025

Sierra Sound’s Michael Fajen assembled a system that stopped more than a few showgoers in their tracks—built around not one but two turntables.

Turntable one featured Benz Micro Ruby Z and ACE Mono cartridges ($4000 and $1000 respectively) mounted on a ViV Laboratory Rigid Float HA-9″ tonearm ($4500), which was installed on an AMG Giro MK II Wood turntable with an AMG 9WT tonearm ($17,500). A Sierra Sound NAB-1 tonearm platform ($500) supported the assembly.

Turntable two featured the Connected Fidelity **TT Hub**, paired with a Sorane TA-1 tonearm and a Benz Micro Gullwing SLR cartridge ($3500). Michael Trei assessed the **TT Hub** for Stereophile; I hope to review it soon for Analog Planet.

Aesthetix Audio Corporation provided the amplification chain: a Rhea Signature phono stage ($10,000), a Pallene line stage ($6500), and a Dione power amplifier ($7500), all driving Vandersteen Quatro CT loudspeakers ($20,150/pair).

Accessories included Sierra Sound phono cables by Cardas; that brand’s Clear Beyond interconnects, speaker cables, and AC cords; and a $2000 Cardas Nautilus power distributor. Everything rested on an HRS EX1 turntable base ($1750) and an EXRD-1942-3V rack system (custom-configured; pricing varies with build).

Having interviewed the young jazz phenom Samara Joy for Stereophile, I was pleased when Fajen cued up a rare pressing of her 2021 self-titled debut, Samara Joy. I’d admired her composure and depth in conversation; through this system, those same qualities seemed to shape every phrase she sang. Her voice emerged with warmth, clarity, and effortless swing. Imaging was vivid, tonal balance felt unforced, and the performance drew me in completely.

Björk’s “Hyperballad” followed, and the system didn’t flinch. The synth bass hit deep without smear or boom, while the singer’s voice stayed suspended, clean and distinct, even as the arrangement thickened. It was a graceful balance of control and impact.