AXPONA 2025

I’ve commented on this combination so often—five of these eight brands occupy my music room—that I didn’t linger long in Quintessence Audio’s excellently assembled “Knowledge” room. That didn’t stop me from admiring the contrast between the riveting yellow finish of Wilson Audio’s Chronosonic XVX loudspeakers ($387,000/pair) and the bold black-and-copper livery of Dan D’Agostino Master Audio Systems’ Relentless M800 monoblocks ($195,500/pair). I began to wonder if the lovely blue of my Wilson Alexia Vs is a bit too sedate. When I chose my speakers’ finish I almost opted for the perfect shade of orange—bolder, like the XVX’s yellow—and now I wonder what the past few years might have sounded like had I gone that route.

Still, the first thing that struck me—on a digital file of Esa-Pekka Salonen’s recording of Stravinsky’s Le Sacre du printemps (The Rite of Spring)—was the system’s beauty and warmth through the midrange. Wide dynamics, lively highs, and well-controlled bass did full justice to Stravinsky’s intentions. With each wave and wallop, the word that fit best was “fabulous.” This was easily among the best-sounding rooms I visited at AXPONA 2025.

Garth Leerer of Musical Surroundings, one of my oldest friends in the audiophile community, cued up an RCA Living Stereo LP of Jascha Heifetz performing Bruch’s Scottish Fantasy. Played on Clearaudio’s massive Statement turntable ($300,000) and its new, more compact Diamond Jubilee MC cartridge ($29,000), the sound was warmer and smoother but no less compelling.

Also in the system: a D’Agostino Relentless preamp ($149,500) and Momentum HD phono preamp ($32,500); a dCS Vivaldi Apex DAC ($46,500), a Vivaldi Master Clock ($21,000) and a Vivaldi Upsampler ($27,000); an Innuos Statement NG music server/streamer with PhoenixNET network switch ($29,349); the new Stromtank S-6000 ($82,500); Transparent Plus and XL cabling ($200,990); and a Critical Mass Systems Olympus rack and amp stands ($104,960).

The final tally? A bit over $1.6 million, before taxes.