The <I>Stereophile</I> Ask the Editors session at Shows&#151;in which John Atkinson (left), Art Dudley (center), Stephen Mejias, and I fielded questions from the audience at SSI&#151;in something that I enjoy a lot, and so, I know, do JA, AD, and SM. Through the years, I've learned that it's almost impossible to anticipate what the questions will deal with. And that was certainly true this time. The questions covered a wide range of topics: why are there so few active speakers on the market; why doesn't <I>Stereophile</I> review more vintage equipment; what system that we've heard (at the show or elsewhere) represents to us audiophile nirvana; music recorded in what format will be reproducible a thousand years from now; why is the interest in high quality audio less popular now than it was a few decades ago; has loudspeaker quality improved through the years; and many more. All thoughtful, interesting questions.

The Computer Audio 2010 seminar on Saturday was very well-attended&#151;I barely managed to get a seat. The presentation was by Steve Silberman of Ayre Acoustics, with technical commentary by John Atkinson. Silberman took an admirably generic and non-partisan approach, barely mentioning Ayre products, and refusing to answer the question "Should I get a Mac or a PC?" I've taken a wait-and-see approach to the whole computer audio subject, and Silberman did not convince me it's time to introduce a computer into my audio system, but I must say that he did an excellent job of describing the options, and if I <I>were</I> to take the plunge I would certainly use the information on the Ayre web site.

Although it was introduced at the January CES, SSI was my first opportunity to hear Wadia's cute 151PowerDAC mini amplifier ($1200). It combines a DAC, digital preamp and 25 Wpc power amp, and is housed in the same tiny package as Wadia's iTransport shown to its right. The PowerDAC was being used to drive ProAc's new floorstanding Studio 140 Mk..II speakers in the M-HiFi room at SSI, with XLO cables.

Cable manufacturer JPS Labs is now connected (sorry) with the Canadian importer AudioScape Canada, which also distributes amplifiers and CD players from PrimaLuna, turntables from Dual, loudspeakers from Usher, and other delights. At Salon Son et Image, Joe Skubinski of JPS unveiled a new version of his popular Digital AC power cord, now called Digital AC-X. The cable's filter network has now been upgraded to handle higher frequencies than before, but the price remains the same: $399 for a 2-meter run. Sweet!

With so many lookalike, workalike remote handsets littering the ring-stained table of our hobby, new ones seldom stand out&#151;or work better than the old ones. Pioneer has finally produced a breakthrough: Anyone who buys a new Pioneer VSX-1020 receiver (expected to go on sale in America in June, for approximately $800) will have the opportunity to download a virtual handset from the Apple apps site, for use with his or her iPod Touch or iPhone. The finished product looks&#151;and works&#151;exactly like the knobs and switches on the amp's front panel. Here's one remote control that will probably never get lost under the couch or dropped in the toilet. (Don't ask.)

In one of the excellent-sounding Audio d’occasion rooms, I had the pleasure of meeting Oracle Audio Technologies’ Jacques Riendeau, who introduced me to the latest incarnation of his beautiful Delphi turntable, reviewed by Michael Fremer in our March 2010 issue. Riendeau explained that the Delphi Mk.VI ($11,600, with Oracle/SME 345 tonearm) uses Delrin feet for a better balanced sound across a wider environment; an improved main bearing system for a greater gap between background noise and the signal; and, most importantly, Oracle’s Micro Vibration Stabilizer System, which utilizes three plungers that dip into silicone baths to reduce lateral vibrations, found by Riendeau to have an enormous impact on sound quality.

The dudes at Coup de Foudre know great music, and that’s exactly what was playing when I walked into one of their rooms on Saturday afternoon, Tom Waits sounding all damned and heartbroken but still so full of love, and there was nothing I could possibly do but sit down and listen. The soundstage was so deep, the low-level resolution so clear, the overall presentation so effortless, it was as if I was looking into Tom Waits’ old soul.