The final MoFi Distribution room I visited at the show featured the version of the classic BBC LS3/5A minimonitor made by Falcon Acoustics that I reported on in our report from the 2018 RMAF. This is said to be the only version currently manufactured that is truly identical to the original and was very favorably reviewed by Herb Reichert in October 2017.

Ken Micallef was impressed by this British company's CDA2 Mk.2 CD player/DAC ($4249) when he reviewed it in the January issue, and ATC were using it as the souce in their room at AXPONA. But pride of place went to their SCM50 tower speakers ($22,000/pair, far right in my photo) and the similar-looking SCM50SE powered towers ($60,000/pair, near right).

Look at that photo and notice the elegant wood grille on the Gershman Acoustics Grande Avant Garde loudspeaker ($13,000/pair). How good does that speaker look in person? I put a high value on imaging and what an orchestra looks like between the speakers. Therefore, I prefer speakers with grilles: Exposed drivers distract me from the sound and the illusion . . .

. . . proclaimed posters everywhere on the Renaissance Convention Center's ground floor. It turned out that the show had run out of exhibit rooms, so a purpose-built listening room had been built for Chicago dealer Kyomi Audio at the back of the big hall that housed the LP fair, the Master Class space, and the Ear Gear exhibits. Inside—forgive the grainy photo; it was quite dark inside this room—were a pair of Raidho TD1.2 stand-mounted speakers ($27,000/pair) connected with Gamut Reference cables to a pair of Jadis NEC 845 push-pull monoblocks ($29,990, the first pair in North America), a Jadis JPS2 preamp ($15,500), and a Jadis JPS3 phono preamplifier ($14,900).

I had forgotten how dynamic Avantgarde's Uno XD speakers ($32,000/pair) could sound, coupled with a fine delicacy that was in evidence on an SACD track by Jenn Chapin (daughter of Harry Chapin), where Ms. Chapin was palpably placed in the center of the stage, with a double bass on the right and a baritone saxophone on the left. Electronics were all from Esoteric: the new Grandioso P1X SACD transport ($50,000) feeding DSD data to two of Esoteric's new Grandioso mono DACs ($50,000/pair), these all clocked from an Esoteric Grandioso Rubidium Master Clock ($26,000). The transport uses a new mechanism and the D/A processor a fully discrete DAC topology with 64-bit processing.

The 3rd-floor room shared by Schiit and Salk Signature Sound was so crowded the first two times I stopped by that I couldn't listen, But the third time, Béla Fleck's classic "Flight of the Cosmic Hippo" was playing, I snagged a second-row seat and liked what I heard. A big, clean sound from an affordable system. Speakers were Salk's Song3 BeATs ($4495/pair, $4795/pair in custom finishes like those at the show); source was either a Salk Streamplayer Gen III ($1695) feeding Schiit's Yggdrasil DAC ($2395) or an SOL turntable (estimated price $799); phono preamp a Schiit Mani ($129); preamplifier a Schiit Freya ($699); and amplifier a Schiit Aegir ($799).

Voxativ's deceptively simple-looking Absolut Hagen System ($7900 with Voxativ speaker cables), which consists of a Voxativ Absolut Box 30Wpc class-AB integrated amp, complete with custom DAC with DSP, Wi-Fi and Bluetooth aptX, and a pair of Voxativ Hagen single-driver loudspeakers, took advantage of a Samsung S10 Android phone to stream music wirelessly from Qobuz via aptX Bluetooth. The Absolut Hagen System, which used optional Synergistic Research cabling in the demo, can stream files up to 24/192. Thanks to built-in DSP, it is claimed to descend flat to 45Hz.

There were two causes for excitement in Room 1534: the premiere of the Stenheim Alumine Three ($29,900/pair), the Swiss company's newest three-way floorstander, and the return of Einstein Audio to the US. The latter comes courtesy of its new brand ambassador, Walter Swanbon of Fidelis AV. The sound wasn't perfect—it was a little peaky on what may have been an unnaturally bright Deutsche Grammophon LP of Geza Anda playing Mozart's Piano Concerto No.17, but it was still wonderful (and, sadly, the only Mozart I heard at the show). That a totally different, winningly smooth sound came from Intervention Records' reissue of the LP Joe Jackson Live in New York suggests that an LP of someone else playing Mozart's PC No.17 might have been a better choice sonically.

A room sponsored by multiple companies and overseen by Steven Norber of PranaFidelity immediately won me over with its gorgeous midrange. "So beautiful and warm and all-embracing," I wrote in my notes as I listened to a surprisingly good-sounding 1991 CD of David Wilcox on a substitute basic Pioneer Elite player used as a transport. I also loved the sound of an LP that melded the artistry of two greats, Louis Armstrong and Duke Ellington.

"Handcrafted In Germany" it proudly says above AVM's new Rotation R5.3 Cellini Edition belt-drive turntable, with its acrylic Illumine platter softly glowing blue. With its 10" AVM tonearm, the R 2.3 will cost in the region of $8900 and, fitted with an Ortofon Cadenza Black cartridge, did justice to Diana Krall singing "Indeed I Do." (For what it's worth, while many showgoers dismiss Krall as an over-exposed pop singer—I'm looking at you, Jason Victor Serinus— I respect both her musicianship and her piano playing.)