The Royal Mile has now unfortunately become the Scottish equivalent of Times Square, in all its crowded, annoying commercialism run amok glory. No topless women with the Union Jack or Saltire painted across their breasts yet, but give it time.

For many years, I've been a fan of the loudspeakers made by the British audio company Wilson Benesch. Their speakers definitely have their own personality. I first reviewed a Wilson Benesch loudspeaker while a columnist and reviewer for The Abso!ute Sound, and how that came about was amusing. As WB's then US importer was packing up his exhibit at the 1999 Consumer Electronics Show, by mistake he put labels with my address on them on the boxes containing the show samples of WB's revolutionary A.C.T. One, the first loudspeaker to have a curved carbon-fiber enclosure, a sloping top, and a baffle of cut steel. And a very nice late Christmas present they were, too.

The B&W DM-6 is the second "phase-coherent" speaker system we have tested. (The first was the Dahlquist DQ-10 in January 1977.) From what we see in the latest ads from the US, England, and Japan, there will be more forthcoming. One speaker manufacturer who has been around for a long time and is currently pushing his own "phased" systems observed that many of his competitors' designs are being introduced merely because "phase response" sells these days. Yet the truth of the matter is that the experts still do not agree as to whether linear phase has any effect on reproduced sound.

The DM-6 is an expensively made product using three drivers specially designed for it. The woofer cone is of Bextrene plastic, common in England but rare in the US. The midrange unit is a 6" cone of DuPont aromatic polyamide, "Kevlar," which is claimed to have extremely high internal damping. (This is the first acoustical use of this material that we know of.) The tweeter is a ¾" dome. The cabinet is of complex construction, heavily braced and lined with bituminous felt, which can significantly reduce cabinet resonances.

The California Audio Show may have been smaller than in years past, but its proportion of excellent sounding systems—6 out of 32 or so, if you count exhibit rooms that had more than one system in play—was quite high. For this reason alone, I believe the show offered great value for attendees. And it also offered some great views of San Francisco International Airport, as this shot, taken through my 7th-story hotel window, attests.

Here is the word on show attendance from show organizer, Constantine Soo: The final number is 2300 attendees.

It's a rare day when famed amplifier designer Nelson Pass leaves his bench to deliver a seminar. It's even rarer when that seminar is geared toward consumers rather than what he calls "specialists." In fact, at the start of his talk, Nelson confessed that after almost 50 years building amplifiers, his CAS seminar was his first ever tailored specifically toward consumers.

Yes, boys and girls, there was yet one more distinctly superior system at CAS6. In addition to Bricasti, Elac/Audio Alchemy, and the two systems from AudioVision SF that included a varying combination of Dynaudio/YG Acoustics/Bel Canto Black/Pear Audio/Nordost and more, Michael Woods' Elite Audio Systems of San Francisco Kharma/CH Precision/Viola/Spiral Groove/ Primare/IsoTek and more system blew me away. Adding to his triumph is the fact that, on Thursday evening, a frustrated Michael (pictured on the right next to Kevin Wolff of Vana Ltd. and, on the left, Allen Perkins of Spiral Groove) had told me that he was having a near-impossible time controlling the room.