The Holm Acoustics leather wrapped remote control which feels heavy and comfortable in the hand. Just press on the leather for the buttons to work.

Those who follow computer audio forums have probably heard the name Amarra a few times. If you have an Apple computer running iTunes and want to get the most out of high resolution audio, Sonic Studio's Amarra software offers a way around some of the inherent problems when switching resolutions and the way the Apple OS handles audio.

Some disc players simply look better than others when the lights go out. The Raysonic CD168 Tube CD-Player is one such machine and retails for $2,550. The CD168 uses 4 Russian 6922EH tubes and upconverts your CDs to 24 bit/192kHz to either balanced or unbalanced outputs.

It gets extremely cold in my apartment. Each winter, I curse and shiver and seal my windows with plastic and tape. The kitchen is coldest. I place a small electric heater on top of my refrigerator and turn it to high. I can hear the whirring sound from my living room, but it’s not loud enough to disturb my listening.

What a relief to revisit VTL electronics, and breathe in the mellow midrange of jazz vocalist Johnny Hartmann singing on the Original Recordings Group reissue of <I>I Just Dropped by to Say Hello</I>. There's a beauty and timbral truth to VTL electronics that you do not hear from many tube products that cost more than the $50,000/pair Siegfried monoblocks, and far more than the wonderful VTL MB450 Signature Series II monoblocks ($15,000/pair).

My last stop of the day, and of the show, was the Audio Research room. Dave Gordon showed me their new DS-650 (I'm not sure that the designator was DS) stereo amp and laughed that it was their "Magnepan amp." Yup, I agree. As I discovered when I paired a pair of MG-3.6s with Class&#233; CAM-350s, while any competent 20Wpc amp will drive a pair of MG-3.6s adequately...any top-notch 300&#150;400W amp will actually drive them well. Then Dave casually noted that the 650 was a class-D amp and told me to put my hand on its top. Sure enough, it was cool as a cucumber in spite of having been on and making music for several days. "The entire amp is ours, from the bottom up," Dave noted, "there's nothing standard or off the shelf in there."

Most of the time at CES, <I>Stereophile</I>'s writers prowl the corridors in solitary fashion. But occasionally we find ourselves in the same room at the same time, which was the case in the Blue Smoke suite at the
Mirage, where we had gathered to check out the company's new server that Jon Iverson blogs about <A HREF="http://blog.stereophile.com/ces2010/blue_smoke_black_box_music_server/"… in this report</A>. Seen in this photo are (from left to right): Erick Lichte, Jon Iverson, Kalman Rubinson, Larry Greenhill (partially hidden), Blue Smoke's Peter Sills (back to the camera), and someone whose name tag I couldn't see. It gives you an idea of the inquisitorial mode we are in at Shows, desperate for detail but eventually satiated with sound.

My penultimate stop at THE Show, held for the first time this year at the Flamingo, was the Audience room, where they were playing a system full of new gear. Their line stage combines a relay-controlled autotransformer volume control and zero-gain active buffer. The unit has four inputs, all single-ended, and very clever switching to keep noise to an absolute minimum. Oh&#151;it also includes a headphone amp and all of Audience's power and signal-transfer technology, in a sleek, compact package.