Monitor Audio took advantage of one of the show's larger suites by setting up a home theater system, a two-channel hi-fi, and a static display. Starting from the far right, here we see Monitor's entry-level Bronze series, the Silver series, and the Gold series. The flagship Platinum series, including the <a href="http://blog.stereophile.com/ssi2009/monitor_audio_pl200/">new PL200 floorstander</a>, is just outside the frame.

Monitor Audio's Sheldon Ginn is very excited about the company's new PL200 loudspeaker ($8000/pair). This attractive floorstander fills the gap between Monitor's PL100 bookshelf and the much bulkier PL300 floorstander, and uses a three-driver configuration with a ribbon tweeter. It's available in ebony, rosewood, and piano black finishes, and boasts a real leather front baffle.

Totem's Vince Bruzzese was happy to tell me about the Wind Design, an enhanced version of the company's flagship floorstander. It uses a "skid plate" decoupling system with a front "claw" which is user-adjustable to complement the phase interactions between the speaker and various associated electronics. Totem strives to create loudspeakers that will mate happily with all sorts of associated equipment, and today they were making music with an Arcam FMJ disc player and Bryston amplification.

Until the Recording Industry Association of America hit the headlines in recent years with its antipiracy campaign, the initials RIAA meant one thing to seasoned audiophiles: the vinyl-disc equalization characteristic introduced in the 1950s to standardize what had previously been an anarchy of different EQs. Three decades later, as CD gained ascendance, a large proportion of audiophiles still knew what RIAA equalization was, and a good number of them had some idea or better of what the RIAA EQ curve looked like, and why it was applied.

Until the Recording Industry Association of America hit the headlines in recent years with its antipiracy campaign, the initials RIAA meant one thing to seasoned audiophiles: the vinyl-disc equalization characteristic introduced in the 1950s to standardize what had previously been an anarchy of different EQs. Three decades later, as CD gained ascendance, a large proportion of audiophiles still knew what RIAA equalization was, and a good number of them had some idea or better of what the RIAA EQ curve looked like, and why it was applied.

Until the Recording Industry Association of America hit the headlines in recent years with its antipiracy campaign, the initials RIAA meant one thing to seasoned audiophiles: the vinyl-disc equalization characteristic introduced in the 1950s to standardize what had previously been an anarchy of different EQs. Three decades later, as CD gained ascendance, a large proportion of audiophiles still knew what RIAA equalization was, and a good number of them had some idea or better of what the RIAA EQ curve looked like, and why it was applied.