Mike Stephens of Farmersville, Texas’s Western HiFi presented one of the show’s top five systems at AXPONA. Built from modestly priced gear, it stopped people in their tracks and kept them planted in their seats—including me.

At AXPONA, Nagaoka’s Miyuki Nishii and Jie Ma joined Technics’s Bill Voss to present the full line of Nagaoka cartridges. The Japanese manufacturer is currently seeking US distribution, after years of limited availability in the American market due to a less-than-responsive distributor.

Masimo Corporation has entered into a definitive agreement to sell its Masimo Consumer Audio division, which is made up of the former Sound United hi-fi brands, to Harman International, a subsidiary of Samsung Electronics, for $350 million in cash. Pending regulatory approvals, the transaction is expected to close by the end of 2025.

Ask the average jazz-loving audiophile to list his favorite recording engineers, and such icons as Rudy Van Gelder, Roy DuNann, and Fred Plaut would top their lists. but if you asked a handful of current and recent New York City jazz musicians to cite their favorites, one name would leap to the front of the pack: James Allen Farber.

Steve Daniels's Sound Organisation showcased components from Rega Research, Chord Electronics, and ProAc—renowned British manufacturers known for their competitively priced, high-quality designs—and drew attention with several debut products.

For years, my Stereophile colleagues have laid claim to Zesto Audio’s exhibits; so at this AXPONA, I was glad to cover a room where I could enjoy Zesto’s sparkling tube sound again.

Room 1230 featured a collaboration led by Rhythm Distribution and joined by Qobuz, Silent Angel, AudioQuest, Focal Naim America, Vicoustic, and HRS—an all-star cast giving a confident performance.

Cliff Duffey, TJ Goldby, and Steve Huntley of AXISS Audio aren’t just savvy representatives—they’re passionate advocates for the high-end brands they carry. Their rooms at AXPONA reflected care, from product selection to well-curated playlists that demonstrated a serious grasp of what makes music sound alive.

About a dozen years ago, I found myself sitting across from a disheveled gentleman in a near-empty lounge at LAX Airport as we both waited for a delayed flight. A well-loved leather suitcase stood at his feet. To my amazement, he wore a pair of Stax SR-L700s—full-on electrostatics he powered with an unwieldy amplifier he held on his lap, a power cord snaking to the outlet near his seat. It was absurd. And magnificent. He caught me smiling, smirked, lifted one earcup, and said, "If I'm going to spend another three hours in this godforsaken place, I might as well do it with Coltrane in my skull."

There, in his defiance of convenience, was a truth: Sound matters, enough to haul an electrostatic rig through Terminal 3, to trade portability for transcendence.