Justin Weber of Ampsandsound greeted AXPONA with the world premieres of two products hand-built in his Aliso Viejo, California, factory: the Black Pearl XL SE 300B amplifier and the horn-loaded Sasquatch three-way speakers.

Steve Mishoe of True Source Audio Distribution originally introduced me to Shindo Laboratory and DeVore Fidelity—brands that shaped my listening sensibility and critical framework. His colleague Steve Cohen often assists with system setup and calibration. In fact, he helps with every review I write for Stereophile, fine-tuning gear and speaker placement and acting as a sounding board.

Treehaus: The name conjures bark and birdsong, but its products are pure Klangbildvergrößerungsmaschinen*. Rich Pinto of Treehaus Audiolab creates gear that fuses sonic beauty with sculptural woodwork and the control of a practiced hand. All circuitry and internal construction are the work of Radu Tarta, a designer known for his meticulous builds.

Charlotte de Witte’s Sanctum, my current techno obsession, was already spinning when I stepped into the Audio Note UK room. Sales exec Adrian Ford-Crush stood nearby; across the room, founder Peter Qvortrup — the company’s resident iconoclast — paged through Kate Crawford’s Atlas of AI, a scathing look at the environmental and ethical costs of artificial intelligence. But then the music took over, as it always does in this room.

Last month's column looked at the hi-fi industry's struggles with recruiting and retaining qualified staff. For that article, Specialty Sound and Vision's Anthony Chiarella, also director of sales and marketing for Gryphon Audio and Brinkmann Audio, made a comment that bears repeating here: "If we're going to have a future in hi-fi, we have to make it worthwhile to make a career in hi-fi." How might that be achieved?

Achieving that key objective requires achieving another one: How do we make more people aware that our industry exists?

It was during a visit to my music room by five members of the small Off-Islanders Audio Society that the magic of the dCS Varèse Music System ($267,500 as reviewed; $305,000 with CD/SACD transport) became clear.

One member had requested the 24/192 version of "Splendido Sundance" from Saturday Night in San Francisco (24/192 FLAC, Columbia-Legacy/Qobuz), performed by Al Di Meola, John McLaughlin, and Paco de Lucía and recorded live in the Warfield Theatre on December 6, 1980. I'd attended the unveiling of the LP remastering of this recording, presented by the album's co-executive producer, Abey Fon, in the Audio Reference room at High End Munich 2024. The system, which was first class, included a VPI Titan turntable, D'Agostino Relentless preamplifier and Relentless 800 mono amplifiers, a VTL TP-6.5 Series II Signature phono preamplifier, Wilson Audio XVX loudspeakers, Nordost cabling, a Stromtank power generator, and an unheard three-piece dCS Vivaldi APEX music system.

I heard people at the show, including Stereophile writers, were talking about the Ø Audio room—though when I say they were talking about it, I don’t mean that they were saying the company’s name, since no one knew how to do that. I looked it up. Ø is a letter in Norwegian and Danish that comes after the end of our alphabet, after Æ and before Å. If you want to know how to pronounce it, I'll provide a link to a pronunciation guide. You'll notice that the pronunciation in Danish and Norwegian is quite different—though the pronunciation I heard from Norwegian Jonathan Cook to me sounded more like Danish.

For the past decade or so, I haven't been using a preamplifier. The D/A processors I have been using all have volume controls, so I have been feeding their outputs directly to the power amplifiers. It would seem logical that having nothing in the signal path would have less of a degrading effect than a preamp's input and output sockets, switches, volume control, printed circuit-board traces, and active and passive parts, not to mention an additional pair of interconnects. However, with some of the preamplifiers I have auditioned in my system, there was no doubt that the sound quality improved compared with the direct connection from the digital processor.

The most recent of these preamps was the MBL N11 that Jason Victor Serinus reviewed in July 2021, which was preceded by the Pass Labs XP-32 I reviewed in March 2021, the Benchmark LA4 Kalman Rubinson reviewed in January 2020, and going back even further, the Ayre Acoustics KX-R Twenty I reviewed in December 2014, which was one of the products Ayre released to celebrate its 20th year of operation.

I am now reviewing the KX-8 line preamplifier, which costs $6500 in basic form.

At AXPONA 2025, Jonathan Halpern of Tone Imports and Matt Rotunda of Pitch Perfect Audio teamed up in room 2025. Very au courant. I first met Halpern and speaker designer John DeVore years ago, when both worked at Steve Mishoe’s In Living Stereo, a high-end store in New York. Their careers have long intersected—and so has their gear.

It was good to catch up with Eelco Grimm and John-Paul Lizars before sitting down to hear the Grimm Audio LS1c two-way active speaker system with SB1 motion-feedback subwoofer ($38,000–$44,150/pair, depending on finish and tariffs).