On May 5, Joel Davis, founder and CEO of JD Events (JDE), the company that mounts the annual AXPONA—Audio Expo North America—proposed a “rollover plan” settlement for companies that had committed funds to the canceled 2020 show, which had been scheduled for April, postponed until August, and then, finally, canceled. The plan attempts to “right the ship in the midst of this pandemic storm” and to demonstrate the company's “long-term commitment” to continuing to serve the audio industry. Many exhibitors were unhappy that, in canceling the show, did not offer refunds of funds already committed to the show by exhibitors and sponsors.

In a 2014 profile in the New Yorker, Paul Elie, author of the book Reinventing Bach, wrote, "There it was again: the stinging treble, the spooky overtones, the strings snapping and booming under his hands—the sound of a Tele being played as skillfully and exuberantly as it can be played."

The musician in question was Jim Campilongo . . .

One of the joys of reviewing audio reproduction equipment is discovering a little-known product that provides an extraordinary level of performance and musical satisfaction at an affordable price. These components, sometimes made in a garage, reflect the designer's single-minded zeal for musical accuracy, not the sometime corporate mentality of meeting a price point or catering to the latest fad.