Jason Victor Serinus

My goal, in writing reports on the Warsaw Audio Video Show, may be to mix products from Polish brands with a few noteworthy premieres. But when a chance meeting during dinner led to the discovery of Mozzaik Audio, headquartered in Croatia just a few countries south of Poland, my interest was piqued.

It felt like a homecoming, albeit a strange one—in that just as I began to sink into or groove on what was playing, the track abruptly shifted to another. Such demos, alas, always strike me as more about sound than music. Even with that reservation, the sound on Camo & Krooked's "Witch Doctor" and Hugo Barriol's "Hold My Hand" was sufficiently engaging to make me wish I could have heard far more.

Bruckner: Symphony No.4 "Romantic", Anima Eterna Brugge/Pablo Heras-Casado; Brahms: Concertos for Piano and Orchestra Nos.1 & 2; Works for Solo Piano Opp.116–119, Igor Levit, piano; Wiener Philharmoniker, Christian Thielemann, cond.; Dvorák: Symphonies Nos.7–9; Nature, Life, And Love, Czech Philharmonic/Semyon Bychkov; The Kurt Weill Album: Symphonies Nos.1&2; The Seven Deadly Sins, Konzerthausorchester Berlin, Joana Mallwitz, cond.; Katharine Mehrling, vocals.

A new Polish turntable brand, BennyAudio, is poised to enter the United States via the Supreme Acoustic Systems distributorship. Given what I heard in BennyAudio's room at Audio Video Show 2024, aka The Warsaw Show, my audiophile buddy Scott might have gone to heaven and back if he’d been able to join me.

The cynical amongst us might say that I began my coverage of Warsaw’s Audio Video 2024 with Polish audio company Ferrum because they were also taking me (and a huge bevy of other press people) out to dinner. While I won’t deny that one of many ways to an audio critic’s heart is through their stomach, my gut reaction to Ferrum has far more to do with its “amazing for the price” sound than its perks.

As I leisurely strolled through the lobby of Warsaw’s Radisson Blu Sobieski two mornings before the start of Audio Show 2024, it seemed impossible that, shortly after I awoke on October 24, truckloads of gear and audio show personnel would descend on the hotel. What now was a very quiet lobby and restaurant—I rarely rode the elevator with anyone else in it—would soon be packed with distributors, dealers, company heads, press, and visitors.

Is audio reviewing a futile pursuit? As much as we reviewers may strive, through subjective observation and objective measurement, to accurately describe how a component looks, sounds, and performs, we frequently find words and numbers inadequate to communicate the mysteries that abound in the transcendent realm of music. How can we fully share what we feel when a component allows us to experience, sometimes afresh, often in a new way, sounds that elicit joy, sorrow, terror, or more subtle emotions? How do we encapsulate in words and measurements the sonic equivalent of the wide-eyed wonder that shines through a baby's eyes as she discovers something new?

Such emotions—hence such questions—can arise when we move from one music server to another, or even between different software running on the same server. They are particularly intense in the case of this review of the Ideon Absolute Stream meta edition (2024) ($24,000) and its optional add-on, the Ideon Alpha Wave LAN Optimizer ($6900), considering that the review lacks measurements.