I was listening through the most compelling sound system I had assembled since I started writing for Stereophile. The dCS Bartók DAC/streamer was funneling the harmonic purity and hypnomagik of Odile Renault on flute and Elodie Reibaud on harp into HoloAudio's appropriately named Serene preamp, which was feeding Elekit's TU-8900 300B/2A3 kit amplifier, which was sending a few of its triode-tube watts to the TAD's $32,500/pair Compact Evolution One monitors, more compactly known as the TAD CE1TX.
At AXPONA 2023, I saw teenage besties cruising rooms together. I saw fashion-conscious 20-somethings listening in sweet spots, and young parents with younger children. Yeah, there were a few gray boomers like me, but only a couple were wearing Hawaiian shirts. AXPONA 2023 vibed like a tribal conference at a sacred pilgrimage site, and I've never enjoyed an audio show this much before.
That was my first experience with Japanese loudspeaker design, and it exposed me to a level of engineering precision and fine craftmanship I had not yet encountered in American-made speakers.
Unlike loudspeaker manufacturers, headphone manufacturers know that which amp a reviewer uses could make or break a review of their product. So, wisely, they seem grateful when I ask for guidance.
I am relating these observations because this month I'm reviewing a digital converter from an off-the-paved-road audio manufacturer named Benjamin Zwickel. He operates a company called Mojo Audio, which is located in Albuquerque, New Mexico.
I mentioned in my CanJam NYC intro that CanJams offer more than just networking and headphone auditions. (You can read part 2 here.) They are also good places, I noted, to access the house sound of virtually every good DAC and amplifier that will fit on a tabletop.
