It’s hard not to make our AXPONA show reports as sprawling as the event itself. There are more exhibits than any human can cover in the three days of the show, and even with three installments in Copper (here, and in Issue 231 and Issue 230 here and here), it was impossible for me and my colleague Rudy Radelic to see everything. So, our coverage became a combination of seeing what interested us, checking out new product debuts, taking advantage of logistical convenience or lack thereof, going where random chance took us, and publishing on a not-entirely-timely basis.
But this is a good thing, the many rooms we missed notwithstanding. AXPONA has become bigger and better, and that bodes well for high-end audio. While the trend towards what reviewer Steven Stone has dubbed high-priced oligarch audio continues, putting many components out of reach for even well-to-do audiophiles, there were also plenty of more attainable products on exhibit, and let’s be real – quality, whether in audio components or anything else, isn’t cheap. The mood was upbeat, the crowds were more diverse than what we’d seen in previous shows, and there was a lot of good gear to be heard.
For general advice on attending events like AXPONA, click on “Your Editor’s Tips for Attending Audio Shows.”
Let’s Get On With It!
Cable, and power and grounding products maker EnKlein offered superb sound in their demo room, thanks to a system using EMM Labs’ DA2i DAC, TXI transport and PREi preamplifier ($35,000, $13,500 and $28,900), David Berning Quadrature Z power amplifiers ($33,000)and Thrax Audio Lyra SE speakers ($33,000/pair) Joni Mitchell’s singing on “Blue” were conveyed with extraordinary clarity, with fantastically expressive piano dynamics. Tower of Power’s “Diggin’ on James Brown” was just…wow, in its knockout impact. By the way, EnKlein’s website offers some clear insights as to why good cables and good system grounding and the benefits of connecting components to a common signal ground can make a difference. (“Star grounding,” where all grounds converge on a single point to avoid ground loops, is a well-known design technique.)
I’m becoming more and more fascinated by field coil speakers, among them, Songer Audio. (I recently participated in an episode of The Hi-Fi Five podcast with Ken Songer, Peter Qvortrup of Audio Note, Treehaus Audio’s Rich Pinto, and host Ron Resnick in a discussion of field coil loudspeakers.) Sara Bareilles sounded amazing – as did other tracks I heard. Pure, unforced, inviting, natural, what music reproduction should be. I didn’t want to leave.
Field coils and vacuum tubes: the Songer Audio exhibit.
The room featured the Songer Audio S1x loudspeakers ($45,000/pair with power supplies, plus $8,500/pair for the PS1 Special Edition power supplies) and A3 300B single-ended triode amplifier ($29,500), fed by an Innuos ZENith music server ($18,900) and LampizatOr Atlantic 3 TRP DAC ($10,895), all connected by Black Cat Graceline 3 cables (speaker cables, $9,495/2.5 m; interconnects, $ 6,495/$1.5 m) and a TRON Mk III USB cable ($2,300). The S1x uses a single driver with a Permendur field coil pole piece and a solid copper phase plug, and the internal wiring is cryogenically treated for 48 hours. The A3 amp features C3M driver tubes, an unusual choice, said to provide better performance than other tubes typically used with 300B-based amps.
I’m still trying to figure out if field coil speakers have a “sound,” analogous to the way optical cartridges give a different yet realistic presentation to the music, or if their “sound” is simply a lack of coloration. I plan on visiting Ken Songer’s facility soon to find out more.
Burmester offers a wide range of components, speakers, and complete audio systems that are built to the highest level of German craftsmanship. Their mirror-finish, vertically lined aesthetic certainly makes a visual statement. At AXPONA 2026, Burmester featured a system with the 232 Classic Line Modular Integrated Amplifier ($25,000 - $43,000 depending on optional MC and DAC modules and bespoke design elements), and the new B38 3-way loudspeaker ($35,000/pair, additional $6,000 for bespoke finishes), a slim tower featuring an AMT tweeter, 17 cm fiberglass midrange driver, and side-firing 32 cm woofer. Available in a number of finishes, it has a switch on the rear and plugs that can be inserted into its ports to adjust its bass response to the listening room.
Cobra Verde’s “Play With Fire” sounded warm but not overinflated, extended but not bright, showing off the strengths of this excellent, minimalist system that would easily fit into most listening rooms. The Oscar Peterson Trio’s rendition of “Days of Wine and Roses” was inviting and had real rhythmic drive and swing.
Technics continued to celebrate its 50th anniversary with the introduction of two new turntables, the Delta Sigma SL-1500CS and the Grand Master Edition SL-1210GME, both being direct-drive models. They also debuted their EAH-AZ100 wireless earbuds, but I didn’t have enough time to spend in the show’s Ear Gear Expo.
The SL1500CS ($1,799.99) is an update of the SL-1500C, with an improved motor, tonearm, and speed control, and features a built-in phono preamp and a supplied Ortofon 2M Red cartridge, an impressive ready-to-go, attractively-priced record-playback package. On the high end of the spectrum, the limited edition SL-1210GME ($6,599.99, available in black or white) is the latest iteration of the legendary SL-1200, with many modern updates such as a new twin-rotor coreless direct-drive motor, three-layer platter and four-layer plinth, a magnesium tonearm, special shock-absorbing feet, and other improvements.
I was impressed by their SC-CX700 wireless speaker system, not inexpensive at $2,999 but sounding a whole lot bigger than its modest dimensions would have you think. It’s easy to operate via the remote control or Technics Audio Center app, and feature a choice of DSP room modes (and a built-in calibration microphone). I was taken by the way they looked, covered in what Technics calls its Dinamica microfiber suede-like material – the Terracotta Brown show speakers were particularly attractive.
This elegant system from Technics would fit readily into any living space.
Seeing and hearing the Technics SL-1210GME turntable is like revisiting an old friend.
Interlude: Department of Journalistic Irresponsibility
Distributor Axiss Audio had no less than five rooms at the show. I went into one of them while they were playing Willie Nelson’s rendition of “Georgia On My Mind” and noted that the sound was “superb…excellent vocal reproduction…airy, sweet, inviting, excellent separation…five stars”…but I neglected to write down which room it was. Aggh! This is what happens at shows at the end of the day; you have to remind yourself to keep taking notes and not let everything become a blur. Sorry I slighted Axiss (and I really would like to have remembered what room of theirs had such spectacular sound), but at least I didn’t forget to note who they were, unlike another exhibit where I wrote, “AAA…stunning, super-natural, clear, does everything well”…and nothing else. Insert expletive here.
******
Woo Audio made a move from their usual headphones-centric displays to showcase their new WA300-BAL dual mono tube integrated amplifier ($24,999 with standard tubes; $27,999 with upgraded tubes). It is strikingly beautiful, Class A, fully balanced, zero feedback, and delivers 25 watts per channel. The chassis is machined from a single block of aluminum. The transformers are custom made. The amplifier uses four 300B power tubes and two 6SN7 driver tubes. The sound is wonderful. I’d never heard George Michael’s “Father Figure” sound so good, spacious and inviting. I admit, I’m partial to the sound of 300B tubes, but still.
The rest of the system was comprised of the Innuos ZEN Mk3 music server ($3,649), Woo Audio WDS-1 DAC ($1,599 with $499 Phantom DAC cable), and when I heard it, the Ø Audio Icon 12 speakers ($25,000/pair). Demos were also done with the Aretai 200F loudspeakers ($31,970/pair), which I unfortunately didn’t get to hear, but as noted in the last issue, I had heard different Aretai speakers in another room and was highly impressed.
The Woo Audio WA300-BAL amplifier was a showstopper.
When it comes to audio, many people might think of Yamaha more as a manufacturer of home theater receivers or musical instruments than as a purveyor of high-end audio. That preconception was put to rest at the company’s AXPONA 2026 display. At a demo I attended, Yamaha staffers alternated between the NS-800A and NS-2000A floorstanding speakers ($2,499/each and $4,299/each), powered by two M-5000 amplifiers ($10,999.95/each) and an RN-2000A network-capable receiver ($4,399.95). The receiver comes with built-in YPAO room optimization, an HDMI ARC connection, DSD support, and a plentiful but not overbearing amount of digital and analog connections. Also, I found the retro-timeless styling of the components very attractive. There’s just something about the look of these components that, like those from Luxman, Technics and other Japanese makers, gives a comfort level just by looking at them.
The system was clear, warm yet detailed, and a sense of no distortion whatsoever, just effortless audio reproduction. Switching from the NS-800A to the NS-2000A speakers gave a deeper bass and slightly bigger soundstage and presentation, as one would expect, but with the overall clarity and musical character intact.
Speaking of musical character…in Yamaha’s static display room, I was drawn by an acoustic/electric guitar. It was beautiful, the FS9 MX, one of the company’s high-end models ($4,499.99). I asked if I could play it. It was one of the best guitars I’ve ever played. It sounded fantastic. The action was phenomenal. People, including me until now, might not think of Yamaha as a purveyor of high-end acoustic guitars. They should.
Long Valley, New Jersey dealer GTT Audio’s exhibit was one of those big rooms that was able to convey music with a real-life sense of scale and depth. I hate to overuse an audiophile cliché, but Sonny Rollins really did sound like he was in the room on “St. Thomas.” I love a good small speaker, but there’s something undeniable about the ability of a large speaker to give an illusion of “thereness” and that spooky reality of putting the music into the room when set up right. In GTT Audio’s case that speaker was the Vivid Audio Giya G1 Spirit Cu ($114,100/pair), which was making its very impressive US debut. It would have been disappointing to say the least if this $460,360 system – not including tens of thousands of dollars’ worth of Kubala Sosna cable! – did not sound “AMAZING,” as my notes indicated. But it did.
The distinctive Vivid Audio Giya G1 Spirit Cu speakers made Sonny Rollins come to life.
The rest of the gear: a Dejitterit Switch X Ethernet switch, WiFi X access point, Roon core/streamer and Roon endpoint ($3,500, $850, $8,000, $8,000); Master Fidelity NADAC D Dac and NADAC C clock ($27,500/each); Kronos Perpetual turntable, Discovery RS tonearm and P-SCPS power supply ($70,000, $24,000, $20,000); My Sonic Lab Signature Platinum cartridge ($11,000); Audionet PAM G2 and Ampere phono stages ($10,100, $11,200), Mach line stage ($37,060) and Schrodinger mono amps ($71,050/pair), and the new Kubala Sosna Xpander2 power distribution unit. ($13,000).
Experience at numerous shows has proven I can count on Alta Audio speakers to make a strong sonic impression, and AXPONA 2026 was no exception, as the company was demoing their upgraded Alec SE ($16,000/pair), a floorstander whose more modest size (40.5 by 14 by 12.5 inches) enables it to mate well with smaller- and medium-sized rooms, like most of the ones at AXPONA. The speaker features a 5.75-inch neodymium-magnet ribbon tweeter and 8.75-inch woofer operating in conjunction with Alta’s XTL Extended Transmission Line bass-loading design. Other refinements include silver internal wiring, air-core Litz inductors and a point-to-point hand-wired crossover, and each speaker is individually tuned by designer Michael Levy. Listening to a cut from the Yes album 90125, the system presented a clear, wide, deep and detailed soundstage, a real feat considering the modest room dimensions. This is my kind of speaker.
In my show notes, the adjective I used the most was “clarity,” and the Alec SE really sounds like you’re hearing a clear “window” into the music. Today’s speaker systems are getting more and more resolving and less and less colored…though different designs can sound very different from one another. I think speaker design may be the hardest thing to get right, considering the balancing act every designer must undertake. Mike is very good at getting it right.
The electronics behind the speakers were the new ModWright KWA300 power amplifier, LS300 line stage, LS300 phono preamp, and Analog Bridge tube buffer ($17,500, $11,000, $9,750, $3,900). When I listened, the source was an Infigo Audio IS-1 streamer/Roon server ($7,000) and Imersiv HDR-A D1 DAC ($12,000). Clarus Cable connected everything together.
A Couple of Thoughts:
If you remember my comments about the Tube Mode of the Ferrum Audio WANDLA DAC in the last issue, well, when I noted that maybe someone should offer a “tube sound warm box” kind of component, here it was in the ModWright Analog Bridge. And recently, Schiit Audio debuted the Buf $99 tube buffer. I am interested in trying out these devices.
Again and again, I wrote in my notes that the systems I heard at AXPONA had “clarity.” It’s not surprising – as the overall quality of audio gear gets better, I would think that detail, resolution, and the sense of a component or speaker sounding closer to “real” naturally follows.
Trust Your Ears, Not Your Eyes
When you’ve been covering audio shows for as long as I have, it’s easy to get burned out or jaded. But then you encounter a product that gets you excited again…like the South Korean Orchestalls OCS700CS Maestro speaker system ($24,200/pair, plus US import fees).
At first I was taken by its unique and unusual appearance: four modestly-sized cabinets, each with its own driver, mounted on a frame that allows the cabinets to be moved. Then I was drawn in by the sound of the system, which was inviting and had excellent tonality. I didn’t get the name of the classical piece that was playing, but the 4-way OCS700CS Maestro presented the orchestra with a credible sense of space, depth, and timbre.
The speaker features a fabric-dome tweeter, surface-treated magnesium-cone midrange, and a surface-treated magnesium-cone and graphene-treated magnesium-cone woofer. All the drivers are made by SEAS, and all but the bottom woofer can be rotated up to 30 degrees, for directionality and time alignment. The speakers were complemented by a HiFi Rose RS130 network player, and a Unison Research Triode 25 Black Edition integrated amp. My eyes might have been taken aback at first, but my ears told me this was a system to be taken seriously. And I always trust my ears.
These Orchestalls OCS700CS speakers painted a vivid sonic picture.
But the Orchestalls speakers were positively staid-looking compared to the ones from Treble Clef Audio, and Swan Song Audio.
The Treble Clef Audio TCA-M active speakers look like…a treble clef. At first, I thought these had to be a gimmick, or that the “real” speakers where somewhere else in the room. But then I started listening. These things sounded exceptional! They filled the room with superb sound and articulate, powerful bass, one of the best rooms at the show for my money.
Then I looked closer and started to ask designer Ole Siig about the tech and why the speakers looked the way they did. Particular attention is paid to preserving timing information across the frequency range, and keeping group delay constant. The bottom of the speaker looks like two giant cups facing each other, which is actually the TCA-M’s Folded Dipole Asymmetric Dispersion Air Velocity Transducer Bass System – in short, a way to ensure that low-frequencies don’t lag behind the rest of the spectrum. Attention is also paid to the way the speakers “stop” at the end of the note – another critical aspect.
Some specs: bass response to 16 Hz, 3 channels of amplification totaling 1,500 watts, built-in 32-bit digital conversion, Dante lossless audio over Ethernet, and a whole lot more. The TCA-S Active Subsonic Module is also available, featuring dual very big woofers (Treble Clef Audio doesn’t list detailed driver specs on their website) in an isobaric configuration ($22,550 with single isobaric motor system; $31,200 for dual isobaric system). Perhaps it’s no surprise that such a distinctive-looking speaker is available in a variety of finishes, including custom options chosen by the customer.
Yes, it does look like a treble clef. The sound was satisfyingly full-range, though.
NASA’s got nothing on Swan Song Audio’s Rocket Speaker ($17,000/pair), which look like exactly what their name sounds like. Standing seven feet tall, the Rockets, as well as everything else in the Swan Song Audio system on exhibit, are made using 3D printing – speakers, preamp/DAC, amp, and turntable. It takes 1,924 hours of printing and 4,000 pounds of material to make the speakers. The tweeter fires upward, the midrange and woofer are aimed at the listener, and there’s what looks like a downward firing port that looks like an engine nozzle.
This is no gimmick, though – designer Tony Crocker noted that using 3D gives him freedom to create unique shapes and structures. The Rockets use Faital Pro drivers, (astonishingly expensive) Mundorf Supreme Silver-Oil-Gold capacitors, and made-in-house silver internal wiring. The amplifiers are microprocessor-controlled, the preamp features a 24-bit/192kHz upsampling DAC and capacitive touchpad controls, and the turntable has a Moerch tonearm VPI platter, and Van Den Hul Crimson XG cartridge. So I know you’re thinking – how did it sound? Very credible and not-surprisingly, “big”-sounding, with plenty of bass, and good midrange impact. The Apollo-Command-Module tweeter did not sound disconnected from the rest of the drivers. I, and I think many others, didn’t expect the system to sound as “normal” as it did. I applaud Tony’s efforts to go where no audio designer has gone before.
The Swan Song Audio Rocket speakers, preamp, and turntable could not be mistaken for anything else. We look forward to hearing (and seeing!) more from this company.
It’s a Wrap
I spend the last couple of hours of every show frantically rushing into and out of rooms in a desperate attempt to see and hear as much as possible before the show ends. I’m not the only one, as evidenced by the other journalists I passed as we were racing up and down the stairs. So, here are some last impressions, and forgive the superficiality, but I thought the rooms were worth noting. This is how it goes sometimes in (audio) show business.
I want to hear the Altec Lansing Ribbonacci Reference speakers ($119,000/pair) in a room that lets them breathe to their full potential. Because who doesn’t want to love a full-range planar magnetic speaker? I’ve been impressed by these speakers and their companion 1,000-watt Ripole subwoofers ($7,499) and their seamless, open sonic presentation, but I feel like they could really tear it up in a big room.
Though I don’t have a long history with the brand, I’ve never heard an Aretai speaker I haven’t liked. The demo room with the Mojo Audio One Box Wonder music streamer and Mystique Z Quantum DAC ($12,499, $12,999), Staccato BU-01 integrated amplifier ($16,900) and Aretai Contra 200F loudspeakers ($27,800) certainly confirmed this.
Constellation Audio’s room was a lesson in power and transparency. “What You Won’t Do For Love” by the Manhattan Jazz Quartet and other selections were superb when heard through the this gear and Magico S3 speakers.
Vinnie Rossi debuted their MM/MC phono preamp using a discrete JFET input stage, available this summer at pricing to be announced. The rest of their system included their gorgeous vacuum tube electronics, which are some of the most substantial-looking components out there, and some of the best-sounding. I was very frustrated to only be able to spend a few blissful minutes in their room.
I don’t usually listen to in-ear headphones at shows but I’ve been intrigued by the T-10 Bespoke in-ears since I first saw them a few shows ago. They’re a collaboration with Ear Micro and Klipsch, and are said to incorporate a number of novel technologies including 24/96 DACs and custom programming. They certainly look gorgeous, actual audio jewelry in a variety of dazzling, customizable finishes, and even designs that match your Ferrari or Lambo, with prices running well over $6,000. (The OxBlood Ice Rocker Exclusive Harrods Edition will set you back $108,000.) But it’s not just about the bling. These in-ears sound as good as they look, with excellent spatiality, tonal balance (as always, a proper fit is critical with in-ears), resolution, and bass. Sorry, I couldn’t take a photo that did them justice, but go to their website and you’ll see what I mean.
YG Acoustics featured the US premiere of their Titan loudspeaker, a 5-way, eight-driver visual statement. Since it costs $910,000/pair in its nickel finish with active sub configuration, I wished I had gotten more than a glance at it, let alone heard it. Next time…
…And the next time for me will be Capital Audiofest, taking place November 13 – 15, 2026 in Rockville, Maryland at the Hilton Rockville. See you there!
Amped America and Acoustique Quality speakers can be counted on to sound like music, regardless of the show or room.
Morrisville, Pennsylvania dealer Audiolab had a fine-sounding display based around Marten speakers and Luxman electronics.
If your tastes run towards retro styling, Leak (above, at the Mobile Fidelity exhibit), or QUAD (below), have modern gear with old school design...
...or, you could buy some actual vintage gear, as offered from Milwaukee Vintage. Some showgoers did just that, as evidenced by the guy ringing up the sale here.
Not your father's ugly black boxes of yore: REL Acoustics subwoofers are available in a variety of colors and finishes. Blend in, or stand out.
Long live the King! Audio dealer and distributor Decibel+ reminded us that the focus should be on the music, with speakers, electronics and room treatment from Atlantis Lab, AudioByte, Soul Note, Neoson, and AGS.
In one of the more interactive exhibits at the show, Norwegian speaker manufacturer Ø Audio invited attendees to try to pound nails into the wood they use to make their cabinets.
And that's all folks for AXPONA 2026! Well, at least after the PS Audio crew spent four and a half hours breaking down the room.
Header image: Tony Crocker shows off the Swan Song Audio system.
All images courtesy of the author.
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