AXPONA 2025 The Best Yet

My Memorable Listening Experiences

“…. It’s on to Chicago and AXPONA 2025, where the show is large, the atmosphere is more businesslike, and there's always a sense of urgency. While I enjoy the big shows and the variety of products I encounter there, I'm already looking forward to SWAF 2026 and another trip to Dallas.” That was the closing paragraph from my SWAF 2025 show report as I prepared to head to Chicago and subject myself to the mentally and physically overwhelming experience known as AXPONA. A show where the “Audiophile Community Experience” is overwhelmed by the vastness and businesslike vibe of the show.

As they say in sports, “It's why we play the game.” This year’s AXPONA was different, and it was the best AXPONA I have attended since it moved to Chicago in 2013.

The show's atmosphere was very upbeat, with a diverse range of attendees regarding ethnicity, gender, and age. I remember returning from the Rocky Mountain Audio Fest about ten years ago and joking with my wife that every floor should have a defibrillator and oxygen station. Perhaps as a nod to the addition of the Car Audio Show and the expansion of the Head-Fi venue, many young people were filling the halls, including couples exploring audio together. The manufacturers were enthusiastic and engaging, and I encountered numerous rooms with excellent sound, although many left much to be desired.

Reflecting on my experiences where I exhibited at the Summer and Winter CES shows in Chicago during the late 70s and 80s, as well as the many Home Shows I have participated in, I have great empathy for those managing the rooms and their efforts to achieve quality sound in what can be kindly described as a challenging environment. Exhibiting at a show is no easy task.

With that in mind, I prefer not to focus on rooms that failed to impress me, but rather shine a light on some of the rooms/events that significantly impacted me.

 Let’s get started!

Stenheim, VTL, Nordost Room 

Last year, this room was in my top 10, but it missed the top 5 rating due to some bass issues. I anticipated encountering similar problems when I entered the room this year, when I saw that the system layout appeared identical to last year. However, I was pleasantly surprised by the outstanding sound quality I heard. Since the system layout appeared similar, I asked VTL owner and designer Luke Manley to step outside the room to discuss what had changed. We were joined by Jean-Pascal Panchard, owner and CEO of Stenheim.

Luke explained that he had learned from last year’s experience that the room tended to amplify bass. Instead of bringing his VTL MB 450 Series III 6550-based amplifiers like before, he used his MB-185 Series III Signature Monoblock amplifiers this time. These amplifiers are EL34-based, and he believed they would perform better in this bass-heavy environment. His instincts were spot on.

As I immersed myself in a familiar digital track, Bea Lam—Luke’s exceptionally talented wife—graciously offered to introduce me to the latest vinyl album from Alison Krauss and Union Station, "Arcadia." She put the album on the Grand Prix Monaco 3.0 turntable and lowered the Kuzma Safir 9 tonearm. As the Lyra Etna cartridge started to play the album, I was quickly captivated by the reproduction of Alison Krauss's voice, whose intricate vocal nuances can often challenge even the best audio systems.

The sound around me was dynamic and filled the room with a crystalline clarity. The midrange was richly detailed, enveloping the listener in a warm embrace of musicality that felt both intimate and expansive. Each note resonated with depth, while the bass was impressively controlled, adding a solid foundation without overshadowing the delicate textures above it. 

Little did I realize I was experiencing some of the finest audio at the show. It served as a potent reminder that, contrary to popular belief, the most expensive components aren’t always the best answer for every system; instead, it's about finding the right fit for your unique setup. Like in horse racing, knowing which horses are best suited for the track is essential—horses for races.

Kudos to Luke and Bea for creating such a memorable experience!

Linkwitz Room 

Once again, the Linkwitz room resonated profoundly with me. The audio system enveloped me when I stepped inside, creating an inviting atmosphere that beckoned to listen intently. As I wandered around the space to chat with Frank from Linkwitz, I was captivated by how the sound seemed to “follow” me—a remarkable experience reminiscent of my listening room during my review of the Linkwitz speaker system. 

The synergy among the speakers, amplifiers, and the T+A DAC 200 D/A converter-preamp produced an excellent experience. In both my listening room and the AXPONA room, I felt transported to a vibrant venue where live music was performed, with dynamics and sound staging that adapted beautifully as I moved through the space. The potential of these speakers to thrive in nearly any real-world listening environment is truly impressive.

 Whenever my local audiophile friends ask me which system I would consider if I chose to downsize my setup, one option without question stands out: the three-piece full-range Linkwitz system. Its allure, performance, and simplicity make it an easy top contender.

Vienna Acoustics/ Java HiFi room 

I discovered an easily overlooked Playback Distribution room at the end of one hall. This room featured the Vienna Acoustics Liszt 3-way speakers priced at $22,000 per pair and a Java HiFi integrated amplifier. The sound produced in this space was among the best I experienced in the smaller hotel rooms.

I was unfamiliar with the Java HiFi integrated amplifier, the system's driving force (you can listen binaurally to a Java HiFi Integrated driving a pair of smaller Vienna Acoustics speakers in the editor's FLAX show report_ed). After inquiring about it, I learned it was the Java Carbon Double Shot 400 integrated amplifier, retailing for $18,695 and hailing from New Zealand. The Double Shot is rated at 400 watts at 8 ohms (800 watts at 4 ohms) and features a light-dependent resistor (LDR) preamp stage, a GaN FET power amp stage, and fully balanced dual mono topology. The LDR and the GaN FET stages piqued my interest, and I left the room eager to find the contact person to request a review of this unit. Nuff said.

Air Tight, Franco Serblin Room

The turntable setup in this room was exceptional, standing out as one of the finest I encountered at the show. At its heart was the Air Tight Opus1 cartridge, elegantly mounted on a striking Panzerholz edition Reed  3P arm, which in turn was paired with the exquisite Reed 3C Friction Drive table. Air Tight highlighted its new ATE-5 phonostage, priced at around $13,000. This model is a streamlined version of the company’s top-line offering, designed for audiophiles who appreciate purity and simplicity.

The ATE-5 eschews switching mechanisms, requiring an outboard transformer for compatibility with moving coil (MC) cartridges, which enhances its sonic integrity. With an all-reference-level Air Tight front end elevating the experience, the Franco Serblin Ktema speakers filled the room with an enchanting, rich, and lush soundscape.

What captivated me the most was the astonishingly natural playback. There was a remarkable absence of any indication that a mechanical device was responsible for rendering the music. It was as if I heard music directly from the master tape itself. Kudos to the person who meticulously set up the cartridge—this was undoubtedly one of the most authentic and masterful vinyl systems I heard at the show.

ESTELON, VITUS AUDIO ROOM

MOST STUNNING DISPLAY

This was an easy pick. The room was visually spectacular with tremendous attention to detail and beautifully lit. The excellent Vitus Audio electronics drove a pair of Estelon Extreme MKII speakers. I entered the room on the morning of the first day, and while it was stunning looking, the overall sound was a bit aggressive for my taste. Being that it was early in the show, I put it on my list to return for a listen on Sunday, and was glad that I did. So many times at shows, it takes a day or two for the system to settle in and for exhibitors to make adjustments. My Sunday return was rewarded with great sound matching the exhibit's masterful presentation. The aggressiveness I had heard on Friday was gone, and I was greeted with a much more neutral presentation. A very good room.

Connected Fidelity, AMG/Benz, Vandersteen, Aesthetix Room

 I stopped by this room to chat with Mike Fajen of Sierra Sound and to check out his new turntable product, the Connected Fidelity TT-Hub , which features a Sorane TA-1 arm. Mike had a Benz SLR Gullwing cartridge mounted on it. The TT-Hub is constructed with a base, plinth, and sub-chassis made from sustainable bamboo plywood. The connection between the base and the plinth is achieved through spikes, while a mechanical isolation mechanism is employed to minimize vibrations. The system incorporates a PEEK thrust plate plus sapphire ball bearing, complemented by a precision-machined spindle situated in a sintered bronze bearing sleeve. The platter operates via a flat belt in conjunction with a separate AC synchronous motor driven by an outboard quartz-controlled power supply. The platter is crafted from acrylic and features a specialized foamed material on its surface, designed to absorb and mitigate vibrations originating from LPs during playback. ($6000 for TT & arm)

Other optional arms and even a second arm board attachment can be added to the turntable. The Aesthetix-powered Vandersteen Quatro CTs sounded very good.

Look for my review of this turntable in the coming months.  

VINNIE ROSSI, ROCKPORT ROOM

The new $78,000 Rockport Lynx grabbed my attention again, first making an impression in my report from the Southwest Audio Fest and now enchanting me in Chicago. This time, it was paired with the exquisite Vinnie Rossi BRAMA Gen 2 Preamp and BRAMA Gen 2 monoblock amplifiers, which looked stunning and delivered exceptional sound quality. The listening experience in the room was deeply organic and soothing, with a seamless coherence that made the music feel alive. I was utterly absorbed, wishing for more time to stay and lose myself in the rich, natural sound.

AUDIO RESEARCH, SONUS FABER ROOM

This system was one I could have listened to indefinitely. While it could be critiqued for not being the ultimate in resolution, its overall musicality compelled me to stay put. Powered by Audio Research 330M monoblocks and a Ref 10 preamp, the Sonus Faber Stradivari speakers were captivating. They produced a rich, dense sound that showcased a broad color palette and harmonic structure. The impressive front end, which included dCS, Clearaudio, and DS Audio, certainly contributed to the experience. From the very moment I opened the door to the room, everything—the size of the room and the equipment—felt just right. It was one of the top ten rooms at the show.

ACORA ACOUSTICS, VAC, SAT, ROOM 

I entered the Acora Acoustics room and was welcomed by a pair of Acora Acoustics VRC loudspeakers powered by VAC amplification, which I have experienced multiple times at previous shows. The VRCs showcased by Valerio Cora in Chicago were particularly striking, as they were illuminated from within.

The speakers were positioned farther apart and had significantly more toe-in than I had observed in past shows. When I inquired about the setup, Valerio explained that he felt something had physically changed in the room between last year and this year. He speculated that HVAC ductwork had been done or some other physical alterations had been made in the room, requiring him to apply more dramatic toe-in than he had used the previous year. As I will describe, whatever adjustments Valerio made worked wonders.

Shane Buettner of MIBS Distro , the distributor for SAT turntables , Lyra cartridges , EBI cartridges , and Seismion isolation products and owner of Intervention Records , attended his SAT turntable with a Lyra Atlas Lambda cartridge, which sat on a Seismion Reactio 2   active isolation base. He played a recording featuring Flamenco guitarist Pepe Romero, showcasing intricate guitar work and Flamenco dancing performed on a wooden stage.

I was in awe. It felt like a four-foot-high wooden stage had been constructed between and beyond the speakers, with life-sized, individualized performers moving around on it. The scale of the recreation was nothing short of dramatic. The dynamics of the Flamenco dancing were astonishingly lifelike as their footwork slammed, struck, and pounded the “wooden stage.” I unconsciously moved my head to follow the dancers as they moved from left to right and back again. The guitar performance was so realistic in tone and dynamics that it felt like Pepe Romero was right in the room playing.

As a reviewer, I rarely, if ever, use the word “best” when applied to a component in relation to its category. However, I do have license to use it when describing a personal listening experience.

So, I will say it now:

THAT specific recording, on THAT specific day, in THAT specific room, with THAT specific front end created an unforgettable experience, making it one of my top five listening experiences, not of the show but of my career, which spans 45+ years.

Throughout the experience, Shane alternated between engaging and disengaging the Seismion Reactio 2 active base beneath the SAT turntable. The absence of the active base left the sound feeling a bit less dynamic, particularly the intricate nuances of footwork reverberating on the wooden stage. However, once the Seismion base was engaged, the footwork transformed into a stunningly explosive display of energy and clarity, bringing the performance to life and filling the space with an exhilarating vibrancy.

Kudos to Valerio Cora, Kevin Hayes, and Shane Buettner for assembling such an incredible system.

TRACKING ANGLE DINNER 

While it may not have been an “audio event,” Friday evening was another memorable show experience. The warmth of camaraderie and the delightful conversations shared over a sumptuous dinner, expertly hosted by Michael Fremer for the writers and advertisers of Tracking Angle, created a special atmosphere. Thanks to Groovy Collectibles' Nick Despotopoulos (who handles advertising sales and keeps it well separated from editorial content) for organizing the evening. It was a gathering filled with laughter and engaging discussions, making it an exceptional evening. Here is a picture of our eclectic group.

BEST EVENT AT THE SHOW 

I know that Patricia Barber performed on Saturday night, and I heard it was terrific. However, I chose to attend an event billed as “An Evening with JJ French,” the guitarist from Twisted Sister, who was to tell stories and play vinyl in the Acora Acoustics Room. 

JJ, now a dynamic professional speaker among other pursuits, which includes writing for Tracking Angle, captivated the audience with his vivid and engaging anecdotes of the trials and tribulations of Twisted Sister. One unforgettable tale involved a wild night at a concert when he duct-taped an overly enthusiastic audience member to a towering Gibson speaker stack after the guy shouted, “Turn it up!”

Yet, amidst the humor, JJ's stories offered a deeper glimpse into his "twisted" journey—a path that meandered through struggles with addiction, the harsh realities of the record industry, and the transformative power of a single moment. His narratives were not just entertaining; they were poignant reflections on his challenges and the lessons he learned along the way. He imparted valuable insights with each tale, encouraging listeners to navigate their life journeys with courage and resilience.

After about an hour of storytelling, JJ wrapped it up and received an enthusiastic round of applause.  Nobody seemed to mind that he didn't play a single album.

As for the current state of rock and roll, JJ, never one to hold back, bluntly stated that the Rolling Stones’ current tour is “awful” and that “they suck!” He added, "Their audience is so old that they’re afraid to clap because they think the lights will come on!” Priceless!

 

DRUM ROLL PLEASE …. 

BEST OF SHOW 

I typically don’t give “Best of Show” ratings in my show reports, but this year is different. Instead of recognizing a specific component or an entire room as I usually do, I will honor an extraordinary moment—one that unfolded over the span of just two minutes and left a profound impression on me. Had I not been completely enraptured by that moment, I might have felt compelled to capture it with a photograph and ask it to be put on the cover of next year's AXPONA show guidebook. 

The scene was set in a listening room I’ve mentioned previously, and I found myself ensconced in the coveted "money seat." I typically avoid lingering there for too long out of courtesy to those attendees who may not have the chance to participate in as many shows as I do. As the last notes of the song I was listening to reverberated through the room and I was getting up, I noticed a young couple entering the room. Eager for them to share the best listening experience possible, I gestured to them to take the prime spot to absorb the essence of the system fully. 

Once they settled in, the next track began to play—"Beautiful Life" by Chantal Chamberland, a song with an enchanting melody and lyrics.

About a minute passed, and then the "moment" unfolded before me: the young man draped his arm gently around the girl’s shoulder, and they leaned in close, seemingly entranced by the music and the spellbinding sound enveloping them. They remained in that intimate embrace, wholly absorbed in the moment, and seemingly unaware of anyone in the room other than themselves until the song gracefully drew to a close. As the final notes faded, they shared a soft kiss and stood up, hand in hand, before quietly departing the room.

You really can’t make this stuff up.

THAT... ladies and gentlemen, was my BEST OF SHOW…

That singular moment summed up what this entire crazy business is all about. 

Ok… that’s a wrap…. Although this is not intended to be a comprehensive “Show Coverage,” I am excited to share some of my AXPONA 2025 show highlights with you. I encourage you to make the effort to experience an Audio show near you if you have the opportunity.  For full AXPONA show coverage, I will gladly yield to our own Michael Fremer, who, at 6 years my senior, runs rings around me, has three times my energy, and manages to shoot the extensive videos he has been editing and posting here. Be sure to watch them.