AXPONA 2018

The remarkably relaxed, smiling faces of AXPONA Tradeshow Coordinator Jordan Brereton (left) and VP/Event Director Liz Miller (right) say it all. Photographed after show's close, Jordan and Liz were poised to announce that under the leadership of JD Events Founder and CEO Joel Davis, their team of 8 had sold 8134 tickets—up 21% from 2017—and welcomed 5718 unique visitors to the largest consumer audio show in the United States. The number of tickets sold to students ages 15-25 increased by 27%. This to a show with 165 active exhibit rooms and an over-15,000 square foot exhibit hall that hosted booths from 96 companies, half of which were part of the Ear Gear Expo.

I hit the ground running Sunday morning, with many rooms to visit but only six hours to do so. I started with the 16th floor suite featuring horn speakers from German company Avantgarde. Pink Floyd's "Another Brick in the wall" was playing on the humongous, four-way Trio XD horn system ($150,000 with four bass horns) and the kick drum did indeed kick me in the chest. (Peak spls, measured with the Studio Six iPhone app, reached 102.3dBC, slow.) Rest of the system included Esoteric source and amplification, Transparent cabling, and an HRS racks. There weren't any colorations that could be laid at the feet of the horns, though voices were projected forward in the soundstage. An extraordinary sound and a great way to start the day.

I remember the sound character of early (1990s) Audio Physic loudspeakers. They were the first radically slender floor-standers. They generated humongous soundstages, and precise imaging was their raison d'être. Users would position the speakers extremely far apart, usually on the long wall. They used plenty of toe-in, crossing the speaker's direct waves in front of them. Finally, the listener would sit closer to the speakers than the distance between the speakers. Their side-firing woofers made tight-ish bass, but, if memory serves, their midrange, though quite clear, was less rich and dense than I prefer.