The massive, expensive systems at FSI—VTL/Wilson, Avantgarde, Lamm/Verity, Gamut, Vienna Acoustics, Tenor/Avalon, KEF Muon/Musical Fidelity—sounded as impressive as expected in their different ways. But the very last room I visited at FSI, one of the small ones on the 12th floor belonging to Montreal dealer Coup de Foudre, delighted me. In some ways—particularly the overall balance and the sheer accessibility of the music—this was the best I heard at the Show despite the system's affordable price. ProAc's Response D Two stand-mounted speakers were driven by a Leben 28Wpc CS600 tubed integrated amplifier (not a brand I am familiar with), with the source either a Clearaudio turntable or a CD player whose name I can't decipher from my notepad's spider scratchings. Just as I was about to leave, John Marks walked in and played for me a CD-R of tenor Brian Cheney singing the aria "Che gelida manina," from Puccini's La Bohème. This had been recorded at the microphone comparison sessions that I had reported on a year or so ago. Despite the system's modest pretensions, I was transported back to New York's SearSound Studio in the best way. A delightful end to my visit to the Montreal Show and proof that you don't necessarily need to spend big bucks to get big sound.