It's been said often enough to be considered as a truism that FSI is an occasion for snow: at the show's opening, during the show, or at least when the show is closing. But it looked like this year was going to be an exception; the weather forecast for the three days of the show called for temperatures well above freezing, with rain on Friday.
What does this photo of the bar in the Sheraton illustrate? Well, I could say that it provides further confirmation of the fact that it snowed in Montreal. But the real reason is that I just like this shot, taken with the Sigma 15mm fisheye on the Canon 5D, and thought that audiophiles that are also into photography (and there are many such in my acquaintance) might enjoy seeing it.
What's an audio show without a party? Sponsored by Stereophile, the party on the first day of the show was for the exhibitors, trade visitors, and the press, and featured the Quebec rock group Give, with lead singer Caroline St. Louis.
The first evening of the show, I had a most pleasant dinner with John Atkinson, Stereophile associate publisher Keith Pray, columnist John Marks, and the folks from Dynaudio and Simaudio. During the pre-dinner conversation, John Marks illustrated a point he was making by singing a bit, ably demonstrating his ex-choirboy credentials. His performance was apparently noticed by the people at the next table; at the end of the meal, one of the ladies at that table came over to us and said that this was her friend's birthday, and asked if the gentleman who was singing before could sing "Happy Birthday" to her.
"Cinema—musique—beaux-arts." That's what it says on Mario Boisvert's business card. His Montreal store, Le Ren Art Bleu, sells LPs, CDs, original art, and Blu-ray discs. How is that for diversification? He had some of each at FSI—with just about the lowest priced I've seen for Blu-ray discs.
Never mind all those fancy audio components; this is all you need. Well, maybe not if you're the typical Stereophile reader or FSI attendee. This RCA console stereo (model SFA 1091) is circa-1968, and I note that it's "All Transistor." It was a part of a display of vintage audio equipment at FSI from the Emile Berliner exhibit at the Montreal Musee des Ondes.
After seeing $140,000 speakers, it's always good to encounter products that really are affordable by almost any standard. I expect these $250/pair Scandyna Micropod SE speakers to say "Take Me To Your Leader," and I'd like to have a pair if only because they're just so cute. No idea of the sound, but they have an impeccable pedigree, with links to the legendary B&W Nautilus.
GamuT makes electronics as well as speakers, and they introduced a new model at the show. The Si100 is a $120Wpc integrated, similar in design—and, they claim, sound—to their $11,000 Di150, but priced at $6200. (I was going to say "only," but, of course, $6200 is still a good bit of change for most people.)
Is $140,000 the new price point for loudspeakers? No, that's not quite right—unlike the KEF Muon, the price of the GamuT S9 El Superiores is "only" $130,000/pair. Like the KEF model, this is intended to push the boundaries of what's possible in loudspeaker design, but the two speakers bear absolutely no resemblance to each other. GamuT's speakers use the principle of distributed resonance in the design of their speaker cabinets, allowing the natural resonance of each part of the cabined to decay undamped, but distributing these resonances over such a wide are that the overall frequency response remains linear, but without what designer Lars Goller's feels is the "unmusical" sound of highly damped enclosures. Here's Lars with the S9. And, yes, the speakers did sound quite wonderful.
One of the things I look forward to at these shows is a visit to the Wilson Audio room, and the chance to listen to master recordings made by Peter McGrath. The system at this year's FSI, in the room sponsored by dealer Coup de Foudre, featured the WATT Puppy 8s and Watchdog subs, VTL TL-6.5 preamp and MB-450 amps, with Nordost interconnects and Transparent speaker cables. (I guess they didn't want to be accused of favoritism when it came to cable choice.) As usual, the sound was clean and dynamic, with a deep soundstage, and voices sounding very natural. Peter played a recording he had made of Renee Fleming singing Richard Strauss's Four Last Songs heartbreakingly beautiful. Luke Manley (VTL, left) and Peter McGrath (Wilson, right) are looking appropriately pleased.