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As Stereophile's true cub reporter—sorry, Herb Reichert, you're senior staff!—I work in the domestic fields of the high-end audio landscape. Meanwhile, my fellow Stereophile correspondents trot the globe, attending international audio shows, experiencing all the sweet spots offered by such far-flung locales as Munich, Montreal, and Northamptonshire, UK. Am I complaining? Not! But when an audio show of merit invades New York City, still the capital of the civilized world, you can believe I'm there on opening day, pen and pad in hand. The first rooms on my must-visit list usually include Audio Note UK, DeVore Fidelity, MBL—and, when the gear is warm and the good vibes flowing, as they usually are, Wes Bender Studio NYC.

What better way to start an audio show than with live music? With that in mind, one hour before the official start of the 2017 Montreal Audio Fest, Canadian distributor Plurison hosted, in their capacious display room, a too-brief performance by cellist Vincent Bélanger and singer-pianist Anne Bisson. They performed a few selections from their new LP Conversions—a project that was sponsored by Lily Luo and cable manufacturer XLO.

The soul of a loudspeaker cannot be exclusively characterized by such unmeasurable, reviewer-friendly declarations as "lush tonality," "gossamer textures," "clear-water transparency," "microdetail," or "pacey dynamic rhythmic expression." Neither can it be fully described by such measurable characteristics as anechoic frequency response, dynamic impedance, or step response. More than anything else, a loudspeaker expresses its full character in how and where it directs the listener's attention. What a loudspeaker emphasizes—what it reveals, what it obscures, what it forces the listener to notice and think about—that is a loudspeaker's soul.

In 2016, the vinyl information and e-commerce site Discogs.com broke its own most-expensive LP-sale record twice. In March 2016, David Bowie's David Bowie went for $6826. That post-Bowie, death-related purchase was then topped when the next rock star fell. A month later, in April, a copy of Prince's Black Album, the grail of his catalog, went for $15,000. In recent days, however, the record was broken again when a test pressing of cult guitar hero Billy Yeager's 301 Jackson Street, one of just eight ever made, went for $18,000.

The 2017 Montreal Audio Fest starts tomorrow at its traditional venue, the Hotel Bonaventure Montréal (900 de la Gauchetière Ouest). In its current incarnation, this is the second year for the show after being "rescued" in 2016 by Michel Plante and Sarah Tremblay. Both had been long associated with the Canadian show before it was sold to the Chester Group in 2013.

Bruckner: Symphony 9: Completed Version
Gerd Schaller, completion & conductor, Philharmonie Festiva
Profil PH16089 (2 CDs). 2016. Lutz Wildner, tonmeister; ambitus Musikproduktion, engs. DDD. TT: 84:37
Performance *****
Sonics *****

Between 2007 and 2016, Gerd Schaller recorded all 11 of Bruckner's symphonies with the orchestra he founded, the Philharmonie Festiva. In the November 2011 issue I reviewed his 2010 recording of Symphony 9 with William Carragan's completion of the Finale, left incomplete (if perhaps not uncompleted) at Bruckner's death. Six years later, in 2016, with the same orchestra and engineer, and in the same hall—a vast cathedral in Ebrach, Bavaria—Schaller recorded his own completion of the Finale.

On March 16, audio manufacturer Luxman Corporation, now in their 92nd year, announced the establishment of a new US subsidiary, Luxman America: the first time in 30 years that the Japanese tube-amp specialist has had a corporate-owned presence here.