As is typical of their show setups, Focal Naim occupied a large, banquet-style room divvied up into different exhibits and active setups. How can you realistically gauge the sound of a demo while other demoes are playing in the background? The trick Focal Naim used, which worked like a charm, was to move our group among alternating demoes so that only one played at a time.
Another room that stood out from the pack for its sonic excellence belonged to Canadian speaker manufacturer Acora Acoustics, which was showcasing its floorstanding SRC-2 model ($62,000/pair) on Quartz stands ($11,000).
When I spotted—on a poster affixed to Heaven 11's exhibit room door—Charlton Heston as Moses (?) holding tubes in his arms instead of those famous stone plates, I knew going in I was in for something a little different. Visions of single-ended triodes were dancing in my head.
Making its North American premiere—perhaps its world premiere, according to Le Studio du Son's Olivier Fragman—was the Aperion Verus III Concert V8T Tower speaker ($5000/pair, the big ones in the photo above).
Friday—opening day—was crazy. I've never visited so many rooms in one day at an audio show—14, to be exact. That's a lot of rooms to cover. As a show reporter, you must take the time to listen to the gear, evaluate its sound, jot down legible impressions, make sense of exhibitors' explanations, get product names and prices, take photos of the gear, and ask for business cards so you can contact someone later if you're missing information. Then, despite my best efforts, I often must make a repeat visit because I forgot to take a particular photo or pick up a price list or ask for the exhibitor's business card. It's time-consuming.
Sunny? Springy? Even more bizarre: No snow is predicted for the entire weekend, during the 34th Montreal Audiofest, which runs from March 24 to March 26.
Got plans for Saturday afternoon? How 'bout a visit to the dark side of the moon—or, rather, the Dark Side of the Moon?
Younger people (post-Boomer generations) listen to a ton of musicbut are they really listening? Are they paying close attention, or, as the cliché goes, is it, for them, all background music? Generational clichés are rarely accurate. Of course they actually listen. Enough of them are, anyway. And they hear more; their hearing is better.