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As I leisurely strolled through the lobby of Warsaw’s Radisson Blu Sobieski two mornings before the start of Audio Show 2024, it seemed impossible that, shortly after I awoke on October 24, truckloads of gear and audio show personnel would descend on the hotel. What now was a very quiet lobby and restaurant—I rarely rode the elevator with anyone else in it—would soon be packed with distributors, dealers, company heads, press, and visitors.

Some systems are sleepers in the unassuming sense. They don't come in big parts, or take up a lot of space, or use a dozen components to pass the signal through. So you sit down to listen to them, expecting something good but forgettable, and boom!

Before the beards, before the fuzzy spinning guitars, before the "Legs" video, there was an electric blues trio, that little ol' band from Texas, ZZ Top. In five years in the 1970s, they made their finest albums and found their first success. They came, they conquered, and gargantuan blues riffs—not to mention the concept of the power trio—were never the same.

Anthologized and reissued many times since their release—Tres Hombres alone has been reissued on vinyl three times just since 2006—the band's first five albums have been reissued again in an impressive, limited-edition boxed set from Rhino called From the Top: 1971–1976.

The Kennedy Hi-Fi room was showing another product at the show that was creating a buzz: the Audiovector Trapeze loudspeaker ($25,000/pair), another product from Denmark, a country rich in high-end manufacturing. A 3-way floorstanding design, the Trapeze features a proprietary 12" high-power mid/bass driver, a 5" high-speed midrange, and an AMT (Air Motion Transformer) tweeter.

I’ve met Daniel Qvortrup, son of Audio Note founder Peter, a few times, and what I know of his music-listening side is that he’s a diehard music fan with very eclectic tastes in music. I’m not using the word “very” lightly here. He’s the type to listen to Tibetan monk throat-singing. So, I was not entirely surprised when the first thing he played for me in the Audio Note exhibit room was a 78 RPM recording made in 1931 of a woman yodeling.

Now that’s what I call truth in advertising, because bliss was served! What sound! What grandeur! What an exquisite example of the best that sound reproduction can offer. Retailer Bliss Acoustics’s room was presenting one of my favorite demoes at the show, proving to me, at least—and this despite the fact that I’m not immune to sometimes feeling resentful toward gear I can’t afford—that the really expensive stuff can be worth the money. It just sounds better. It sounds expensive, in the sense that you know there’s no way you can get this level of performance at a discount.

Demos hosted by Canadian manufacturer Acora Acoustics invariably sound good whenever I hear them at a show, probably because the company’s speakers invariably sound good.