Here’s a closer look at the Line Magnetic 218 integrated amplifier, which uses one single-ended 845 triode per side for approximately 22Wpc. At SSI the LM amp drove DeVore O/93 loudspeakers using Auditorium 23 loudspeaker cable ($980 for a 2.5m pair): the same great, green stuff I’ve used at home for the past 8 years.

Granted, I know little to nothing about the home theater market, but I thought this was kind of cool: a paint called Screen Goo, available through all Sherwin-Williams dealers, that can be used to transform any flat, paintable surface into a projection screen. This two-stage treatment—a reflective undercoat, topped with a semi-translucent diffusive top coat—is 100% acrylic, with a very low VOC content. Screen Goo is available with different degrees of pigmentation; the photo above compares unity-gain white, on the far right, with two other shades. This company’s biggest market? According to Kevin Nute of Goo Systems, it’s theme-park installations (eg, the Haunted Mansion at Disney World).

Early on the show’s first day, the first up-and-running system I encountered was in the Nordost room, where a Moon Evolution 750D D/A converter/disc player ($13,000) and the same company’s 125 Wpc 700i integrated amplifier (also $13,000) drove a pair of Dynaudio C2 Signature loudspeakers ($15,000/pair), using Nordost Frey 2 interconnects and speaker cables and, of course, a full brace of QRT accessories. Playing a Baroque-ensemble recording of unknown origin, the system sounded delightfully clear, open, and un-harsh, with considerable spatial depth.

Mark Waldrep of AIX Records was on hand with Tearing it Up, the Albert Lee performance film that was recently featured in Stereophile’s pages. Waldrep also showed off a processor called the Realiser (ca $3000), from Smyth Research, a listener-adaptive device that, in this demonstration, allowed me to hear surround effects just as Mark Waldrep hears them in his own installation. Even this headphone-phobic monophile was impressed.

Meredith Gabor shows off a Qv2 “harmonizer,” manufactured in Massachusetts by QRT and distributed by Nordost. The Qv2, which contains both passive and active components, is meant to be plugged into an available AC socket in the user’s listening room, as (electrically) close as possible to the system itself, and is claimed to effectively “clean up” the soundstage and improve detail and resolution. Qv2s, the effects of which are said to be cumulative, sell for $350 each.

When Bernard Brien started his company BIS a number of years ago, the refurbishing of vintage electronics comprised the bulk of his business—but over time, he says, he was struck by the sonic weaknesses of older wiring, and the potential for improvement by swapping it for new. A peripheral involvement in aeronautics led Brien to discover the suitability of that industry’s cabling for audio purposes: “It has low mass, low resistance, high bandwidth, and, especially, low mass,” he says, “and it isn’t very expensive.” Brien also touted the simplicity of his products with a phrase, the alliteration of which is lost in translation: “C’est un fil, pas un filtre.” Bien sur!

Michel Plante, the President of Salon Son et Image, offered a pre-show glimpse of something new: the Personal Audio Zone, where visitors are free to try any of over 150 different pairs of headphones, representing nearly 30 different brands. During this morning’s setup, the ‘phones were being arranged on their tables in order of expense, from the $22 pair nearest the door to the $1600 pair at the far end of the room. Michel Plante said that he’s “trying to create a buzz about headphones, in order to attract younger listeners to the show,” and that he has made it as affordable as possible for headphone manufacturers to participate. (The Personal Audio Zone is staffed by SSI volunteers, not manufacturers or their reps.)

The wigs, that is: The reliably beautiful women of Montreal’s annual Salon Son et Image have, for 2013, traded their signature blue wigs for blue slacks and a trace of blue hair dye. This morning they showed off their fetching new look while looking for and fetching my press badge, just two hours before the start of the show’s trade day. Salon Son et Image, at the Montreal Hilton Bonaventure, opens to the public on Friday, March 22, and runs through Sunday.

There sat the hi-fi. Untouched. Unplayed. Unlistenable. Bass resonances continued to torment my sound. Geddy Lee, Paul McCartney, and Sting all produced loose and exaggerated bass energies in unnatural ways. I was constantly perplexed with the unevenness in my bass response. Despite hours of tinkering with speaker placement hindered by random obstructions, namely a queen-size bed, a poorly positioned radiator, and stacks of guitar amps, the bass resonances remained.