Does anyone who's been in our audio hobbyist orbit for some time not know speaker designer Andrew Jones? Wouldn't it be funny to imagine that in alternate 'verses in the multiverse, Jones might be something other than a famous speaker designer? Perhaps a famous pianist in one 'verse, an accountant in another (footnote 1)?

The second demo I heard in Focal Naim's spacious, hall-sized room was centered around the brand new Naim NSC 222 streaming preamplifier ($12,000) from the company's New Classic Series. This is big news in the realm of Naim, though it doesn't entirely replace Naim's last Classic Series, which was launched … 50 years ago!

Although it may seem like it sometimes, not all the exhibitors at an audio show play the same typical audiophile fare, which sounds great but rarely challenges the power and dynamic reserves of their systems. Mark Jones, of Ontario-based retailer Audio by Mark Jones, is one of those exceptions to the rule. The first track he played for me was Led Zeppelin's chord-crunching, drum-whacking "Moby Dick," at high volume.

Let me tell you a story that involves a young lady and a preteen.

Quebec-based Lemay Audio was one of my best sounds of the show. At its dizzying price, it should be. If its price makes your eyes glaze over at first glance, all is not lost. I'll get to that.

My friend ran up to me in the Mezzanine hallway. "You have to check out the Klipsch Jubilees", he said, breathlessly. "They're so big!" He leans his head back like he's looking up a skyscraper.

Bryston launched two new products at this year's show that will hit the market in a week or two, according to Bryston CEO James Tanner, who was sitting in the chair next to me in the Bryston room. If what I heard in that room are any indication, Bryston is on to something big.

I found the sound of the rooms at this show almost universally good, but some stood out, including the Bowers & Wilkins / Classé room, which sounded fantastic with the Tidal-streamed 16/44.1 FLAC files played for us.

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.