I knew which was Joseph Audio's room without consulting the Show Guide—the sound of Louis Armstrong singing "St. James Infirmary," which has long been one of Jeff Joseph's dem staples, was audible along the corridor. Jeff's system featured the [Perspective] loudspeakers ($11,800/pair), powered by a Simaudio Moon 600i integrated amplifier with a Moon 650D player being fed USB data from Jeff's MacBook Pro. Wiring was all Cardas.

Show organizer Michel Plante (left) announced on the Show's trade day that SSI would feature a silent auction for a pair of loudspeakers that had been donated by Totem and transformed into works of art by Quebec artists Zïlon and Éric Godin. The proceeds of the auction would benefit the new Dédé Fortin Foundation, named after a popular singer who committed suicide.One of the foundation's goals is to eradicate the stigma of mental illness so that people suffering from severe depression will seek treatment rather than take their own lives.

Son Ideal demonstrated with the Harbeth P3ESR: a supremely musical loudspeaker in its own right, and one for which the Montreal dealer has shown a certain affinity over the years. At SSI the Harbeths were paired with brand-new Audiolab 8200 MB mono amplifiers (250W, $1099/each) and 8200 CDQ CD player/USB D/A converter ($1299), that venerable English brand having recently been revived by new owners. The 30-something fellow running the dem asked me to choose an LP from the good selection there, and I lighted upon a well-loved Neil Young album from the ‘70s. Then, while he cued that up, I found another Neil young fave—and, after that, the first album by Crosby, Stills, and Nash. I broke from my reverie long enough to find myself on the receiving end of the sort of pitying look reserved for The Very Old.

On the evening of the first day of the show, John Atkinson, Art Dudley, and I attended a party at Coup de Foudre, one of Montreal's premier high-end audio retailers. There was much to admire there, not the least of which was listening to some of Peter McGrath’s hi-rez recordings on a system featuring VTL MB185 tube monoblocks driving Wilson Sashas and an Alpha DAC being fed USB data from Peter’s MacBook Pro via a Wavelength format converter.

What impressed me the most at the Coup de Foudre party was the recording studio that adjoins the retail store, operated by CdF's co-owner, Graeme Humfrey, who is also a much-in-demand recording engineer. His audio mixing room is filled to the brim with equipment, some of it the very latest, and some of it classics, such as multiple Pultec equalizers that are valued for their sound quality.

For the past three years or so, one of the highlights of SSI has been the concert by the Give Band, featuring singer Caroline St-Louis, who works by day as one of the Show’s blue-haired girls at the ticket desk. And so it was at SSI 2011. Last year, JA took some pictures at the concert with his point-and-shoot camera, but he was disappointed with the amount of blurring in his photos. This time, he had the same camera but brought a monopod to improve camera steadiness, and it worked. Here he is, showing his pictures to Caroline, and she's obviously pleased with the results.

The Give Band's Caroline St-Louis at last Thursday night's concert.

Resident band at SSI is Give, featuring vocalist Caroline St-Louis and guitarist Stephen Ritch, who performed for trade and press attendees at the Awards party Thursday night. At the 2010 Show, SSI had their new CD available (a beautifully recorded album that proved that rock music doesn't have to be compressed to sound good); this year, the Show was selling a USB key of the Give Band's music.

Live music has always been a big feature of the SSI, and a treat this year for me was the pair of concerts presented by Cardas Audio featuring virtuoso electric bassist Dean Peer and drummer Bret Mann. It was hard to believe at times that there were just two musicians, such was the wall of sound being produced with tracks from Dean and Bret's Airborne album (now available on LP as well as CD and a 24/96 USB key). After the show I felt I had to count Dean's fingers, I was so sure there were more than five on each hand!

The Helium² has long been one of Stereophile's long-term reference monitors, so I was expecting good sound when I went into the VMax Services room. And apart from the ubiquitous upper-bass boom that afflicted the standard-sized rooms at the Hilton Bonaventure, good sound was what I heard.