Over in the Tech Center Hyatt, Mark Schifter's AV123 corralled a huge room in which to showcase their soon-to-be-shipped flagship LS9 Focus Line Source speaker ($5999/pair). Powered by gorgeous Dodd Audio KT-88 monoblocks (approx. $40,000/pair—there was no literature on hand), the brand new Ultra Fi Music Stream USB-connectable DAC ($3499) with a proprietary analogue output stage designed by Larry Moore, a Ridge Street Audio USB cable that he waxes ecstatic about, and a laptop equipped with every kind of classical music (except what I wanted to hear), the system was creating astoundingly large-scale, believable images and enveloping sound. While designer Danny Richie's proprietary woofer array was issuing tremendous bass, a touch of brittleness on the highs gave evidence of the fact that the planar-magnetic tweeters had hardly broken in. You can bet that I'll be back again on Sunday to hear how they sound with some more hours on them. What this speaker does for the price is astounding.

If there's anything I expect from Dynaudio, it's superb bass. Dynaudio's 30th-anniversary Sapphire ($16,500/pair) certainly produced copious amounts of bass. But the speaker gave me far more than sheer volume. In combination with the Wadia 781i transport/DAC ($15,000), Pass Labs XA100.5A monoblocks ($16,000/pair), Grand Priz Monaco Amplifier Stand, and XLO Signature 3 SE-1 power cords ($1100/8'), S3-2.2 balanced interconnect ($900/m), and S3-4.2 digital cable ($455/m), the system delivered some of the most well-proportioned, beautifully delineated bass I've ever heard. The opening of Mahler's Symphony 2 is rich with the sound of cellos, violas, and basses, and this system nailed each and every line with rare beauty. On the other end of the spectrum, soprano Elly Ameling's voice radiated angelic sweetness. Pictured with the equipment they represent are Dynaudio's Michael Manousselis (l) and Wadia's Martin E. Cooper (r).

The room was standing-room only, with three rows of chairs, both side walls, and the back walls filled with folks eager to hear one of the dream systems assembled by Denver retailer Audio Unlimited. Where shall we begin: the dCS Scarlatti Stack which consists of the CD/SACD transport, DAC, master clock, and upsampler/digital-to-digital converter (by my math $81,000 total, and by anyone's math a fair hunk of change); the BAT REX linestage ($20,000), BAT VK-P10SE phono stage with new Super Pak Premiere ($16,000), BAT VK-600M SE monoblocks ($26,000); Running Springs Audio Dmitri Conditioner Premiere ($4,000); Hansen's new Audio Emperor loudspeakers ($60,000/pair); or the little bundle of TARA Omega Gold and 0.8 cables that together cost at $36,000 but probably far more? The take-no-prisoners sound was stunning. So stunning that some of the people were pinned to the back wall. Wow!

Not every breakthrough product available through cable manufacturer Nordost costs an arm and a leg. The new Quantum Resonant Technology products distributed worldwide by Nordost Corporation are a prime example. While the QX-2 costs $1700, and the larger QX-4 costs $2500, their amazing effects on sound suggest a product I'd expect to cost far more.

I had the great pleasure of meeting Ann Poor. That's Ann there, two-fisting it, standing beside On A Higher Note's bow-tied Philip O'Hanlon. Audiophiles may be more familiar with Ann's husband, Balanced Audio Technology's Geoff Poor. Oh, yeah&#151I got to speak with Geoff, too, but Ann was <i>way</i> more interesting.

Hosted by Luxman, Synergistic Research, and Vivid Audio, the event was billed as "a private reception of fine music, conversation, and superb wine." Gus Gus played in the background, the room was filled with smiles, and, indeed, the conversation flowed as easily as the wine. While it was great to become reacquainted with some familiar faces, I also enjoyed the opportunity to make new connections.

I was walking through the lobby of the Marriott when I heard the most wonderful, realistic music. Some system was recreating the sound of a marching band rocking some really badass beats, with such immediacy and impact and such wealth of color and emotion that it was <i>almost</i> like the real thing. It sounded like the guys in the parking lot at Shea Stadium after a Mets victory. In fact, it was <i>extraordinarily</i> realistic.