It's the first music I heard in the morning and the last I heard come evening, after doing my last round of the day of room-to-room visits: Pink Floyd, courtesy my neighbor, two doors down from me in the Crown Mountain Imports/Audio by Mark Jones room. I like Pink Floyd, so it was all good. And it's not like my neighbor only played Pink Floyd. Pink Floyd just seemed to bookend the listening days there, probably to provide both a boost of encouragement and a respite for the host. I was also intrigued by the sound in that room, because even though I'd only heard the music it played through my wall or from the hallway as I scurried by but slowed down just enough to steal a peak inside my neighbor's room, it always somehow sounded better than I thought it should.

Audio Note UK is one of those companies that makes entire systems, including cables, so that you don't need to look elsewhere for compatible products—same-brand audiophile systems have the theoretical advantage of using components that were made to work well together. This can also, theoretically, avoid misfires when trying to match different components, especially those made by people who don't share the same design philosophies, or just don't listen to music the same way.

The Anthem/Paradigm system may have been simply assembled, but don't let that fool you into thinking it wasn't sophisticated technologically or sound-wise. The Anthem STR integrated ($6000) outputs 200Wpc, comes with a hi-rez DAC, a USB audio input that supports up to 32/384 PCM, a pair of MM/MC phono inputs, and offers room correction. The speakers being fed by the Anthem were the fancy-looking five-driver, 95dB-sensitive, class-D bass-amplified Paradigm Founder 120H speakers ($11,000/pair; review to appear in the December issue of Stereophile).

The speakers on display in the Kennedy room included two pairs of Focal 926s, one of which, standing higher than the other, were threaded with IsoAcoustics Gaia ll feet, the other with the stock feet. Electronics included a Naim ND5 SS2 streamer ($5540 US), which comes with four 24/192 digital inputs, and a 70Wpc Naim Nait SX 3 integrated amp ($5540 US), while cabling consisted of Kimber Kable's Carbon series.

The Apple Tree owner and distributor of BSC Research speakers must have done some research on what it would take to put this hard-nosed reporter on his good side because the first he did when I walked into his room was offer me a microbrewery beer. So sneaky. I took a rain check on the beer, but I wouldn't have needed a beer to enjoy the sound I heard in this room.

And now for the show's first world premiere—The Baetis Audio Reference 4 music server ($12,000), which is chockfull of features and compatible with every streaming service available, as well as being a Roon endpoint.

The Tri-Art room, the first I visited, started me off on a good foot. It consisted of a presentation given by owner Steve Ginsberg and his colleague Jim Leveille, and it was fascinating. Tri-Art, if you recall from previous show reports, is the audio company that makes a series of electronics and open-baffle speakers whose enclosures, plus "jelly bean" acoustic treatments, are made out of solid bamboo. Steve loves bamboo as a material for its tonal qualities and also because bamboo is so rigid and impervious to splintering, you can mill it like you would metal, with a CNC machine. I also think bamboo has a wholesome, organic, warm aesthetic that's mother-earth sculpture-like.

Hi everyone. This is Rob Schryer reporting live from Toronto's Westin Airport Hotel. In case you haven't heard, it's at this venue that the Toronto Audiofest is taking place from October 21 to 23 with 89 exhibit rooms from purveyors of audio all vying to charm our pants off.