Børresen loudspeakers, designed by Michael Børresen, joined forces with its Danish brother companies Ansuz and Aavik to present the world premieres of the cost-no-object Børresen M1 standmount loudspeaker ($100,000/pair) and Aavik 200Wpc I-880 class-A integrated amplifier ($70,000). In a system that paired them with the Aavik's S-580 streamer ($25,200) and D-580 DAC ($25,200) and Ansuz's Signature Sortz, Darkz Z2S supports, and Gold Signature cables, the sound of multiple selections was simply too high for the room. Because I could not get a decent sense of what the equipment could do, I returned for a private listen on the following morning, before the show began.

Let's start with the music. On Fritz Reiner and the Chicago Symphony Orchestra's RCA Living Stereo recording of Rimsky-Korsakoff's Scheherazade, the solo violin's sound epitomized beauty of tone. Smoothness was the system's strong suit, dwarfing (in this room) layering, detail, dynamics, and grandeur.

Show co-creator Lou Hinkley proudly stood alongside his new Daedalus Audio Apollo11 v.3 loudspeaker (starting at $27,500/pair). Variously depicted as "a whole new version" (in the room sheet) and "pretty complete makeover" (by Hinkley at the show) of the Apollo, the 52"-tall speaker boasts a larger midrange and an entirely new array design. "The lower three woofers function more like a point source, and the additional tweeter delivers more stage height and width," Hinkley said.

There's nothing more to say about Seattle-based Vanatoo's superb-sounding Transparent One Encore ($599/pair) and little Transparent Zero ($399/pair) active loudspeakers that hasn't been discussed in detail in my Stereophile review. Gary Gesellchen's little babies deliver astoundingly mellifluous, all-of-one-piece sound from tiny cabinets.

No, this blog isn't about slaughter. It's about the components in Seattle Hi-Fi of Redmond, WA's room, some of which were displayed on Butcher Block Acoustics shelving.

Nor was there anything about the sound Burt Goodman drew from his system deserving of slaughter. True, the music selections were all standard audiophile fare from previous generations, but the sound was here, now, and excellent. Diana Krall's "Let’s Fall in Love" was bright, lovely, clean, colorful, and fully detailed.

Given how crowded the loudspeaker manufacturing space has always been, I am always surprised when a new brand not only springs into being but does so with new speakers that sound and measure well. Take the UK's Q Acoustics, for example. The company didn't exist before 2006 and didn't have a presence in the US until 2018.

What a great way to start a show. I don't know what impelled me to choose my CD of Patricia Barber's Higher, but the combination of Constellation's smooth-talking Pictor line stage with DC blocker ($24,500) and DC filter ($8000) with the company's Centaur II 500 amplifier ($80,000) and Magico S5 MkII loudspeakers ($45,500/pair) was perfect for Barber's cool, no-nonsense presentation. This was one smooth, toned-down, ultra-clean system that all but guaranteed non-fatiguing listening for hours and hours upon end.

Stop the presses! The wittiest of Stereophile's legacy posters, our very own Anton, has returned to the audio show realm. Once again ensconced in his unique NFS room—NFS stands for "Not for Sale"—Anton has rented a penthouse suite at PAF in which to seduce showgoers with mood lighting, a vintage/homebrewed system, and lots and lots of hard brew (as in alcohol).