In my March Spin Doctor column, I gave an overview of my experiences cleaning records over the last 50-plus years and the advances in record cleaning technology over that time. My review of the HumminGuru NOVA ultrasonic record cleaner focused on that increasingly popular approach to record cleaning, using ultrasonic cavitation instead of scrubbing the record with a brush. But if there's one thing I've learned in that half-century of playing around with audio gear, it's that it can be a mistake to embrace a new technology just because of its newness, dismissing what came before as obsolete. The vinyl record itself is a good example of a technology discarded as obsolete, then embraced again by new (and old) generations. You can add vacuum-tube amplifiers, analog tape, and much else in our hobby to that list.

"Paul Klipsch was a genius," Roy Delgado told me recently, with the sound of genuine amazement in his voice. "Me, I'm just a tinkerer." I've spoken to Delgado, Klipsch's chief audio engineer, a handful of times over the past few years and find him affable, plainspoken, and almost absurdly humble. His LinkedIn page describes him simply as "engineer at Klipsch." His bio on the Klipsch Museum website lists his interests as "a closer relationship with God [and] the pursuit of the ever-elusive largemouth bass." To be sure, Delgado holds several patents, has an intimidating grasp of loudspeaker design, and is anything but a tinkerer. But it was still weird to see him—dressed in the T-shirt, light jeans, and work boots of an Arkansas fishing enthusiast—at the Nine Orchard Hotel during last year's New York Fashion Week.

We were there for the launch of a loudspeaker, a collaboration between the Little Rock–based Klipsch Group and Ojas, the nom de solder of artist and designer Devon Turnbull.

Discovering music as it is being recorded—singer Holly Cole seeks that kind of spontaneity on her recordings including her latest, Dark Moon on Rumpus Room/UMG Records. As she put it, she wanted this record with her longtime quartet to capture "the moment when the light turns on for us."

"On Dark Moon, you hear the essence of when we discover a song," she said during a recent interview. "We had very brief rehearsals, and then went in and recorded. I had a lot of faith in this band, and that's why I cherry-picked them. They know me, they know I'm a minimalist, and we were able to arrange in the studio. Some of the tracks are first takes. The more complex the arrangement, the longer it took. They are all three, four takes at the most. People have to be hard listeners in this band, or it will fail. That's the case on Temptation, and that's on this record."

It's not unusual for audiophiles to have fond childhood recollections of the old family stereo, but Eelco Grimm's memory of his dad's audio system probably stands alone. It's not just that Piet Grimm, a professional pilot for the Dutch air defense, had a pair of very fine Infinity speakers, a Pioneer receiver, and a Technics turntable. Others surely did, too. It's more that he purchased the system from a military PX shop at a US air force base in Germany, then happily flew the equipment home to the Netherlands on his Northrop F5 supersonic fighter plane. That's not run-of-the-mill cool, that's Top Gun cool.

Years later, Eelco, too, started taking stereo gear to new altitudes, becoming a designer of high-end speakers and electronics. After Grimm Audio, a 15-person enterprise, moved to a building near Eindhoven airport in the southern Netherlands, he realized that it stands in almost the exact spot where his dad used to park his fighter jet.

Holy cannoli—was there bass in retailer Laliberté Électronique’s room. But not just bass. Also transparent mids, smooth highs, and floods of detail blowing through a vast soundstage. Even so, there’s no doubt this system was configured to appease the bass gods.

I remember when everyone but my grandmother wanted a pair of Von Schweikert VR-4 speakers. They were the talk of the town. The press loved them, customers praised them. And they weren’t too expensive. Things have changed since, of course—the VR.thirty on display at the Audiofest costs $88,000/pair, but it’s also quite a bit more ambitiously designed than the VR-4 was. The VR.thirty also sounds ambitious.

Lenbrook Americas was demoing a couple of systems in its room, all DALI–NAD–Kimber Kable configurations.

Audio Research? That’s right! The iconic brand, now owned by Val Cora of Acora Acoustics, is not only back in circulation but was making beautiful music at the ’fest via its just-released, dual-channel, fully differential, 100Wpc solid state S-100 integrated amplifier ($16,500) and LS-3 preamp, equipped with optional phono and DAC modules ($15,500 altogether).

Thirty-six years ago, I was 23. Why does that matter? Because that’s also when the Montreal audio show had its inaugural year. 36 years is a crazy milestone to reach for any annual event, especially one centered around a hobby as niche as ours.