Robert Schryer

My friend ran up to me in the Mezzanine hallway. "You have to check out the Klipsch Jubilees", he said, breathlessly. "They're so big!" He leans his head back like he's looking up a skyscraper.

Bryston launched two new products at this year's show that will hit the market in a week or two, according to Bryston CEO James Tanner, who was sitting in the chair next to me in the Bryston room. If what I heard in that room are any indication, Bryston is on to something big.

I found the sound of the rooms at this show almost universally good, but some stood out, including the Bowers & Wilkins / Classé room, which sounded fantastic with the Tidal-streamed 16/44.1 FLAC files played for us.

Another room that stood out from the pack for its sonic excellence belonged to Canadian speaker manufacturer Acora Acoustics, which was showcasing its floorstanding SRC-2 model ($62,000/pair) on Quartz stands ($11,000).

When I spotted—on a poster affixed to Heaven 11's exhibit room door—Charlton Heston as Moses (?) holding tubes in his arms instead of those famous stone plates, I knew going in I was in for something a little different. Visions of single-ended triodes were dancing in my head.

Friday—opening day—was crazy. I've never visited so many rooms in one day at an audio show—14, to be exact. That's a lot of rooms to cover. As a show reporter, you must take the time to listen to the gear, evaluate its sound, jot down legible impressions, make sense of exhibitors' explanations, get product names and prices, take photos of the gear, and ask for business cards so you can contact someone later if you're missing information. Then, despite my best efforts, I often must make a repeat visit because I forgot to take a particular photo or pick up a price list or ask for the exhibitor's business card. It's time-consuming.

Sunny? Springy? Even more bizarre: No snow is predicted for the entire weekend, during the 34th Montreal Audiofest, which runs from March 24 to March 26.