Show Reports

It’s time to wrap up my multi-part show report series on Toronto Audiofest 2025, a.k.a. TAF 2025, before my esteemed AP colleagues begin sharing their analog experiences from this past weekend’s Capital Audiofest (a.k.a. CAF). And thus, here’s a last look at what I saw and heard at TAF 2025.

AUDIO NOTE (UK) / DIXON ROOM
Heading back down to the Lobby Level, I slid into the Dixon Room, which was the best place to be at TAF 2025 if you wanted to hear a live intimate performance featuring Vincent Bélanger’s exquisite cello playing.

It was also the space where visitors could hear some great music on the total package from Audio Note (UK). Their TT-Three turntable ($27,500) anchored a stellar, complementary system that also featured the company’s AN-E Ltd loudspeakers ($97,000), Jinro integrated amp ($53,000), and CD 4.1x CD player ($24,900), along with some choice cabling.

Ayin Morradi and Peter Qvortrup kept the chairs in this room busy with their choices of music. Imagine my surprise (and delight) when Qvortrup picked out an early 1970s gem of an LP, and cued it up. I’m sure that others in the room had most likely heard “Hocus Pocus” (Side A, Track 1), from Focus’ October 1971 LP Moving Waves (Blue Horizon 2931-002) before, but perhaps they had not heard it since the ’70s and/or via random bouts of FM radio airplay over the years — and probably not like it sounded on that top-tier TT-Three table that was also loaded with an Audio Note Arm Three tonearm ($5,250) and Audio Note IO II MC cartridge ($12,550). Upon hearing Jan Akkerman’s iconic guitar riff and Thijs van Leer’s yodeling and flute, I was fairly soon up and dancing. (Ok, truth be told, I got up out of my chair and went back to where the guys were standing, just so I could dance.)

On a subsequent visit to this room, Qvortrup pulled out the 2025 LP compilation of Japanese post-punkers So-Do’s Studio Works ’83-’85 (Time Capsule TIME023). Knowing that those AN-E Ltd field-coil speakers could go down to 18Hz, the next LP on deck to test that was Damaged, Ghost Dubs’ 2LP set that was released in August 2024 (Pressure PRESH024).

The AN (UK) system had no problem with that album’s opening, pulsing tantric-like electronica track “Chemical” (LP1, Side A, Track 1). All things considered, nothing gave me more pleasure at TAF 2025 than to award Audio Note (UK) my “Most Creative Demo Tunes” honor for the whole show. Thank you, guys, for sharing these awesome playback choices!

LINN / AUDIO BY MARK JONES
Finally, the last turntable I heard at TAF 2025 was a real winner. Prior to the show opening, I had run into Mark Jones on Thursday afternoon, shortly after we arrived onsite in preparation for the show. He expressed to me that he wasn’t all that happy with the sound in the Easton Room at the moment — but he was working on it. His comment didn’t make me worry, as I was confident that the system put together by Jones and his team was going to be ready for visitors once the show opened. By the time I made it into his standing-room-only space, it was evident that Jones had indeed worked his magic.

One thing Jones told me early on was that his original plan was to deploy a Luxman PD-191A turntable as his system’s anchor, but since it hadn’t arrived on time, he brought a Linn Sondek LP12 turntable with a Klimax Radikal power supply and Bedrok plinth in its place. This beautiful table upgrade also had a Linn Ekos SE tonearm and Linn Ekstatik MC cartridge with built-in Ureka II phono preamp ($73,285, all-in). Jones then added a Luxman C-10X preamp ($25,995) and two Luxman M-10X monoblocks ($25,995 ea), along with Audioquest power conditioner and cables. This beautiful setup also featured Jones’ fabulous Marten Mingus Quintet 2 loudspeakers ($114,720).

Now, fabulous seems to be almost too mild a word to describe those speakers and the system as a whole package. As Jones consistently brings a wide variety of demo albums to each TAF, I got to listen to so much great music in that space. Upon my first visit to the Easton Room, Jones was in the process of introducing a selection from an album that showed off the beauty of the upgraded Linn table, which was released in January 2025.

I’ve been fond of Gary Karr’s 1982 LP Adagio d’Albinoni for a long time, but Impex’s 2010 180g 2LP 45rpm edition of it (Firebird/Impex IMP3001-45) was simply stunning. Ahhhh — and there it was, that emotional connection as the double bass lifted and abated in “Adagio in G Minor” (LP1, Side A, Track 1), while Harmon Lewis’ delicate organ built its somber mood.

Jones asked for requests, and a member of the audience noticed the 1990 12in maxi-single of Madonna’s Vogue (Sire/Warner Bros. 9 21513-0) in the stacks — and it was so much fun to hear! The crispness of Madonna’s opening a capella lyrics, the finger snaps, and synthesized percussion all got the listeners into an upbeat spirit, while I took note of the imaging. It was fantastic! I’m not sure if I really appreciated the song “Vogue” (its 12in sleeve is shown below) before this session, truth be told.

Speaking of imaging — during another visit, Jones pulled out his fabulous 1999 Speaker’s Corner LP edition of Supertramp’s October 1974 benchmark LP Crime of the Century (Speaker’s Corner/A&M SP 3647), and he let “School” (Side 1, Track 1) do the rest. The opening harmonica’s wail brought us to attention, and then Roger Hodgson’s opening vocal drew the crowd in. As the guitar slid from one side of the room to the other, the schoolchildren’s voices peeked out from behind those fantastic Marten speakers. The snap of Bob Siebenberg’s sticks on drum skins punched through crisply, and I found myself unconsciously holding my breath as the middle instrumental section unfolded with building intensity.

On yet another visit, Jones cranked “Enter Sandman” (LP1, Side 1, Track 1) from a 2021 180g remastered 2LP set of Metallica’s self-titled 1991 album (Blackened, BLCKD008R-1) to satisfy the metalheads in the crowd, and then he encouraged visitors to stay for Kraftwerk’s quirky, ultra-detailed “Nummern” (a.k.a. “Numbers”; Side 2, Track 1) from the 1988 edition of Computerwelt (a.k.a. Computer World; Kling Klang 1C 060-1 46379 6).

It’s safe to say that each track I heard in Jones’ space made me happy. Perhaps it was because the sound was lifelike and layered with balanced bass, mids, and highs — or maybe it was also because of Jones’ welcoming approach to anyone who entered. For overall presentation, separation, demo music options, and great vibes, the Easton Room had my favorite sound of TAF 2025 — and thus, it won my “Whole Package Award” for the entire show. Thank you ever so much to Mark Jones for his great gear and music selections!

So, there you have it — that’s an official wrap on three fun days at TAF 2025, which offered so much to see and hear. To each of the distributors and manufacturer reps that took the time to speak with me about their gear and share some fine music, thank you. To TAF’s Sarah Tremblay, her amazing crew, and all my fellow audiofilles, merci just doesn’t seem to be an enthusiastic enough expression for my deep appreciation. Bravo!

Next October, if you find yourself driving the back roads listening to some great tunes and wind up heading to Toronto for the weekend but are not quite sure what to do once you get there, the Toronto Audiofest 2026 is bound to be a fun place to hang out. Hope to see you all there!

If you want to check out McKellar’s TAF 2025 turntables teaser reel, go here.