Show Reports

Welcome back to Toronto Audiofest! In Part 1 of my show report — which posted right here on AP on October 29, 2024 — I delved into two of the best turntable setups that I experienced at TAF during the weekend of October 18-20, 2024. That pair of fine tables were part of what I saw and heard in the rooms of Wynn Audio (namely, a Thiele TT01/TA01 turntable and tonearm combo with an Ortofon Verismo cartridge) and Audio by Mark Jones (a Vertere RG-1 turntable outfitted with their own SG-II Pathfinder tonearm and a Lyra Etna SL cartridge), respectively.

And, as promised, for Part 2, I’m continuing my TAF turntable sojourn by focusing on my two other favorite setups of the show — Oracle Audio and Stable 33.33. Let’s get right to it!

ORACLE AUDIO
Traveling upstairs to the second level in the Westin, I took some time recognizing a Canadian turntable manufacturer that has been around for 42 years. The gracious and knowledgeable Jacques Riendeau of Oracle Audio Technologies gave me a personal tour of their setup in the Mayfair — after which we had a good laugh, and then shared some pictures of our pets, and of his grandchildren.

My deep respect grew even deeper for Jacques and the company his brother Marcel started in 1979. Since Oracle have been around for so long, one may ask why this small Canadian company from Sherbrooke, Quebec, have stayed so successful. I think the secret is in the details. As Jacques said, “Do the job properly!” — and they certainly do. From their entry-level Origine MkII table (initially offered with a $2,350 U.S. SRP) to a heavy-hitter like the Delphi MkVII Classic with an Oracle Reference 1 tonearm (circa $5,950 U.S., together), Oracle tells me they strive to provide the best possible reproduction, and ultimately the best listening experience.

For the Oracle setup in the Mayfair, Canadian manufacturer Eon Art, from Pabos, Quebec, supplied their innovative integrated monoblocks, while the Black Swan loudspeakers from Gershman Acoustics, who are based in Thornhill, Ontario, offered listeners the perfect combination for enjoyment of the timeless sound. This space was supported by Cardas Audio cabling and a stunning, Canadian-made Solid Meubles equipment rack. The wood on this stand was incredible, and it all served to provide a warm, engaging environment.

Jacques explained how his original phono preamplifier plan didn’t sound quite right, so he settled on going with a tubed Allnic H-5500. He demonstrated two important features of the Delphi MkVII Classic that may be unexpected but appreciated in the world of turntables. The first feature he pointed out was their Micro Vibration Stabilizer System (MVSS). With the MVSS engaged, you could tap on the base of the table, and the listener would never know.

Jacques then did a few quick adjustments to the nuts in the posts between the base and the underside of the turntable to disengage the MVSS — and the difference was immediately noticeable. The music lost its warm density and layers, instead sounding one-dimensional. Jacques described how the asynchronous motor and unshielded cabling lends to a better sound with a high-output MC like the Oracle Corinth cartridge.

The second feature he presented was kind of a happy accidental discovery. He and I were chatting over pictures of his treasured grandchildren when the album playing in the background suddenly came to an end. The vinyl lover in me immediately jumped into high alert. “Oh, grab it — that side is done!”

Instead, Jacques smiled and casually watched as the arm ever so efficiently rose and settled back into its cradle. Yes, this Oracle turntable had an autolift tonearm. Whoa — now, that is cool. He then played a charming Eva Cassidy version of “What a Wonderful World” (Side A, Track 1) from Premium Records’ 2007 180g LP Best Audiophile Voices (PR 27831), which resounded with everyone there. Thank you so much, Jacques, for the lovely experience. And, seeing how Oracle Audio continue to be a solid Canadian staple with timeless class, you deserve my “Been There Done That Still Doing It Right” award. Congratulations on an incredible 42 years and counting!

STABLE 33.33
Last, but certainly not least in my TAF Favorites list, I’d like to take you over to the Holiday Inn for another fine Canadian manufacturer. (Are you seeing a trend here?) This company has been mentioned on AP before — but mainly for their accessories, and not for their turntables. It was on the first day spent at TAF when I discovered Stable 33.33 in the Algonquin A room, and met the man behind the Gatineau, Quebec, company — Sylvain Pichette. I sincerely don’t know why they didn’t hit my radar at previous TAF visits, but they sure caught my attention this year.

Now, Stable 33.33 didn’t just pop up the day before TAF took place, mind you. Sylvain Pichette is an incredible human, and the team that surrounds him are incredible too. Sylvain has been building turntables since 1999. He is an intensely brilliant and perfectionistic entrepreneur who humbly admitted to struggling a bit with English. In all fairness, my French is so embarrassingly bad that I wouldn’t dare try to Parlez vous with a Francophone and demolish the beautiful language.

Sylvain and his partner, Denis Valheru, showed me their Transit Platter, Vinyl Center Hole Reamer, and “Palets-Pressure,” or record weights. To be fair, I was just walking around the venue late on Friday afternoon doing recon, and hadn’t really sat down in a room to actually listen to music just yet. I’m not sure if it was the bright red KEF Blade 2 Meta loudspeakers that first caught my eye, or the young guy preparing an album to play in front of a rack biamped by the red SPL Performer s1200 for the mids and tweets and SPL Performer m1000 for the bass.

Danny Labrecque from Luna Cables invited me to listen to an album I had never seen before. He said it was the electronica I craved as I needed a break from all that jazz playback, so I took a seat. Danny put on the LP of Telefon Tel Aviv’s 2001 release, Fahrenheit Fair Enough (HEFTY 035), and, immediately, it hit me — the all-important emotional connection to the music I was really craving. It may have been the shiny silver-and-black Stable 33.2 Mk2 string-drive turntable with André Thériault-made Black Beauty tonearm and Dynavector DV-20X2 MC cartridge that kept me going back to that room, but I think it was also that strong emotional connection to the music.

Stephan Ritch, guitarist extraordinaire from the Montreal based band Give (a.k.a. G!ve), and Chief Product Officer from SPL America, understood that vibe completely. The system was complimented by the choice of a Luna Cables MC step-up transformer (SUT), SPL Phonos phono preamp, SPL Director Mk2 preamp, Solid Steel equipment stand, and Luna cables. It didn’t matter what they played, honestly, because I felt it.

My favorite moment was when Danny put on an incredible album from Alabama Shakes, 2015’s Sound & Color (ATO Records ATO0269), and the response from the crowd was genuine. A gentleman turned around and asked, “Who is that?” in reference to Brittany Howard’s silky voice on the title track (Side A, Track 1). We were all brought together in that moment, immersed in the sound from that beautiful beast of a turntable. Expecting it to be valued at a lot more, I was a little shell-shocked when Sylvain explained that the tonearm, at $11,500 CAD ($8,278 U.S.), was almost as expensive as the turntable at $13,900 CAD ($10,006 U.S.). Honestly, I was expecting it to be much more, just from the sound alone.

To be fair, I have heard turntables and tonearms that easily double that price, but didn’t feel the emotional connection with them. I’ve also heard those KEF Blade 2 Metas in the past, but they didn’t have the same quality of musicality to me.

I celebrated quietly inside when I was given an opportunity to choose an album to spin. Picking out a Mobile Fidelity 180g 45rpm 2LP version of the Dire Straits’ May 1985 classic, Brothers in Arms (MFSL 2-441) and opting for both ‘‘Why Worry’’ (LP2, Side Three, Track 1) and ‘‘Ride Across the River’’ (LP2, Side Three, Track 2), I heard and felt the music in a way that I can honestly say was a first. I was grateful for the darkened room when my eyes grew teary while I remembered a special moment in time, one that hits on a personal level, with a deep association to the first track played. Truth be told, it was in front of that turntable with Mark Knopfler’s crispy guitar delicately ringing on ‘‘Why Worry’’ that I had felt more emotionality than at any other time during the entire show.

Stable 33.33 checked every single box in my ‘‘Music Is All About How It Hits The Feels’’ category. A heartfelt merci to Sylvain, Denis, Stephan, and Danny. I’m excited to try out the Reamer on the next album that I find with a too-small center hole!

And there you have it — Part 2. In my next upcoming installment(s), and as promised back in Part 1, I will delve into the nine other turntables and cool rooms/setups I saw and heard at TAF. Until then . . . Bonne écoute!

Author Bio: Shanon McKellar began collecting records when she was just a little kid. Music matters in every part of her life. A Canadian-born-and-bred vinyl enthusiast through and through, Shanon has been reviewing analog gear, albums, and reporting on trade shows since 2018.

You can read Part 1 of Shanon’s TAF show report here.