Munich 2018, or "What the hell was that?!"
Fair warning: This is not going to be a standard show report, whatever that is. There are plenty of audio scribes, showgoers, bloggers, and videographers running around high-end audio shows these days. There are tons of articles, postings, discussions, YouTube videos, bloggo-blather, and camera dumps going on, quite often right in the middle of the show itself. Some of it is helpful; much to most of it is forgettable. The signal-to-noise ratio is pretty bad, and deep hip boots are required to traverse even a fraction of it.
Instead, I'd like to share my impressions, some photographs, and some thoughts about the Munich Show: what made it amazing and memorable, some rooms where I heard some good sound, and why the USA needs something like the Munich Show here. Yes, there will be a select few Audio Oasis! Awards to go around.
This was my first trip to the Munich Show. I had visited Munich briefly, back in the fall of 2015, but that was touch-and-go. This year, traveling with my good audiobud Bill Parish of GTT Audio as my trusty guide to the Munich Show, we were going to spend three full days at the show itself. In addition, we put in another day just for photographing, a mutual passion of ours. This would be followed by a three-day extension for music (concerts at the Musikverein and the Staat Oper Haus) and photography in Vienna. Lovely!
Great cigars throughout, naturally.
Bill Parish: a portrait. Long Valley, NJ, 2018
I've done a fair amount of flying in my life. For the curious, the flight from Newark, NJ, to Munich, Germany is just a touch over eight hours. (Getting from Portland, Oregon to Newark is around five hours, all by itself.)
A combination of iPhone X-based music, my trusty-rusty JH Audio Pro 16 In-Ear Monitors, an in-flight movie, some reading, and some sleep got me through the long flight. Bill, a very experienced traveler, had his own kit and routines for enduring the time.
Once in Munich, Bill and I mastered the local light rail from the airport to downtown…the older area…and checked in at the Hilton Munich City. What a fine place!
The Hilton Hotel Munch City (image courtesy of Hilton)
The evening was dinner and some very nice Cuban cigars, and then crash before starting into the next three days of audio intensity…
I did say intense, didn't I?
Amigos, it was.
The Munich High-End Show, MOC Halle 3, looking down the way obliquely past Halles 2 and 1. Halle 4 would be to the right. (Image courtesy of MOC Veranstaltungscenter München.)
One of the entrances to the Munich High-End Show
The Munich Show 2018 ran for four days, from Thursday, May 10 until Sunday, May 13. Bill and I were there on Thursday, Friday, and Saturday, all day.
All day.
The good news is that the light rail system in Munich is very fine. Once Bill and I had our bearings, it was reasonably easy to go from place to place in the city. The stations are clean and well maintained; the cars are all modern and in good repair.
The riders seemed to have the system down, and everyone we met was well behaved…not always the case in the USA.
Good thing, too. This event is enormous. Held at the MOC Messegelände München (Munich Exhibition Center), the High End Show occupies no less than four large structures on a very large site. There are four halles on the ground floor, with a combined area of just under 140,000 square feet (13,000 square meters). These include additional upstairs space organized as Atrium 3.1 (Halle 3, one floor up) and Atriums 4.1 and 4.2 (Halle 4, one floor up and two floors up), thus giving the event a total of seven floors of elbow room. The atriums in particular were beautifully lit with the generally prevailing sunshine during the show.
The view from the atrium (image courtesy of MOC Veranstaltungscenter München)
While getting my bearings, and whenever I needed a break, I would go to Halle 4 and spend some time in the private Audionet meeting/hospitality room. Beer, snacks, and good folk all about. Talk about an Audio Oasis!
In the Audionet private hospitality/meeting/press room
Thomas Gessler, CEO of Audionet: an unfailingly courteous host in their room
While in the Audionet room, I was able to enjoy a beer with the editor one of our affiliated publications, Wojtek Pacula of High Fidelity, based in Poland. Prost!
Jan Geschke, Media Relations and PR with Audionet, meets with Bill Parish in the Audionet hospitality room.
Audio Oasis! Award rooms from Munich 2018
The question of handing out some of my Audio Oasis! Awards for the rooms at Munich 2018 took some thought on my part. These are my personal awards for audio show event rooms that really draw me in, make music, and tempt me to stay for a while and relax with the musical glories. I've been giving them for a number of years now, ever since I reached the point of exhaustion trying to visit every room at an audio event. (It was CES 2006 that finally did it to me, as I recall.) Sooner or later, every audio show reporter/editor reaches a point of exhaustion, trying that sort of thing: "Gee! Only 200 rooms and I have three whole days! I can see, hear, and photograph everything, no sweat!"
Uh…no.
Sooner or later, you either wise up, or burn out.
So, I wised up, all the way back at CES 2006.
The result was twofold: my concentration on audio rooms that I really liked at audio shows, and the launch of my Audio Oasis Awards to recognize them properly, and thank the sponsors of a room for doing well in the difficult circumstances of an audio event like these.
Munich 2018 was a challenge, though. In the first place, it was a brand new show for me, in a city and country that I've only visited once before, and so I spent a lot of time just looking around and getting my bearings there. It would have been much harder, but I had an experienced friend, guide, and fellow cigar lover there with me: Bill "Buddha Bill" Parish of GTT Audio. And what a bloody good thing it was to have him there to help me along the way! Together we negotiated the light rail and subway system of Munich, made our way around the show for three full days, met many friends and industry figures along the way, and enjoyed great German food and Cuban cigars. Bill's help made it possible for me to get about intelligently, which helped me to recognize at least a few of the good rooms that I heard. Gracias, amigo!
Bill Parish digging the significant Audionet presence at Munich 2018
Even with Bill's help, though, my second point was inescapable: much of the show consisted of passive displays, so some very worthy brands weren't actually demonstrating their performance at all. My rule in such cases is quite simple: no sound, no Audio Oasis! Award.
Well now! Speaking of cool passive displays and pleasant surprises, here's an old turntable friend of mine: the classic EMT 948 direct drive professional turntable and tonearm. (You see displays of all sorts of fine kit like this at the Munich High End Show.) Courtesy of Jonathan Tinn of Blue Light Audio, I had the EMT 948 here in our reference listening room, with the outstanding Durand Kairos 10.5" tonearm and three different cartridges on it (Grado Statement 2, Air Tight Opus 1, and van den Hul Colibri Signature Stradivarius), over the space of a year or so. That's a bloody fine turntable, me hearties!
Third, a number of the rooms were really great…I was pleased by that, actually…but some were quite small, or even kiosk-like. This makes a lot of sense when you think about the purpose of the Munich Show: it's really a business-to-business event. I saw a lot of negotiations going on, a lot of contract discussions, some distribution deals being struck…that's the point of it all for many companies here. You know, what CES was supposed to be for high-end audio, but which it failed at over time. And that's essential for audio companies; this is their major opportunity to get face-to-face with partners, collaborators, distributors, and dealers. That many consumers show up as well is great, too, but the people that I saw were keeping their eye on the ball(s).
The Gryphon room at Munich 2018: what a display of audio beauty!
Regardless, there were no real opportunities for Audio Oasis! Awards in places like that, without music rolling.
But here are a few rooms that I thought sounded quite fine, worthy of an Audio Oasis! Award. (Note that I didn't find equipment sheets in a lot of rooms, so these awards aren't as detailed as usual. This is a chronic problem, and a long-standing gripe of mine. What's here will have to do, although I think that the main manufacturers in each room are listed.)
Audionet and Dynaudio
I have Audionet at the top of this list because the quality of the sound of the music in this room was simply spectacular. I wasn't familiar with these particular Dynaudio speakers, but I can say that the Audio STERN reference preamp and HEISENBERG monoblock amps were absolutely making the Dynaudios stand at full attention.
Thomas Gessler of Audionet with the superb HEISENBERG reference monoblock amplifier
Truly killer sound! Outstanding authoritative definition and control – and in show conditions. I have the Audionet STERN preamp and HEISENBERG amps here at PF Central, and will writing more about them. Let's just say that, having heard them in three separate venues, they sit atop my current list of truly great audio electronics.
Audio Oasis! Award space, without a doubt.
Playback Designs, YG Acoustics, Nagra, and Kubala-Sosna
Andreas Koch of Playback Designs
In the Playback Designs, Nagra, YG Acoustics, and Kubala-Sosna room: Yow!
Here was no surprise at all for me. Anyone who's been reading my comments over the years knows that I have the highest regard for Playback Designs. I had seen his Dream System MPT-8 Transport and MPD-8 DAC as prototypes at AXPONA 2017, and as final products at AXPONA 2018. The third member of his Dream system, the MPS-8, now resides in my reference stereo system (comments to come), and completes the triangulation of the top-o-the-heap achievement that Andreas Koch and company have achieved here. Plus, I own and the PD IPS-3 integrated amp and Quad DSD DAC, a very worthy performer, here in our reference office system.
But this was the first time that I had heard the Playback Designs Dream System front end connected to the Nagra HD big monoblocks and feeding YG Acoustics Carmel speakers, courtesy of Kubala-Sosna cabling. The results? No less than fantastic, even under show conditions.
Lyn Stanley performing in the Playback Designs room
Also showing up in the Playback Designs room: Lyn Stanley, who performed several of her songs for the audience. She also spent time talking about her work, and how much achieving the peak of her abilities, and the very best that she could do with her recordings. I respect her for doing so; many musical artists aren't particularly interested in the quality of the audio arts associated with their work.
I came back here several times, and wish that I could have been in this room longer.
Definitely an Audio Oasis! Award room.
Nagra Audio/Wilson Audio/Kubala-Sosna/Modulum
A vision of Nagra/Wilson/Kubala-Sosna/Modulum glory!
As I've gotten to get to know Nagra better, having listened to the Nagra HD line at several shows now (e.g., AXPONA 2017 and 2018, and Munich 2018), and having spent some significant time with their very fine HD DAC and dedicated power supply in my own stereo room, I was expecting that this room would be a superior listen.
I wasn't disappointed. This was a large space, with some challenges to fill the cubic units with music. I hadn't heard Nagra HD in such a big setting…complete with a beautiful Nagra RTR machine!...but in tandem with Wilson Audio, K-S, and Modulum, the results were simply knock-out.
René Laflamme of Nagra
René of Nagra is a very righteous dude. I have enjoyed our conversations very much, and have high admiration for the series of tape-to-DSD transfers that 2xHD has been doing. It's a huge service to music lovers and audiophiles everywhere, notably extending our access to excellent DSD versions of some great jazz. He was a very courteous host, and allowed me to make a portrait of him before I had to depart.
I couldn't resist adding this portrait of René Laflamme with a splendid Nagra reel-to-reel machine. If you love RTR like I do, then you can't blame me...
Even with the crowds that were swirling here, I could tell that I would have liked to have stayed much longer…if there was any place to sit!
An Audio Oasis! Award for this highly satisfying and synergistic system.
Von Schweikert Audio/VAC/MasterBilt/Esoteric/Artesania/Acoustic Signature room
Damon Von Schweikert "the Mighty!" and Leif Swanson "the Indomitable!" of Von Schweikert Audio
"Humongous Audio!" you mean. Once again the hookup between VSA and VAC…the reference products from both…with Esoteric digital and Acoustic Signature Invictus turntable in on the source end, proved to be bloody potent. That would continue the trend that I heard at both AXPONA 2017 and 2018, by the way.
Bound up with MasterBilt cables and perched upon Artesania racks, this system was unstoppable. Even the rather larger size of this room could not gainsay the authority, presence, and power that the VSA/VAC one-two punch, aided and abetted by the supporting cast, asserted in this room.
It wouldn't surprise me if the key players in this room don't continue making beautiful music together for the foreseeable future. When you find gold, you don't throw it away, and you don't lose the location, eh? And great partners are hard to find!
Definitely an Audio Oasis! Award to all the companies present here.
Raidho/Chord/Nordost room
I'll be very honest here. (Well, yes, I'm always honest about things audio.)
In past years, I haven't found much in the Raidho line of speakers that did a lot for me. That's not to say that they might not have done righteous things to you, but I never felt much of an appeal.
Well, that's changed now.
I was floating past the Raidho/Chord/Nordost room at Munich, when I noticed a really good friend there: none other than Benno Meldgaard of GamuT Audio.
Benno Meldgaard of GamuT Audio…and now also of Raidho Acoustics!
For a second, I wondered why he might be in the Raidho room…and then I remembered that GamuT had been purchased by Dantax, which also owns Raidho. So now, Benno is working on both lines. As we talked, he made it clear to me that he had already made some notable changes to the Raidho TD-4.8 loudspeakers.
In the Raidho/Chord/Nordost room…
As I listened to the Raidho TD-4.8's being driven by Chord electronics, and cabled by Nordost, I had to admit that…for the first time…I was actually enjoying the sound of Raidho speakers. The bass was deep, sure, and the upper reaches were nicely upper, but it was more the fact that everything was coming together in an organic, harmonic way…that the TD-4.8's were actually performing in a way that made me feel an emotional connection to the music. This was something that I had not experience with earlier Raidho designs.
I have to admit that I'm not as familiar with Chord (perhaps that should change, eh?), and so can't comment on the degree that the Chord electronics were contributing to the results that I was hearing. But certainly there was an marked improvement to my ears from past shows that I've attended featuring Raidho.
I don't know exactly what Benno's been doing with these speakers…we didn't have much time to talk, actually…but it's clear to my ears that Raidho is already "bennofitting" from the Meldgaard magic!
Given Benno more time: the entire Raidho line will blossom in his hands.
A definite winner of one of my Audio Oasis! Awards for Munich 2018.
AURALiC/Ryan Speakers
In the ARALiC/Ryan Speakers room
Once again, I found the combination of AURALiC and Ryan loudspeakers...in this case, their model S840...to be a goodly case of sonic righteousness. Ryan speakers really synergize well with AURALiC every time that I've heard the combination. Munich 2018 was no exception.
I reviewed two of the first generation designs right here in my own listening space several years ago: the VEGA DSD DAC, and their TAURUS II Headphone Amp. Both of them impressed me notably at the time.
No surprise, really. Over the years, AURALiC CEO Wang Xuanqian and his associates have been steadily developing their product line, and pressing the state-of-the-art in digital front ends, streaming audio, network audio playing, and preamplification/amplification. Over the past two years, I have been more and more taken with the world-class quality of digital playback that they've had on display at various audio shows that I've attended. This time, though, AURALiC was showcasing their latest generation digital front-end components. And man! Were they killer!
The AURALiC Aries G1 (image courtesy of AURALiC)
AURALiC's new VEGA G1 (image courtesy of AURALiC)
The updating of the VEGA and ARIES was very welcome, but AURALiC had added its new LEO GX Reference Master Clock. This takes the precision of their system to whole new levels. This was very evident in the transparency, detail, and utter clarity of the music that I heard in this room. One obviously does not have to sacrifice musicality to get exceptional delineation in the sound.
Yes, AURALiC and Ryan definitely deserve one of my Audio Oasis! Awards for Munich 2018.
Done.
KRONOS Audio/Göbel High End/CH Precision
Well, here they are: the imposing Göbel Divin Majestic Reference Loudspeakers, powered by the mighty CH Precision M1 Monoblock Reference Amplifiers. A rather astonishing sight!
Rumors about this room were circulating at Munich 2018 before I even got to this room. I heard variations of "Hey, did you see those big speakers in the Göbel room?!", "Bloody hell!", and so on, here and there in advance of my arrival.
And when I got there: well, damn! Those were bloody big loudspeakers. It was something like a pair of monoliths from 2001. Some show goers talked about "Monkey coffins"…others said, "Hell no! Gorilla coffins!" Very spendy, too, at nearly half a million US dollars…but there are certainly other high-end loudspeaker designs that are in that price range, or more, as well.
I was curious if the Göbel Divin Majestic Reference Loudspeakers would overwhelm/overload the room with their truly enormous (What? 18" was it?) woofers. Well, it was touch-and-go with some LPs, and occasionally things got a bit woofy, but overall I thought that a knife-edge balance was maintained. It's a good thing that the room had some fairly decent cubic space…it needed every bit of it.
Now, I would have stopped by this room regardless, because I have a very high regard for Louis Desjardins of KRONOS, and love his Pro LE turntable system quite deeply. And, as always, it was great to see Louis again…he's always a real kick in the ass, and a lot of fun to hang out with.
Louis Desjardins, the design genius, audiomanic, and music lover behind KRONOS, in loco parentis with his brilliant KRONOS Pro LE turntable, SCPS External Power Supply, and his Reference Phono Amp. An extraordinary music maker!
The KRONOS reference turntable system, with the Pro LE and Black Beauty Tonearm, an Air Tight Opus 1 MC cartridge (I do believe), and his truly magnificent SCPS External Power Supply and his reference tubed Phono Amp. This is a truly killer turntable system, in the very top rank of analog playback on this planetary rock, amigos. I've heard KRONOS many times, and had in my own listening room for quite a while…that's where it earned one of my Brutus Awards.
Usually the KRONOS Pro LE shows with Audionet and YG Acoustics; I always spend a lot of time in Bill Parish's GTT Audio room to take in the supreme synergy of that combination.
Therefore, it was to my surprise, and a good bit of pleasure, to see KRONOS with CH Precision electronics. I admire the work that Raphael Pasche and company are doing with their designs, which set a benchmark for…yes…precision (well named!) and detail without losing musicality in the process. It was fascinating to hear KRONOS analog…with a lot of tubes in the front end…feeding the CH Precision gear. All of this was strapped in with Göbel Lacorde Statement Series cabling, a product that I am completely unfamiliar with. Judging by the outcome, however, and at first glance, I'd say that the cables really did well.
The results were exceptional, speaking for themselves. The Göbel loudspeakers did not feel underpowered at all, and the transparency and detail supplied by the front end and the electronics helped to tame the frequency balance at the far end of the line. Obviously the cables did not impair the outcome.
I went back several times, in fact, to triangulate and assure my impressions in this room. While I would want to spend more time with the Göbel speakers, I must say that they impressed me in conjunction with the exceptional associated gear in this room.
This room could not be gainsaid: another Audio Oasis! Award winner at Munich 2018!
Loose final thoughts on Munich 2018…
In the aftermath of my first Munich High-End Show, I thought about what I had experienced there. In some ways, it was nearly overwhelming; in others, truly exhausting. Throughout, however, I had the best time that I can ever remember having at an audio show.
Bill Parish of GTT Audio and Thomas Gessler of Audionet: a moment in the Audionet room
Thanks especially to Bill Parish and to Thomas Gessler of Audionet for making my time in Munich so very special! Without them, I would have been pretty seriously lost.
Certainly Munich 2018 was the biggest bloody high-end show that I've seen. Incredible variety; an extraordinary diversity of audio products; a real melting pot of people, ideas, business, audio consumers, and some great music in rooms that were well done, overall.
The main question that I have now is this: Why can't the USA have a high-end audio show at this level of excellence and obvious success?
It's very obvious that CES is not it, not in very many years.
So…where does the USA go from here?
Or is the USA fine audio community incapable of taking what CES should have been for high-end audio, and turning it into the sort of event that it really should be? Is Europe's best show, and a model for how well a fine audio show can be run, really so unattainable here?
Good questions, these....
All photographs and image processing by David W. Robinson, unless otherwise noted.
