Over the last few High End Munich shows, my modus operandi has been to visit as many of the exhibits as possible, there were 500 this year in total, in order to compile a list of standouts. It would be an exercise in abstract futility to even attempt to cover the entire 30,000 square meters single-handedly. No way no how. Not to mention SoundStage! founder Doug Schneider and I, preferring the personal touch, had to schlep a bunch of annual award trophies to hand out to company principals and designers including Vivid Audio, Mission, Lyngdorf, Monitor Audio, T+A, Technics, Pro-Ject, Stenheim, Wilson Audio, Totaldac, VYDA Labs, etc. So, with that out of the way, I went on to seek out the best in-room experiences. Oh, and check out our combined social media platforms – SoundStage! Network and SoundStage! Australia IG and FB – which also provide further insights into the in-room hustle and bustle. So, which rooms reigned supreme?
Zu der Party!
So, here goes with my ‘Favourite Rooms’ snapshots. It’s worth noting that I visited several rooms more than once. I did this because of two clear reasons. One: I thought the first time around was subjectively promising and deserving of another look-in based on the sheer selfish enjoyment factor. Two: A further visitation was required due to a somewhat disappointing first round (be it the music being played or a less than ideal listening location in the room), yet, the assembled system’s potential, in my opinion, warranted a second go.
Having said that, my favourite picks ideally blend good sonic performance with other important aspects. I appreciate efforts to control tricky room acoustics and the results always speak for themselves. I also enjoy a variety of music genres with less of our hackneyed show fare.
Plus, as per other show reports I’ve published, I’ve included this next paragraph which expresses an important personal view:
I don’t judge sound quality at shows based on a comparative level to my own reference system or, indeed, on systems I’ve held in high regard. I know there’s serious potential available outside of show environments. If in that moment I’m enjoying myself, if there are elements in a sonic performance I gauge as entertaining, then the room will make the shortlist.
The following list is not based on a best-first, least-best-last summary. I merely check my extensive ‘Black Book’ notes from the show as I’ve written them, which are a reflection of my exhibit room navigations. If there was merit, then it’s here for inclusion.
Oh, and after the ‘Favourites’ picks, there’s a selection of special mentions with funky acronym-titled gongs and short summaries of products/exhibits which were also outstanding, but in different ways. So, auf geht’s.
This one got super-buzzed a few weeks prior to HEM 2024. It’s Vivid Audio’s ginormous flagship – Moya M1. Boy, oh moy, this is one mother of a big speaker. It features all of Vivid Audio’s technologies embodied in a giant multi-cabinet architecture which delivers tremendous scale. Teamed with Mola Mola electronics – including multi-amping with a quad of Ossetra amplifiers – Audionet digital, Kronos’ new Perpetual flagship turntable system, and an all-Kubala-Sosna cable loom, the Moya M1 sounded effortlessly dynamic, soft when called for and huge when needed. As you’d expect, the bass was massively deep, powerful, yet also detailed and quick. A Mahler piece was so expansive I felt I was sitting at the Sydney Opera House’s main Concert Hall. Moya’s creator Laurence Dickie, with support from several key Vivid Audio personnel, was at hand to present and talk about this remarkable design.
From one big loudspeaker system to another gargantuan design, albeit quite different technologically. In Mark Johansen’s (ZenSati) and Bernd Gruhn’s (Brodmann Acoustics) exhibit, I saw a bedlam of ZenSati #X cables zigzagging through the floor space and connecting the company’s preferred Viola Labs amplification to digital sources from Metronome and Aurender. Twin cabinets per channel made-up the imposing Joseph Brodmann 205 Signature loudspeaker system which has seen significant revisions including additional bespoke amplification and an improved 350 mm woofer. On the analogue front, the brand new statement Rui Borges Pendulum Reference turntable from Portugal, which made its debut at HEM 2024, provided the vinyl tunes. Again, this year, this system was something quite special. Talking big scale, stunningly textured midrange frequencies, precisely positioned and realistically present vocals, and exceptionally accurate tonal qualities. Yeah, and big, classy bass. This, in show conditions, mind you. Once again, exceptional.
While talking giant systems, one of the biggest if not the biggest, was the colossal Aries Cerat exhibit. There, the company showed its prototype turntable as the source headliner. The turntable is a ground-up design which will include everything barring the cartridge, something company head and designer Stavros Danos tells me is best done by the multitude of honed-in specialists. The massive direct drive construction features, as Danos told me, “A structure with a main pillar with a hydro-dynamic bearing for the main stainless steel platter. Around it is a motor without any bearings or bushings, it has air thrust and radial bearings and is completely noiseless… and vibrationless… once the motor starts, at a certain rotational speed, the whole platter lifts and it’s in an oil bath so it’s totally damped.” Danos went on, at length to cover other aspects of the design which are unusual, maybe even unique. The rest of the system was made up of the company’s uniquely styled electronics and the monumental Contendo II speakers supported by massive stereo horn loaded subwoofers, all driven by Signature Series Ianus amplifiers and Ageto preamplification. My notes say “The most powerful and dynamic bass I’ve heard at a show!”. Indeed, Bach’s Toccata and Fugue organ piece almost took my pants off. Yet, in other musical samples the system was un-horn-like (I mean that in a complimentary way) by way of utter refinement and exceptional detail without a hint of etch or forwardness. This system was something else…
Swiss company CH Precision had a large room and showed its Series 10 products including the new C10 digital-to-analogue converter, L10 preamplifier and M10 monoblock amplifiers. A TechDAS Air Force One Premium with Air Force 10 Air Bearing tonearm provided analogue tunes with support by CH Precision’s P10 dual chassis, multi-input/output phono stage. Speakers were Wilson Audio’s impressive XVX Chronosonic supported by two Lōkē subwoofers, both in a gorgeous deep crimson gloss finish. As the status of the componentry would suggest, the sound here was super-clean, yet a high level of musicality was communicated effortlessly. Again, given the power of the amplification and the scale of the loudspeakers and subwoofers combination, there was ample dynamic expression with appropriately explosive drama, fine, delicately rendered detail and precise spatial qualities (in my brief stint in what I assume was the Golden Chair spot, given that very same accuracy). Surprisingly, given the design of XVX and the room dimensions, there was a cohesive, all-of-one-cloth presentation across the full bandwidth, once I relinquished the sweet spot.
Swedish loudspeaker specialist Marten was debuting its stunning new Coltrane Quintet speakers. This room was always a packed house, but I managed a couple of reasonable sitting positions, although the sweet spot escaped me. Even more so at a special after-hours event full-brimming with media and special guests, including Michael Fremer on DJ duties. The quite awesome Coltrane quintets were supported by Australia’s own Halcro electronics including the Eclipse monoblocks and the brand new Eclipse preamplifier in near-production ready prototype form. The rest of the system consisted of the new Cascade DAC from MSB Technology and Antipodes Oladra, TechDAS analogue and, of course, Jorma cables (a Marten sister company). This was a rocking system. Drums were snappy and punchy, whether snare, tom or kick. Separation of complex music was excellent, while finer detail and transient attack was exemplary. Low frequencies across the spectrum were played with terrific agility and power. Stay tuned for an upcoming ‘Factory Tour’ story featuring this fast growing company.
Every year, German manufacturer MBL exhibits in the same large space, and usually shows its extraordinary X-Treme Mk II radial radiator speakers supported by the company’s own Reference line electronics comprising 1621 A CD Transport, 1611 F DAC, 6010 D Preamplifier and a quad of 9011 monos. This year was no different, except the company was debuting its promising new C-41 Network Player. Again, as always, the sound here was so, so expansive and, spatially, utterly believable. Add to that a very natural tonal presentation and a full-bodied instrument representation through the mids and upper bass. My notes ended with one word: “Terrific”.
Gryphon Audio chose HEM 2024 to launch a first-ever product. The new Apollo turntable, a partnership with analogue specialist Brinkmann, took centre stage in all its glorious wide girth form. As did the new Siren two-box dedicated phono stage in matching aesthetic to Gryphon Audio’s Commander preamplifier flagship. Apollo features a custom Brinkmann 12 inch tonearm and bespoke cartridge by Ortofon, based on that company’s flagship, and both are part of the EU128,000 package. As Gryphon Audio’s Rune Skov told me, “We approached the Danish Technological Institute in Aarhus and asked them to DLC coat the arm and cartridge. DLC, ‘Diamond-Like Carbon’, is a process which bombards the items with carbon graphite and the tiny particles become attached to them. The result is the removal of vibrational resonances…”. Also shown in Munich were the new EOS 5 speakers, an expanded version of EOS 2. I stayed around for a demo session where I scored the middle front-row seat. Yay! What I heard from that sweet, sweet spot via Apollo/Siren was an superbly natural piano sound from an LP by Swede Lars Danielsson, where the instrument was tonally correct and very dynamic. The analogue rig was digital-like-quiet, sweet yet detailed and, as evidenced by subsequent tracks, able to finely unravel complex and busy mixes. In my opinion, this room has always proven a tad bass heavy, especially when Gryphon Audio exhibits the big boy speakers, yet EOS 5 presented a deep and solid bass which was not muddled or boomy, but agile and nuanced. The system was powerful and musical… like Apollo. An honorary mention goes to a system comprising all-Gryphon Audio electronics driving the beautifully designed and constructed Peak Consult Dragon Legacy speakers which sounded super-refined, dimensionally layered and tonally coherent.
A couple of HEMs ago, I heard a late prototype of Monitor Audio’s exceptional Hyphn speakers. This year, Denmark’s Vitus Audio used its excellent electronics with Hyphn to provide a truly superb sonic performance. Digital source was by Vitus’ sister company Alluxity (also part of the AVA Group) while analogue playback was courtesy of a reel-to-reel machine and SME’s Model 60 range topper fitted with the new Series VA tonearm. Of course, a squadron of Vitus electronics including streamer, CD player, preamplifier and all crowned by the massive SM-103 Class-A monoblock amplifiers. Incidentally, Vitus was announcing a new in-built phono stage for the SIA-030 integrated amplifier and an advanced prototype of an upcoming SM-025 amplifier. In a stroke of aesthetic genius, almost the entire Vitus electronics team (barring the phono stage) was clothed in stunning white, a tone matching the Hyphn’s own brilliant white finish. As I entered the room, aside from being warmly greeted by Ole Vitus’ wife Britta (the man himself was in continuous meetings through my two visits there), I was also met by a very realistic female vocal projecting from the majestic spatial qualities of Hyphn. The electronics and speakers combo made a dramatic illusion of space and images within it, even in the challenging acoustics of a relatively small room and under show conditions. In other words, it was a ginormous spatial presentation with full-bodied imaging. And then there were those vocals…
Magico debuted its spanking new S5 2024 loudspeakers in a beautiful gun metal gloss finish. It’s an imposing speaker, being quite tall and fairly wide (internal volume has increased by a third over the previous model). Yet, given its girth, the S5s managed similar dimensionality and spatial projection I heard at some of HEM’s best exhibits. The new speaker inherits many of the technologies introduced in the flagship M series while also embodying Nano-Tec Gen 8 midrange and woofer driver technology. The S5 2024 was supported via Pilium preamplifier and power amplifier, which have had a symbiotic partnership with Magico designs for a few years now, while the synergistic relationship also includes the superb VYDA Labs cables, as used in my own reference system. Sources featured a Wadax streamer and DAC stack with the option of substituting playback via the flagship Oladra music server/streamer from New Zealand’s Antipodes. AC and Grounding products by Telos. This year with the S5 2024, as it did last year with the S3 2024, Magico reached heady heights in terms of system performance. In an acoustic environment which was intelligently treated, the music I heard sounded pleasingly smooth, expressively dynamic, clearly detailed, while the low frequencies – as I’m accustomed to hearing with Magico designs – were profoundly deep and vigorously impactful. Magico has done it again.
Finally, there are the Magicians at Estelon who, even in show conditions, manage to make their creations totally disappear in front of your very eyes. This time, the company showed the striking new X Diamond Signature Edition supported by quite the mix of electronics which, evidently in terms of my listening impressions, made for a synergistic relationship with the speakers. So, Estelon chose to exhibit with Aurender N30SA plus clock and dCS Vivaldi Apex digital sources into a Pilium Alexander preamplifier feeding signal to the gorgeously styled MSB Technology M500 monoblock amplifiers, all hooked up with Crystal Cable. Yep, if you’ve read my comments and reviews on Estelon speakers, you’ll know what I’m about to say. These lasses did a Houdini, much like Estelon’s Aura managed at last year’s HEM. Aside from that marvellous spatial mirage, the X Diamond Signature Edition speakers offered a solid and appropriate-for-the-room slamming bass. The speakers sounded open, detailed and always full-bodied across a beguiling midrange which presented vocals realistically. What wizardry, Herr Vassilkov and team!
Special Mentions
The SLAM! gong goes to Canton’s new Reference speakers which sounded tremendously dynamic and provided the 2nd most slamming bass of the show (read above for the slammingest of all – yes, I made up that word) while also managing to sound great all-round.
The BANG! prize goes to Andrew Jones’ (pictured above) new MoFi Electronics’ SourcePoint 888 driven by Aesthetix electronics. Real bangers, both in terms of punch, power, and bang for bucks.
The WOOTT (Wonderfully Ostentatiously Over The Top) honour once again goes to ESD Acoustic’s massive horn system with uncountable horn loaded drivers. Chinese iconography and traditionally-dressed DJs were the themes throughout the exhibit.
The new Sonus faber Suprema speaker system gets the BAIT (Beautiful Audio – Italian Transducer) prize for its off-piste exhibit in the largest room I’ve ever seen at a show. A battalion of McIntosh Laboratory electronics pumped countless myriads of watts into the stunning Suprema.
I’ll bestow the LIVE! honour to the Stenheim (Reference Ultime Two SX) and DartZeel (full suite including NHB-468 monos) exhibit where saxophonist Jerome Sabbagh played along, live, backed by a replay of the rest of the band through the system. Entertaining.
The RAGE award (Rarely-Auditioned Great Entertainment) goes to the Canor/Epos room where Rage Against The Machine’s “Fistful of Steel” was hard pumpin’ it. What an Oasis from commonplace show standards…
The What-da-What? prize goes to Loewe’s soon-to-be-released match up of do-it-all Class-D amplification superb sounding and delightfully styled speakers. Yes, Loewe playing in the serious mid-end. The floorstanding speakers, in particular, performed with real cred while being beautifully designed and built.
The AHA! (Almighty Horn Attitude) gong is offered to the Cessarro/Alieno/Döhmann Audio system where these big boys played with gusto and horn-style pace. Would love to hear this system in a larger room…
… Edgar Kramer
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