Here’s one word: Wow! Different times, same channel and after an absence of three drought-filled anxious years – Munich High End 2022 has launched… And it’s shouting to the audio world “We’re back baby!” Yes, Hail to the king.
Admittedly, on its return, it’s a somewhat more... sedate, measured beast. But a beast still. So while some big players have the controller in ‘Pause’ mode (and only for just this once), there is nevertheless an obvious show of strength from the returnees. And you can mix that with a sprinkling of newbies eagerly filling the blank spaces.
Of course the uptick for us journalists covering the goings on, is the greater ease of navigating the various levels and exhibit streams. This makes for a more restrained, less being-man-handled way of taking in the audio joys. And like always, those were plentiful. Yes, High End Munich is still the platform for new product releases and industry news.
While SoundStage! Australia, will offer morsels of what we find, as we first enter the chambers of music through the show, the full picture will be provided via our global team’s aforementioned herculean coverage efforts.
Of course, in my fluid journeys around Munich’s MOC, I’ll come across true gems. These will be featured in a dedicated subjective show-toppers report. In my summary post-show, I’ll be calling the very best of High End Munich 2022. No strict criteria enforced here. I’m basing it on a number of aspects of personal interest, whether it’s reproduction quality, the demo music’s originality (spinning Rebecca Pidgeon once again will be used to deduct merit points) or even the exhibit’s décor. Of course, for the unrivalled details on the minutiae on a larger objective report-style scale, do visit www.soundstageglobal.com.
… Edgar Kramer