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I went into a room looking for Lumin's latest components and found a broad range of gear, both classic and modern. The recently relaunched Mission 770 speakers demo'd in this room represent a prime example of heritage speaker revival. Behind this exhibit was International Audio Group (IAG), the company behind Mission and other British brands, such as Wharfedale, Castle, and Quad, as well as Luxman. Peter Comeau, IAG's director of acoustic design, gave me the download on the Mission 770 redux. He mentioned that he and John Atkinson had listened to 770 prototypes in 1978. (JA will be reviewing the new 770 in a future issue of Stereophile.) Comeau owned an original pair of the Mission 770s, so he knows all about them: "We used a lot of the same concepts but everything is now up to date to make them suitable for modern sources."

Because I'm currently reviewing Octave's Mono SE amplifier ($80,000/pair), I was eager to hear these large tubed monoblocks in a very different context. Nor was I disappointed. Somehow, perhaps because the company's display mitigated slap echo, Octave shone in a room similar to those at Munich High End that consigned many an exhibitor to audiophile hell.

Mansour Mamaghani, founder and managing director of Audio Reference Munich (above), quietly commandeered one of the largest showrooms in the MOC's Atrium to present an impressive living color array of components that extended far beyond Wilson, D'Agostino, Perlisten, VTL, Nordost, VPI, and Krell. Although sonics were far from ideal during the press conference—VTL's pairing with Wilson and Nordost fared best—I finally got the lowdown on Krell's forthcoming 160lb. KSA-i400 power amplifier (below; $35,000 in stereo, or $70,000/monoblock pair) from Krell's COO, Walter Schofield. A matching preamp ($TBD) is in the works.

New components in Wilson's other eye-candy exhibit may have been limited to the new Nordost QNet 5-port internet switch and QSource Linear Power Supply, but that didn't prevent a miracle from happening. In a room that D'Agostino's Bill McKiegan had warned me rarely delivered good sound, VTL's Siegfried II Series II monoblocks and top-level line TL 7.5 Series III and TP 6.5 Series II preamplifiers, seen here with Nordost’s Dennis Bonotto, sounded extremely musical and inviting.

Years ago, at a San Francisco Audiophile Society gathering, I was lucky enough to spend time with the late, brilliant electrical engineer Roger Modjeski, whose Music Reference RM-200 Mk.II hybrid stereo tube amp is among my most prized hi-fi treasures. I asked him what he knew about transimpedance phono preamplifiers. He grabbed a piece of paper and a pencil and drew a detailed transimpedance phono preamp circuit, quipping, "These have been around forever, but until recently no one has paid much attention to them."

My first stop in the Munich High End venue's huge halls, or Halles, was a treat—and not only because the Hegel folks had a box of Norwegian chocolate hearts to taste. Hegel introduced a couple of new analog components, the Hegel Reference H30A Reference power amplifier and the P30A preamplifier, which supersedes the P30 preamp. Hegel CEO, founder, and lead designer Bent Holter (right) was on-hand along with Anders Ertzeid "VP of This and That" (aka VP Sales and Marketing, left) to share details. The amp and preamp are both analog designs—the A stands for analog.

In the US market it isn't every day you see big, shiny red speakers—cars, yes—but less often flagship floorstanders. Here, a pair of tall, Danish flagships, the Audiovector R11 Arreté Titanium speakers clad in red enclosures graced the room. A model above the Audiovector R8 Arreté that Jim Austin reviewed, they use the company's Quasi Dual Drive Avantgarde Air Motion Transformer (AMT) tweeters.