LATEST ADDITIONS

I have never written about the ultraboutique reissues from the London-based Electric Recording Company. Pressed in quantities of 300 or so, each title sells out within days (or hours) of its release, despite a price tag of $400 or more. Why review what can't be had?

Playing records is a delight-filled chore. The simple, quiet act of lowering a tonearm places one's mind at the ready for something marvelous to happen. Surely, this gentle ritual initiates a higher mode of psychic connectedness than poking absentmindedly at a side-facing equilateral triangle on a piece of cheap plastic.

When an icon drops her first album in six years, you sit up and take notice. Bonnie Raitt made her earliest record a half-century and more ago, in August 1971. She was 21 and could easily have been carded; the face on the cover of Bonnie Raitt—that first album—has yet to shed all its baby fat.

The Harman room at Munich High End showed a wide array of products on active and passive display. Several Classic JBL designs revamped with modern tech and materials took center stage in a long lineup display of speakers. The room's main active system included the large JBL Summit Everest DD67000 speakers.

While walking through the aisles of Halle at Munich High End, heading for my last couple of assigned rooms (or areas), I came across designer Michael Børresen, who, with Lars Kristensen (above), gave me a quick run-down of his latest gear. There were new speakers at both the entry and extreme levels from Børresen, and new amplification at the top end from Aavik. The three brands on display—Børresen Acoustics, Aavik Acoustics, and Ansuz Acoustics—were consolidated under one umbrella company, Audio Group Denmark, in 2020.

There was buzz about many rooms at the High End Munich show but perhaps few were as talked about as the Nagra/Wilson Audio Specialties setup in Atrium 4.1 F130. It seemed to be among the more packed ones, a tough room to get into. I passed by twice before I was able to poke my head in, then was only able to return briefly near the end of the show.

Music lovers (and reviewers) long for those listening moments when their entire being lights up with joy. For me, that divine spark surfaced unexpectedly one February afternoon when, late for an appointment, I dashed into the music room, searching for my keys. That's when I heard a bit of the 24/96 WAV files of this issue's Recording of the Month, conductor Andris Nelsons's mammoth survey of the complete orchestral works of Richard Strauss, which I'd cued up on repeat to help Meitner's MA3 integrated D/A converter ($10,500) settle in.