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Brinkmann's 9.6 tonearm ($3990) resembles the German company's longer, more expensive 10.5 and 12.1 arms, which in turn resemble the legendary Breuer. The new arm includes the same headshell, armtube, mounting socket, and cueing device used in the other arms. The bearing system differs, though the Swiss-made ball bearings are identical.

While the more expensive arms use traditional fixed-gimbal bearings, the 9.6 has a unipivot-like construction for the horizontal bearing. The weighted arm housing sits on a small ball that rests on a pivot, also as in a typical unipivot design. A second ball at the bottom of the housing prevents "arm lean," but since the arm's weight rests on the top ball, the lower one isn't critical, and I could feel some play when I handled the arm. Vertical arm motion is effected via a second pair of captured bearings. This arrangement allowed the use of less costly parts and kept the price down, Brinkmann says. The arm's effective length is 248mm (231.5 from pivot to spindle, plus 16.5mm of overhang), while its effective mass, referenced to the center position of the headshell slot, is 12gm.

Kal reviews the Yamaha Aventage BD-A1000 universal Blu-ray player and remarks "a sharp-looking, great-sounding machine that will play any extant digital format well. It sounded better in my better system, where I could really relish its low-frequency performance." He also takes a listen to the Meridian 861 Reference v6 Digital Surround Controller and ponders "how to reconcile the internal complexity of Meridian's 861 Reference v6 with the disarming purity of the sounds it reproduces?"

A typical display at the M.O.C. was open, airy, and comfortable, made to resemble a well-designed modern home&#151very much unlike the typical hotel room at many of our US hi-fi shows, which are often dimly lit, stuffy, and completely uncomfortable.

Time and time again during the Munich High End Show, I was impressed by the ways in which hi-fi was presented.

The issue of cost, which is so often prevalent at our shows, also seemed nonexistent in Munich. Even the issue of sound, our reason for existence, seemed easy to overlook in light of the pure fun, obvious physical excellence, and, yes, sexiness, of the displays in Munich.

The Munich Show was not only promoting and selling sound, but was promoting and selling a way of life. In Munich, and perhaps in all of Europe, the idea of enjoying a certain high-quality “lifestyle” was eagerly embraced; meanwhile, here in the States, such an idea is often derided.

Why?

If hi-fi were presented in the States as it was at the Munich show, we might not have such silly questions about attracting a younger audience, attracting women, or even whether the hobby will survive. We would be too busy enjoying ourselves&#151stopping for a Spaten in the sun before heading on to the next exhibit&#151to waste time and life with any of that foolishness.

The press kit reads: “Home is where we can do exactly what we please. It’s freedom to breathe, live, love, and play together with music as a dedicated companion….”

Does this man look tired? Not at all. In fact, he seems tireless.

“Do you have any new products?” I innocently asked Hans-Ole Vitus, Vitus Audio’s uncompromising founder and designer.

His eyes went wide.

“Yes. I hadn’t slept for two weeks leading up to this show because I’d been worrying about all the new products.”

The world’s sexiest record-cleaning machine? Possibly. This Hannl Mera ELB (€2670), housed in orange acrylic to look like hot lava, offers programmable cleaning and suction functions for quiet operation and quick drying.

Don’t like orange lava? (What’s wrong with you?) Potential owners can customize their Mera ELBs. Pick your favorite colors and clean away.

The Acoustic Solid Bambus turntable (€6500) caught our attention with its combination of acrylic platter and plinth and bamboo supports. Wild-fi.