As We See It

By my estimation, this year's High End hi-fi show—the last in Munich before the world's largest audio show moves to Vienna—was a major success, perhaps the first I've attended since the pandemic that managed to completely escape that shadow. Every day but Sunday it was very busy—sometimes too busy; on the busiest days, the hallways at the MOC convention center reminded me of NYC's Fifth Avenue on Black Friday, an experience I've had once and hope to never have again. Most important: I heard a lot of really good sound.

What did I hear that was special? I heard far less than I wanted to—a small minority of everything—since I spent much of the show in meetings. But I do recall some highlights.

The multimillion-euro Wilson/D'Agostino/dCS/Stromtank system achieved its shock-and-awe aims (footnote 1). When the storied bass drum from the Telarc Stravinsky Firebird hit, I literally jumped out of my chair. But it wasn't all pyrotechnics; it was a lovely, full, rich presentation in a very large room. Audiovector's new R 10 loudspeakers were sounding very good in the Audiovector room, but to me the same speakers sounded even better in the CH Precision room, whether driven by CH Precision 10 Series electronics or, briefly, by a much smaller and cheaper Wattson Audio system (footnote 2). I also heard excellent sound from the new Lohengrin amplifiers and the other components in the VTL room, also with Wilson speakers. Wadax with their Music Player, Pilium amplification, and Magico sounded superb. Click here for complete show coverage.

On the other hand, I witnessed (or in some cases heard about) some unfortunate incidents of questionable conduct by showgoers—unusual at a hi-fi show. In the aforementioned VTL room, a visitor decided to adjust the turntable's vertical tracking force, and when asked to stop, didn't. He was escorted from the room.

One exhibitor, a manufacturer of vibration-isolation products, told me that an attendee decided the products on display (which are heavy but not large) were swag and dropped several in a shopping bag on the way out the door. Perhaps it was just a misunderstanding.

Hi-fi shows don't specialize in security. That's a very good thing. It's because security is rarely needed. Then again, in Munich, there was a big guy in the Ø Audio room walking around with an ax (footnote 3).

Most of the offenses I noticed at the show were minor and pedestrian, like talking while the music was playing. Possibly the most common transgression (other than talking) was committed not by casual showgoers but by presumed "professionals." Anyone who has attended a hi-fi show—or just had friends over to listen—knows how annoying it is when someone positions themselves precisely between a speaker and the listeners. In several rooms in Munich, video bloggers stood in front of a speaker for a minute or two—as long as it took them to give the speakers a slow sweep with a video camera or the camera on their smartphone. I don't understand how anyone could be deep enough into hi-fi to be covering a show on YouTube without knowing better. I can only assume that they did know better but just didn't care.

Fortunately, such occurrences are rare. Hi-fi showgoers are well-behaved, almost uniformly. It helps, I'm sure, that (except during pandemics) everyone around can see their faces, and they're wearing name tags on their chests. They are accountable for their behavior. Add to this that they are decent folks, and good behavior follows.

The same cannot be said about numerous individuals posting on certain online forums, including in comments on Stereophile articles. With a few notable exceptions, those who use a pseudonym fail to hold themselves to the most minimal standards of decency and respect.

Here are some recent lowlights, cherry-picked from comments on Stereophile reviews and articles. If you recognize your own post, shame on you.

"Your arguments blow."

"You have no idea of what the f *ck you are talking about."

"Your hearing must be as damaged as your personality."

"hot steaming garbage trash for rich snobs reviewed by shill snob for garbage trash audio freaks i fing hate audio home theater garbage junk trash and shills i can't fding stand." [Sic, obviously.]

"I wish we could meet face to face. You would eat your words buddy boy. I am blowing you a kiss."

"I'd just disappear you if you showed up at my house. I got a Sawzall, big backyard, and plenty of ways to dig a deep hole."

Yes, a death-and-dismemberment threat posted on an audio magazine's website.

All those comments were posted pseudonymously—of course they were, because who would sign their name to something like that? Even now, today, who would admit to being so childish and base?

These commenters were all permanently banned from posting on the Stereophile website—but I decided to go further. In early June, in consultation with my colleagues, I shut down commenting on reviews and other articles posted online. Dreck like that has no place in or near Stereophile. It had come to outweigh genuine and respectful music- and audio–related conversation. Commenting will remain off until we decide on the best way to ensure a higher level of hi-fi discourse, with, if you will, better fidelity. Less distortion. A higher ratio of signal to noise.

Meanwhile, Stereophile, as you have hopefully noticed, has been steadily increasing its presence on social media, and we will continue to increase our social-media presence. We welcome you to follow our Facebook page.

What's the best way to facilitate and manage interaction among users and between users and reviewers? Got an opinion? Send an email to me at jim.austin@stereophile.com.

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Footnote 1: See Jason's room report.

Footnote 2: See my room report.

Footnote 3: The guy with the ax was Jonathan Magnus Cook, a cofounder of Ø Audio. Their speakers are excellent; see Jason's room report here. Their marketing is amusingly, good-naturedly over the top—hence the ax.