Parisian high-end audio dealer AnaMighty Sound's room, F114 in Atrium 4, showed several products made in Switzerland from darTZeel, Stenheim, and Nagra. The room also became a mini-concert venue for a couple of demo sessions on Saturday that incorporated live music: Jazz saxophonist Jérôme Sabbagh played solo, accompanied by playback of his No Filter album bandmates on the room's system. They played 24-bit/96kHz versions of the tracks with Sabbagh's sax parts/tracks omitted.

Melco, the Japanese maker of the N50 Music Library featured in this review, is not a household name among US audiophiles. Veterans may recall the Melco 3560 turntable, which was considered extravagant at its 1978 launch, in part because it supported three tonearms. Confusingly, several subsidiaries of the giant keiretsu Mitsubishi are called MELCO (for "Mitsubishi Electric Corporation"), but the maker of the N50 is not one of those MELCOs. This "Melco" is, rather, short for "Maki Engineering Laboratory Company," and though it got its start in hi-fi, these days its best-known products are network-attached RAID arrays made by Melco's American division, Buffalo Americas.

In audio reviewing, there's a tension between scientific explanations for the qualities of the sound we hear and how the music, as conveyed through our equipment, makes us feel. Insights from the new field of interpersonal neurobiology can help us understand this conflict.

The Wadax room brought huge gear and huge sound to Munich High End, along with a couple of new product introductions. Their main demo, in Atrium 4.2's E207 room presented the Wadax Atlantis Reference Server ($64,900) with a new, upgraded Reference PSU external power supply ($49,000) that's said to improve performance (as well it should). Its output noise is said to be crazy low: reportedly setting a record of 200nV of RMS noise from 0.1Hz to 20kHz. It uses a feedforward topology that adjusts its power regulation circuitry in real time based on current load requirements; this helps minimize current variations, CEO Javier Guadalajara (above) explained.

There are no accidents, eh? A chance meeting with Wilson-Benesch's Luke Milnes, followed by several email and WhatsApp check-ins, led me to my final exhibit at Munich High End. There, in a system that also featured Audionet products, reigned the 308lb Wilson-Benesch Omnium loudspeaker ($169,000/pair), second in command in the company's reference Fibonacci Series. Containing three pairs of isobaric-loaded woofers, two additional bass drivers, one midrange unit, and the Fibonacci tweeter, this hardly diminutive loudspeaker utilizes new bio-composite technology that replaces the carbon-fiber Monique enclosure technology Wilson-Benesch pioneered in 1994.

Purists might disagree, but for many listeners, having equipment that enables subtle sonic adjustments is welcome. This rings true for me, as I enjoy a wide variety of musical styles. Evidently Voxativ's Founder and Chief Engineer Inés Adler does too. Adler, a former designer of engines for Daimler's Mercedes-Benz marque, has made modern updates and options available for vintage hi-fi approaches.