Even if Darren Myers's name isn't familiar, you still may have heard—or at least heard about—hi-fi components he designed, including the PS Audio Stellar phono preamp, which garnered Stereophile's Analog Product of the Year Award in 2020.

After working on projects for Classé and Bowers & Wilkins, Myers was hired by PS Audio, where he ended his tenure as senior analog design engineer. Myers recently joined Parasound (footnote 1) following the company's acquisition by David Sheriff.

After a lot of hard work, Vitus Audio arrived in Munich with a new Signature DAC, the SD-025 Mk.II (€26,500), and new SM-103 Mk.II monoblock amplifiers (€70,000/pair). Allied with other Vitus equipment), the system offered bountiful color, snap, and excellent low bass on a CD of Mathias Heise performing "Quadrillion." Having just viewed a bit of a Heise's live performance of the piece, I find myself extremely grateful for the opportunity to close my eyes and focus solely on the music.

SteinMusic's apparent paradox, a striking black-and-white equipment array that's on track to win my Looker Award of High End 2023 but that delivered maximally colorful sound, attracted throngs to the company's room. On Sir Simon Rattle's recording of Stravinsky's The Firebird Suite, performed by the City of Birmingham Orchestra, and Musica Nuda's live recording of "I Will Survive," Holger Stein's system delivered an arresting three-dimensional soundstage and marvelous range of colors.

You may have now read as much German as I dare put into print, but you'll likely read far more about Voxativ's revamp of its first loudspeaker, the formerly discontinued, single 8" driver Ampeggio loudspeaker (€25,900/pair), in the coming months.

"People kept asking for it," Voxativ owner Inès Adler told me. "We've learned a lot in the 20 years since it was first issued, and have been able to optimize and specially tune the design. Yet we've managed to keep it at the same price it was two decades ago."

This sign may not look auspicious, situated as it is over a trash basket. But this poster next to the exit stairs of the Kieferngarten stop of the U-Bahn, Munich's equivalent of the Bay Area Rapid Transit (BART) system's network of underground and overground trains, was essential for people walking from the train to Munich High End's home in the MOC.

Nor was it the only sign I encountered. Many subways stops—even the airport—displayed large posters announcing the annual well-attended Munich High End audio show.

The most money I've ever spent on a pair of loudspeakers was back in the early 1990s, when I bought a pair of used TAD TH-4001 wooden horns and their associated TD-4001 compression drivers. The TAD horn's smooth, micro-resolved response was a refinement upgrade from my multicell Altec horns; plus, the TADs' French-polished wood looked radically less industrial than the soldered-tin, tar-filled 1005/288C horns they replaced. None of my horn-fanatic friends had anything sonically or aesthetically comparable, and all of them were envious. I didn't keep the TADs long, because the friend who admired them most made me a very "friendly" offer.

That was my first experience with Japanese loudspeaker design, and it exposed me to a level of engineering precision and fine craftmanship I had not yet encountered in American-made speakers.