My review samples of Genelec's G Three powered loudspeaker came with a little hand-sized green and tan cardboard card featuring a poem in bold black letters dated 1898:

At the cottage window a little bird sang.
And the light of the window did flicker.
And look. The roof up it sprang and the cottage became a house bigger.
Look. Into a world the cottage grew and the vast and wide too and filled with song was the air and like new was the sun's flare.

'm writing this column on the long flight back to New York City following High End Munich, the big hi-fi show that in regular times takes place each May. Because these are not regular times, this was the first Munich show since 2019. This show was smaller than other recent Munich shows: COVID in the Far East limited involvement by people and companies from East Asia, and German government–mandated attendance caps limited the number of people who could enter at any one time. Even so, it was a big show, with some interesting product introductions and prototypes.

Trío Arriaga: "Elegie", Patricia Kopatchinskaja: Le Monde Selon George Antheil, R. Strauss: Macbeth, Don Juan, Till Eulenspiegel's Merry Pranks and Schubert: 21 Songs.

Tigran Hamasyan: StandArt, Rebecca Martin/Larry Grenadier/Orquestra Jazz De Matosinhos: After Midnight and Walter Smith III & Matthew Stevens: In Common III.

Camp Cope: Running with the Hurricane, Oumou Sangaré: Timbuktu, Old Crow Medicine Show: Paint This Town and Spiritualized: Everything Was Beautiful.

A review of the Monitor Audio Studio 20 loudspeaker is a study in contrasts. Compared with most other loudspeakers in the $4500/pair range, this 6.5" two-way from England is a mere pup. Perhaps this observation was sparked by the fact that I'd just finished reviewing the similarly priced Snell Type B, a huge, six-driver, four-way system. The two loudspeakers couldn't be more different, both in physical characteristics and sound.