By the time you read this, Munich's High End 2019 will be a distant memory. Yet as I write this, having just returned from Munich, the experience is fresh in my mind. It's the most compelling audio topic I can think of, crying out for commentary.

Munich is to audiophiles—to this one at least—what New York's 5th Avenue is to Black Friday shoppers. It's the audiophile version of flying through a canyon with a wing suit on. It's a giant rush, audio cocaine.

I'm fortunate to have reviewed in recent years not one but three different pairs of horn-loaded loudspeakers. My jaw dropped when I reviewed what would prove the finest loudspeaker to ever grace my home, the Volti Audio Rival. Second came a pricey but pleasing pair from handlebar-mustache king Gordon Burwell, the Burwell & Sons Homage. Then, at the urging of occasional Stereophile contributor Steve Guttenberg, I took on the fat-boy Klipsch Heresy III. As the Beatles used to say, I was dead-chuffed.

Thirty-two years after it was recorded, pianist Keith Jarrett’s live reading of J.S. Bach’s Well-Tempered Clavier, Book 1, has seen the light of day.

This is an integrated arm-and-turntable unit using single-belt drive from a stepped motor pulley to an inside platter (under the main one), and having a three-point suspension similar to that in the AR turntable for isolation from acoustic feedback and floorborne vibrations. Speed change is accomplished by a two-pronged "fork" which, actuated by the speed selector knob, throws the belt from one step of the motor pulley to the other. The motor is a special synchronous type that is actually two motors in a single case. Their speed is determined by the frequency of the AC supply, so there is no speed adjustment.