Munich 2022

Thanks to the customary high level of organization that has made Germany's High End Society such a central part of the audiophile industry, Munich High End 2022 was a resounding success. The industry-organized show attracted 19,767 visitors to the 28,000 square meters of halls and atriums it occupied in Munich's sprawling MOC Event Center.

The Harman room at Munich High End showed a wide array of products on active and passive display. Several Classic JBL designs revamped with modern tech and materials took center stage in a long lineup display of speakers. The room's main active system included the large JBL Summit Everest DD67000 speakers.

While walking through the aisles of Halle at Munich High End, heading for my last couple of assigned rooms (or areas), I came across designer Michael Børresen, who, with Lars Kristensen (above), gave me a quick run-down of his latest gear. There were new speakers at both the entry and extreme levels from Børresen, and new amplification at the top end from Aavik. The three brands on display—Børresen Acoustics, Aavik Acoustics, and Ansuz Acoustics—were consolidated under one umbrella company, Audio Group Denmark, in 2020.

There was buzz about many rooms at the High End Munich show but perhaps few were as talked about as the Nagra/Wilson Audio Specialties setup in Atrium 4.1 F130. It seemed to be among the more packed ones, a tough room to get into. I passed by twice before I was able to poke my head in, then was only able to return briefly near the end of the show.

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.

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.