Herb Reichert

So, folks, here are a couple things you need to understand about Munich High End 2018:

As a rule, Europe brings to audio a different aesthetic and perspective than America—they are way less into giant, million-dollar, solid-state amplifiers and way more into low-power tube amps. And . . . they are definitely into horn loudspeakers in a way that most Americans cannot fathom.

This is my first trip to High End Munich, held Thursday–Sunday May 10–13 at the MOC convention center. Besides reporting for Stereophile, I am charged with scouting to make a final determination whether it "would be worth the suffering" for my Brooklyn friend Sphere, who hates to travel more than two hours to get anywhere! "Herb, just tell me, if I only attend one audio show, should it be Munich?"

While covering CanMania at the 2017 Capital Audiofest, I was sitting at the table of HeadAmp Audio Electronics, listening first to John McEuen singing Warren Zevon's "Excitable Boy," from McEuen's Made in Brooklyn (24-bit/192kHz AIFF, Chesky JD388/HDtracks), then to Macy Gray's Stripped (24/96 AIFF, Chesky JD389/HDtracks). I was listening through HeadAmp's extraordinary GS-X Mk.2 headphone amplifier ($2999–$3199), but midway through Gray's "I Try," I stopped, pulled the Audeze LCD-4 headphones off my head, and asked HeadAmp's head of sales and marketing, Peter James, what DAC he was using.

"Do you know the HoloAudio Spring DAC?"

Who doesn't like and admire Elac's chief loudspeaker designer (formally of KEF, TAD, and Pioneer) Andrew Jones? I surely do: but not only for his abilities to create high-value, low-cost, audiophile-quality speakers: I admire him for how he makes me feel when he stands in front of a packed audio-show room and tells stories plays songs…and smiles that wicked British smile he uses to suck us all in.

Most readers don't know this, but I am measurer. I own oscilloscopes and distortion analyzers and have been measuring amps and speakers for nigh on 30 years. But when I hear some audiophiles say that all cables—and especially AC power cords—sound the same, it makes me reach for the Tequila and pistols. Folks, ya gotta relax, breath air, and listen—the effects are not subtle. And that's what I did in the MoFi Distribution room, where Jonathan Derda (the nicest guy in audio) was demonstrating two power conditioners from IsoTek, the $995 Corvus and the $4995 Titan, and one IsoTek AC cord, the $995 Sequel C15 Link.

I spent a snowy New York City evening at Rhapsody Music & Cinema, talking with the proprietor, Bob Visintainer, and watching my friend Michael Trei install a Lyra Etna SL moving-coil cartridge in a Graham Engineering Phantom III tonearm mounted on a TechDAS Air Force 3 turntable tethered to a Zesto Tessera phono stage. Every wall was lined with big, floorstanding speakers, all of them expensive. On the main stage that day were Alta Audio's Hestia Titaniums ($32,000/pair).

In this video you will sit with me in the Bed Stuy bunker as I work on a Follow Up review of the shiny Joseph Audio Pulsar loudspeakers. You will hear what I hear. You will see how small my 13' x 11' x 9.5' listening room really is. You might notice it is not a sealed box but opens stage right and left to halls and other rooms. You will see my sturdy (and mechanically enhanced) Home Depot equipment rack and the Mytek HiFi Manhattan II DAC . . .