Like many fans of music on vinyl, I've grown accustomed to waiting for preordered records. For several years, record-pressing plants have been oversubscribed; there just aren't enough presses to keep up with demand. When vinyl declined in the 1980sreplaced first by cassette tape and then by CDold presses were abandoned, falling to rust and disrepair before the vinyl revival, leaving the industry with limited capacity.
In last month's Re-Tales, I discussed what was happening on the vacuum-tube landscape, especially tube shortages resulting from Russia's war on Ukraine and its consequences for trade. Tube availability is, of course, a small concern compared to continuing Russian atrocities and the resulting suffering of Ukrainians. Still, it's a question tubed-electronics lovers and makers must grapple with, and we're a hi-fi magazine. So: If that Russian tube supply is curtailed or boycotted, what are the alternatives for manufacturers and individual buyers?
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 displayBørresen Acoustics, Aavik Acoustics, and Ansuz Acousticswere consolidated under one umbrella company, Audio Group Denmark, in 2020.
DS Audio's Tetsuaki Aoyagi, known casually as Aki, was at High End Munich introducing his new DS Audio Eccentricity Detection Stabilizer ES-001 device. The next-gen (read: young) designer attended with his parentssomething seldom seen at hi-fi shows. (That said, my father attended AXPONA again this year.) And families do attend the High End Munich show, perhaps more regularly than others.
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.
The Wadax room brought huge gear and huge sound to Munich High End, along with a couple of new product introductions. Their main demo, in Atrium 4.2's E207 room presented the Wadax Atlantis Reference Server ($64,900) with a new, upgraded Reference PSU external power supply ($49,000) that's said to improve performance (as well it should). Its output noise is said to be crazy low: reportedly setting a record of 200nV of RMS noise from 0.1Hz to 20kHz. It uses a feedforward topology that adjusts its power regulation circuitry in real time based on current load requirements; this helps minimize current variations, CEO Javier Guadalajara (above) explained.
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.
One of my first stops at the Munich show was to find out who made the shiny red loudspeaker shown in an atrium roomshown in the same room as the latest gargantuan Gryphon Commander preamplifier and Apex amplifier. The striking speaker was rotating on a round platform that you couldn't miss when you entered the room. Why the rotation? It was an attractive speaker from all angles. It, uh, turns out, it was indeed a Gryphonthe EOS 2, a prototype, as text in large letters beneath clearly stated.