Munich High End Society Show 2008
Jonathan Valin -- Sun, 05/04/2008 - 04:58
Minus the incessant ringing of slot machines in my ears, the seizure-inducing flashes of a billion neon lights, and the slew of pretty women in "bunny" outfits or bustiers (or, in the case of AVA'ers, nothing at all) to distract me, it was tough to recognize the elegant, business-like, Bauhaus-inspired M.O.C. (Munich Order Center) as the site of a hi-fi show. And yet that’s what it is—after CES, perhaps the largest hi-fi show in the world, held this April from the 24th to the 27th. .
The M.O.C. building (essentially the München version of a convention center) is gorgeous—and large. Sixty-thousand, two-hundred-and-seventy-eight square feet, to be precise—with all of its several floors and many byways filled with high-end audio gear from over 24 different countries, including scores of manufacturers from the good ol' U.S. of A.
Although I stopped in Munich (on my way to Berlin) late in the afternoon on the last day of the show, and thus only got to do a little window-shopping, I still managed, within ten minutes of arrival, to run into Garth Leerer of Musical Surroundings, Jim White of Aesthetix, Terry Dorn of Audio Research, Joe Kubala of Kubala/Sosna, Luke Manley of VTL, and many other old friends and acquaintances. Indeed, you would’ve probably had an easier time counting the no-shows from the American high end than those who showed. Here's how important Munich is: MartinLogan chose to introduce its long-and-eagerly-awaited successor to the CLS, the CLX, at the M.O.C rather than at RMAF or CES. (Alas, I didn't get to hear the CLX because of time constraints, but I'm definitely planning to audition it in the near future—and maybe, if the augurs are right, to review it. The CLS was my reference speaker for the better part of a decade, so I certainly know how it sounds.)
However, there were plenty of other product introductions at Munich, including the beautiful-looking Solution Exclusive turntable from Clearaudio.
A new speaker from Mythos Audio, called the Olon Reference, also debuted at Munich. (According to Mythos, “olon” is the “ancient Greek word for ‘whole,’” which is what someone had in their head when they named this thing). Despite its twenty-dollar moniker, the Olon is a thing of beauty that uses stacked birch plywood for its cabinets, Scanspeak drivers, and Mundorf crossover parts à la Magico Minis (from which Mythos has clearly borrowed rather freely).
I also spotted (or, to be more precise, Garth Leerer pointed me toward) the new Inpower amp from Pathos, which also debuted at Munich. (Dig the name "Pathos" carved into the heat sinks!)
This being Germany (home of Clearaudio, TW Acustic, etc.), there was analog aplenty on display, including the fascinating (and new-to-me) Pythagoras turntable, which was integrated into what appears to be a stone rack and equipped with the even more fascinating Thales tonearm—a two-pronged device that apparently (and ingeniously) combines pivotal and tangential tracking. (Don't ask me how—yet. When and if I get a review sample, then you can ask.)
Garth pointed me to another little number on "Turntable Row"—kind of like the M.O.C.’s version of the Unter den Linden (a district full of exclusive shops in Berlin)—the chocolate-parfait-colored Lusso ’table from a German company called Montegiro. It was on static display, so I don’t know how it sounded, but it certainly looked delicious.
The M.O.C. rooms themselves were strikingly different: large chambers of glass and tubular steel that may have been (I’d have to spend more time at the show to know for sure) both livelier and fuller than the stucco-and-glass rooms of the Venetian. They certainly sounded that way with Wolfgang Meletzky’s and Jurgen Reis’ MBL 101 Xs, which never showed better. I got to hear a cut I am fairly familiar with through the 101 Xs (the opening theme from Pirates of the Caribbean) and the power, color, and detail of this formidable-sounding movie-music track were astounding--the best sound I heard at (my admittedly curtailed) visit to the Munich High End Show.
Munich also marked the first time I got to hear the Avantgarde Trios with Basshorns in a room that suited them. If you’ve got the space (and the $$$), this is another very dynamic and highly nuanced German speaker system, although unless widely separated (which is almost a necessity—see the picture below), the Trio/Basshorns won’t throw the wall-busting, wrap-around soundstage of the MBLs.
Another winner at M.O.C. was Charles van Oosterum's latest flagship, the Kharma Exquisite 1 E, which sounded unusually warm and lovely and very full (actually, almost too full in the bass) on analog sources, which is just the opposite of the dry, anemic balance big Kharma speakers have sometimes had in Vegas.
The welcome touch of warmth and (over-)ripeness might have been added by the Tenor electronics (including a new phonostage from the Canadian firm) that were driving the Kharmas. If so, this would be a departure from the “house sound” of previous Tenor gear, which was ultra-neutral, ultra-lively, and ultra-transparent. Maybe the new ownership has changed the sonic game plan.
On the other hand, perhaps it was the Continuum Caliburn ’table feeding the Tenor gear that made the difference, for it, too, sounded positively warm and romantic and, dare I say, a little hops-and-malty in Munich (which, once again, is a far cry from the way it's sounded in the echo chambers of Vegas). Although the bass was downright overblown on two test cuts played back through the system, better this touch of plumminess than the harshly analytical presentation I’d gotten used to at CES and RMAF. The outsized bottom end notwithstanding, this was far and away the best I’ve heard a Continuum ’table/arm sound.
I glimpsed a gorgeous tube amp from KR.
Caught sight of Isophon's Arabba speakers, driven by Western Electric electronics.
The ASW Magadis.
More from Kharma--the improved Midi Exquisites.
And the brand-new MBL 101 E Mk IIs, which sounded better than ever (and given that they’ve been our Best of Show winners year in and year out, that, folks, is saying a mouthful).
What’s crazy and a bit frustrating is that I saw and heard all this in the space of the two hours I had to spend at the M.O.C. Since TAS is planning to send me to Germany for the entire four days of the show next year, think how much more I can report on!
Munich High End is unquestionably the real deal—a terrific hi-fi show that deserves full coverage for its sophistication, its breadth, its sound, its debuts, and its fascinating curiosities.
The Pythagoras arm is interesting. Looks like it might have 3 pivots and plenty of mass. Friction, anyone? Big damping needed?
Don't know, yet, discman. All I did was ogle it--and take a picture. I sure wouldn't mind reviewing it, though.
Do you find that tangential arms, as a class, are really noticeably better?
Yeah, in some ways.
Thanks for the cool pics! I really appreciate your posting them.
Jon, did you see any special tables/arms in the more affordable range, particularly linear trackers and foot-longs?
(I regret selling my ETII, but all the replacement linear trackers are priced beyond my means (Kuzma) or look like DYI kits)
I asked my question about replacing an ETII in a thread on the Turntable forum. Sorry. I didn't mean to hi-jack the thread on the Munich Show.
wow all this in 2hours...wish you were there for the full show. TAS is the No.1 mag with AV guide following its footsteps. they surely can afford to send an audiophile in the league of JV across!!!!!!!!!
C'mon HP and Rob- make it happen for next year...
Thanks
Nevillekapadia,
Thank you so much for the enthusiasm about the mag and the show report!
Just for the record (not that you would necessarily know this from our masthead), though HP still makes important contributions to the content of the magazine, he is no longer making any day-to-day decisions about TAS editorial or publishing--and hasn't for a very long time. Robert Harley is and has been the Editor in Chief of TAS for the last seven-and-a-half years, and it is Robert alone who deserves all the credit for the editorial scope, quality, and direction of TAS, which, in my admittedly biased opinion, is the highest in the hi-fi magazine industry and the highest TAS has been since Issues 1-4, thirty-five years ago.
I am genuinely happy to report that we will be covering Munich High End in depth next year. Both Robert and I will be traveling to Munich for the entire show in 2009, and believe me it will be worth the expense--this is a major trade show. We'll also be printing a version of my 2008 Munich High End Show report in TAS in Issue 183.
Wolfgang,
I didn't have enough time at the show to see very much of anything, so there might have been tangetial-tracking arms that I missed. However, off the top of my head I can't think of any present-day straight-tracking arms that aren't fairly pricey. As for "foot-long" (12" pivoted arms), the Da Vinci Grandeeza is superb and does combine some of the virtues of radial and pivoted trackers. (So, for that matter, does the tangential Walker Black Diamond.) Unfortunately, the Grandeeza is $10k+! And the Walker isn't available independent of the Walker 'table.
Jon
Getting all those pics and info in just 2 hours is amazing. Sure you didn't have a clone? Thanks! Your photos in this forum really add a lot. (What kind of camera do you use?)
That's great news about the Munich show. I've never been, but I have been to the Musikmesse (for musical instruments). It is enormous and totally dwarfs the NAMM Show we have here in the States. I've never seen so many different (and drop dead gorgeous) pianos in my life.
Back to audio, have you ever tried any of the Clearaudio/Souther linear trackers? I've heard varying reports but they seem to keep evolving.
Thanks again for the Munich report!
Quote:Getting all those pics and info in just 2 hours is amazing. Sure you didn't have a clone? Thanks! Your photos in this forum really add a lot. (What kind of camera do you use?)
Wolfgang,
Thank you! I used a Leica D-Lux 3. (Wish I could afford a Leica M8!)
As for Clearaudio/Souther arms, yes, I did use one about ten years ago and it was a friggin' nightmare. I understand that it has been greatly improved, but I haven't heard it and cannot comment.
Jon
jvalin wrote:Although the bass was downright overblown on two test cuts played back through the system, better this touch of plumminess than the harshly analytical presentation I’d gotten used to at CES and RMAF. The outsized bottom end notwithstanding, this was far and away the best I’ve heard a Continuum ’table/arm sound.
Hi Jonathan,
Just a quick correction, as I'm sure it is merely an oversight on your part with as many shows as you attend during the year: We've never shown Continuum at RMAF in years past. We will be showing Continuum's Criterion at the upcoming RMAF, and this will be Continuum's first RMAF showing.
See you there,
Chris Sommovigo
The Signal Collection, LLC
North American Distributors
of Connoisseur-Grade Hi-Fi
Mea culpa, Chris. I'll correct this error in the print version of my show report.
jvalin wrote:Mea culpa, Chris. I'll correct this error in the print version of my show report.
No worries - like I said, I know you attend lots of shows during the year.
Cheers,
Chris
The Signal Collection, LLC
North American Distributors
of Connoisseur-Grade Hi-Fi
Chris,
I just noticed from your e-mail that you are now distributing Lansche loudspeakers. I very much liked the Lansche 4.1 (the one with the plasma tweeter) at what I think was T.H.E. Show in 2007. (If I've got the wrong trade show, my apologies in advance.)
Will you also be showing the Lansche at RMAF?
Jon
jvalin wrote:Chris,
I just noticed from your e-mail that you are now distributing Lansche loudspeakers. I very much liked the Lansche 4.1 (the one with the plasma tweeter) at what I think was T.H.E. Show in 2007. (If I've got the wrong trade show, my apologies in advance.)
Will you also be showing the Lansche at RMAF?
Jon
I plan on having Lansche 4.1 speakers in one of our two RMAF rooms. They'll be driven by Vitus electronics and a Continuum Criterion analog setup.
Chris
The Signal Collection, LLC
North American Distributors
of Connoisseur-Grade Hi-Fi
Look forward to hearing it.
JV
For those of you interested in the fascinating Pythagoras turntable/Thales tonearm pictured in my show report, I received the following note from its U.S. importer, Daniel Barnum of Half Note Audio:
Quote:I am finding that many people have no real understanding of the design of the Thales. The Pythagoras is [also] completely new and revolutionary, but it is all hidden.
The mass of the arm is under 11 grams but can be rounded to 11 grams for the sake is convenience. By comparison, a Triplanar has an effective mass of 11 grams, the Kuzma Air bearing arm has an effective mass of 13 grams, Kuzma Stogi Reference has an effective mass of 12.5 grams, the SME V has an effective mass of 10/11 grams, and the total arm mass for the Continuum Cobra arm is 35 grams. The Thales is not a high-mass arm. By comparison to the other arms listed, [it is] a lightweight arm, when total arm mass is factored into the equation.
As for friction, the Thales arm uses jewel bearings found in the world’s finest watches, that last many many years....Friction, and resonance are moot points for the Thales as every section of the arm was designed for a specific and exacting purpose. I have requested a white paper of sorts from Thales describing the function of the arm for release.
Did you get to see and or hear the ML CLX at the Munich Show?
No, as I thought I noted in the report, I did not. But I will.
I owned the CLS, the CLSII, and the CLSIIz, so I'm very familiar with the sound of MartinLogan's curvilinear line source.
Jonanthan,
That is one hell of a report for just two hours of show time... Excellent work!
Regarding the MBL 101 E Mk II, what physical differences are you aware of (observed or informed of) with this new version of the speaker? The only thing I can spot from the picture is a slightly redesigned grill towards the top.
Thanks!
sydsM3,
There are several significant differences in the Mk II version of the 101 E. In fact, the differences are so significant that I'm a little surprised MBL didn't call the new speaker the 101 F. For one thing (and it's a biggie), take a look at the size of the new 101. If you looks closely (and are familiar with the 101 E), you'll see that this is a considerably shorter loudspeaker. What's changed is the size of the subwoofer enclosure, which has been downsized for two reasons: 1) to bring the midrange driver closer to the floor (and thereby closer to ear height vis-a-vis a person seated in a conventional chair or sofa--currently, most folks need to elevate their chair or sofa to achieve the ideal seating height); and 2) to accommodate the entirely new 12" bandpass subwoofer that the enclosure houses (the smaller enclosure has also been redesigned internally to better control the sub, at a small cost in very low bass extension). The midrange driver, like the push-push clamshell subwoofer, is also an entirely new design. If you'd like to see some illustrations of the new midrange, go to http://forums.avguide.com/viewtopic.php?t=3635.
Jon
Jon,
Those are significant changes indeed. Regarding the size of the speaker, I thought they looked a little shorter from your photographs, but wasn't entirely sure. I did speak to Wolfgang at CES this past January and he had indicated to me that they were going to redesign the sub enclosure for the 111E and probably designate it as the 111F. He didn't go into a whole lot of detail on his plans for the 101E, but I guess they did quite a bit more work here on this model as well.
Any idea on whether they've made the load on the 101E Mk II any easier to drive? It would nice if you didn't have to have close to $80k in MBL amplification to get the most of these speakers...
Thanks again for your insight on this.
syds,
No, I don't know from personal experience how or how much the new 101 E has changed in driveability, although I believe that issue was also part of the reason behind the woofer/enclosure redesign. You obviously know your MBLs because you couldn't be more right about amplification. In the past, unless you used MBL's own $$$$$ 9011 monoblocks (ideally two pairs) you couldn't be sure of getting the very best sound from the 101s. And that meant that perfection-o-philes weren't just buying a speaker;they were buying an entire system (speakers and electronics).
Don't get me wrong. The MBL 9011 is a truly great amp and the 6010 D is a truly great preamp, regardless of which speaker you use with them. But...the 101 E really needed both (and the incomparable "grip" that both provide in the bass) to wow you the way it has wowed me at CES and in my listening room.
Jon
I hear you Jon.. I've heard the full MBL rig for extended periods of time over the last few years at multiple CES's and RMAF shows (where I met you). The wow factor for me was pretty incredible, especially given that show conditions are far from optimal. I can't even imagine what they would sound like in a "calm" familair room. You are fortunate indeed to have had the opportunity to hear them (as well as many other great audio components) in your listening room. I certainly enjoyed all of your reporting over the years and look forward to hearing more about these new speakers from you in the future.
Keep it coming and keep up the good work!
We met at RMAF?
With whom am I conversing! (If you'd like to maintain privacy, drop me an e-mail.)
You are conversing with Sydney Schips, Chris Martens old college buddy. We met for the first time at dinner during the very first RMAF you attended two and a half years ago (along with you and RH's significant others and Chris Martens). We have since run into each other at the last few CES's in varios rooms/venues (MBL, Magico, and in the hallway of the 29th floor of the Venetian most recently).
I know you meet a lot of people, so I hope this jogs your memory...
Hey. man! I remember meeting you! Are you going to RMAF or CES this year?
I'm glad you remember me Jon!
I will definitely be at CES. RMAF is still up in the air at the moment, but I hope to make that one too. I was actually at the very first RMAF (the year before the one we met at). It has sure taken off since then!
Just as an aside, I am a relatively close neighbor (and friend) of Dennis from ML. I mentioned the hooplah about the CLX discussion on this forum which he was happy to hear about. He is going to give you crap (he said jokingly) for letting the cat out of the bag on getting the factory tour in Lawrence. Just wanted to give you a heads up so you can give him some crap back!
Oops! Correction to previous post indicated below.
Second sentence, second paragraph of previous post should read "I was actually at RMAF #1 the year before we met at RMAF #2."
Jon - Ignore my previous correction... The original post is correct as it stands. My computer is playing visual games on me. I must need to give my machine a rest.
Gosh, I didn't realize that the factory visit was a secret!
It's funny how many people owned CLSes and remember them (for all their peccadillos) with great fondness. I certainly do. Part of the reason I was (and am) so high on the Symposium Acoustics Panoramas is that their utter colorlessness reminded me of the original CLSes (albeit with better treble and bass and less 'stat-like imaging). I'm truly looking forward to hearing the CLX.
Me too... I remember the CLS's quite well. They left an indellable (sp?) impression on me years ago. I'm trying to strong arm Dennis to get a pair for his house so I can come over and listen. From what I understand, ML has not committed to showing at CES at this point.
Regarding the Symposiums, I will definitely will keep an eye out for that beast given the impression it made on you and others. As an aside, I decided to invest an afternoon reading the debate on the "prototype" versus "noprototype" Symposium GE award thread. All I can say is WOW, that was intense. In the final analysis, I must say that the debate did provide quite a bit of industry insight for me.
Quote:All I can say is WOW, that was intense.
Yeah, it got a little out of hand on both sides. I was actually told to cool it, so I cooled it. Otherwise, God knows how long it might've gone on.
I thought I burned the midnight oil Jon, but after looking at your previous post time of 3:42am (eastern time), you sure got me beat! I have to imagine that it's after a long late night listening session or marathon writing session that you check this forum before crashing for the night?
JV: Why doesn't TAS sponsor a high end show?
Amandela.
Amandela77
Amandela,
That is a good question, m'boy. The idea has been batted around the staff for quite awhile. We have taken an active role in promoting and reporting on RMAF, although it is certainly not "our" show. I kinda doubt if we'll be making any moves of our own in this direction in the near future--the effect the current economy is having on the high-end audio industry (and everything else) rules it out.
J
Hi, Are there any reviews or any word on the KR Audio Kronzilla SD tube amp? And if not where can I find if you know of. Thank you CR
Nothing from the 2009 Show?
-Peder Beckman-
Electrocompaniet Inc.
Nothing from the 2009 Show?
-Peder Beckman-
Electrocompaniet Inc.
We covered the 2009 show, both in the magazine and in slide-show form on the blog. I'd hoped to do a lot more slide-shows from the event, but they proved to be a resource hog (one hour to produce, five hours to upload and all manner of time taken to post online).
Here's an example: www.avguide.com/blog/munich-high-end-2009-day-one
There were some very cool prototypes of EC products in Munich by the way, although deeply off-piste.
Alan Sircom
Editor, Hi-Fi Plus Magazine
London, England
editor [at] hifiplus [dot] com
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