When I read all the product introductions that came out of this year’s AXPONA, which I did not attend, I briefly feared that Munich would be anti-climactic. Silly me. As usual, the biggest and best audio show in the world was awash in new product announcements, many of them significant. Here’s what I found most exciting.

DACS, DACS Everywhere

Ironically, while Michael Fremer was holding a symposium on whether or not there is more to be gotten out of vinyl grooves, the bulk of Munich exhibitors seemed focused instead on getting more out of digital bitstreams. New DACs were everywhere and at every conceivable price point. Here are some of the highlights.

The most auspicious debut was probably the CH Precision C10. Since its inception, the prestigious brand’s flagship 10 Series has been conspicuously lacking a DAC. Buyers of that series had to make do with a C1.2, an extremely capable unit that is nonetheless part of the less-exalted 1 Series. The new C10, priced at a heart-stopping (but increasingly common) $91,000, now fills out the brand’s upper echelon. The unit employs clever processing techniques to do what the C1.2 can’t: oversample incoming data at a whopping 64x compared to the C1.2’s 16x. There’s also significantly more galvanic isolation between modules. During the show, the company staged A/B demos comparing the C1.2 with the C10. Subtle but clear differences emerged, even amidst the background din of the cavernous MOC.

Another swing-for-the-rafters DAC came from MSB, which debuted the $95k Cascade DAC/Pre. The unit consists of separate power supply, analog and digital chassis, with a glass fiber cable connecting the latter two, as well as a sophisticated R2R ladder design. MSB says the Cascade is a ground-up design that incorporates everything the company has learned about digital in the last ten years. The new model replaces its Reference DAC and currently stands atop the MSB mountain. But watch this space: MSB promises an even more elaborate (and more expensive) DAC in the coming months.

Clocking in at $49,900 was Ideon’s Epsilon Meta. Compared to its predecessor, the Meta gains a revamped power supply, and an output stage with switchable gain settings. Being in the analog domain, the latter feature allows the DAC to drive a preamp at an optimum level while eliminating the resolution sacrifice inherent in typical digital volume controls.

Another new DAC, the cAQWO 2 (pronounced cee AH-kwo two), heralds from France’s highly regarded Metronome Audio. This DAC is all about giving users sonic options. For instance, there are two completely separate DAC chains, one employing the ESS 9039 DAC chip and the other an AKM 4499EX—both among the best money can buy. Users can switch between them on the fly. For even greater sonic tweaking, users can select from six unique filters offered for each DAC chain. There is also an optional tubed analog output stage, which gives users the choice of tubed or solid-state output modules. The base price is €29,650, and the tube module runs €2190.

In Munich, Hi Fi Rose was doing what it always does, which is to deliver a lot of functionality and performance for the money. Its latest release is the RD 160, a pure DAC with some nifty features. Chief among these is a “hidden” screen that appears when the unit is powered on but completely vanishes when it’s powered down. The screen can display such things as a signal-path flowchart and even VU meters. There’s also a volume control and an external clock input. Internally, all modules are isolated from each other, and the analog section is fully balanced analog. The DAC boasts a stupendous 132dB signal-to-noise ratio. Available in August, it will retail for approximately $6k.

For those needing a DAC but on a smaller budget than even the Hi Fi Rose allows, San Francisco-based WiiM Audio comes to the rescue with its new Ultra streaming DAC. Outfitted with a top ESS DAC chip, the Ultra includes a bevy of features you rarely see on DACs at this—or, frankly, at any—price. These include a phono input, sub out, HDMI ARC port, touchscreen, Bluetooth, Wi-Fi 6, room correction, and both graphic and parametric equalizers. The price? Just $329.

Ones and Zeroes: Digital Sources

One of the most surprising launches of the show came from Wadax. No one expected a company that made its name with bespoke digital separates to come out with an all-in-one box—let alone a (relatively) affordable one. But that’s the Studio Player, a CD/SACD transport/streamer/DAC with volume control. Wadax says the new model is a “distillation” of its reference gear, and, indeed, the Studio Player’s DAC module is identical to the one found in the Atlantis Reference DAC. The $39,800 ticket may (or may not) sound steep until you consider the wealth of trickle-down technology and the fact that achieving equivalent functionality in Wadax’s reference components would cost over $400k! The Studio Player sounded terrific, too. (See “The 7 Best-Sounding Rooms” below.)

Munich had its fair share of music servers. One of the most impressive was Ideon’s Absolute Stream Meta ($24k), which is a 4TB server that also streams. With faster memory and a hybrid linear/switching power supply, the unit promises great performance. Plus, it supports a built-in Roon Core, making an external Roon server superfluous. I hope this idea catches on.

Innuos, which already makes quite a few servers, filled out its lineup with two new models. The ZENith NG server has a GaN power supply and many other upgrades to the standard ZENith. A fully modular unit, the NG starts at $18,900 and goes up from there, depending on storage capacity and options (e.g., streaming). Innuos also released the ZEN NG. At approximately €9500, the ZEN is just down from the ZENith NG in the revamped product range.

Many audiophiles still have a library of shiny discs; many even claim they sound better than other digital sources. For them, Metronome launched two new products that will spin both CDs and SACDs. Hot on the heels of the alluring AQWO 2 CD/SACD player/DAC launched here last year (€19,990) comes the AQWO 2+, the new model is essentially an AQWO 2 with an external power chassis. The idea is to remove all power-generated noise from the main box, and Metronome says the sonic difference is appreciable. The 2+ goes for €26,800. (Note that it’s not possible to upgrade from an AQWO 2 to a 2+.)

Metronome’s second new spinner is the tAQWO 2. Unlike the AQWO 2 and 2+, the “t” is a pure transport with no built-in DAC. But there’s a touchscreen interface, as well as SPDIF, AES/EBU and I²S digital outputs. Importantly, all these interfaces will carry DSD information from an SACD in the DoP PCM format, making the transport compatible with most external DACs. The price is €30,350, plus €2k if you’d like the optional streaming module.

Power Amps Aplenty

One fact the industry has taken close to heart is that even digital sources ultimately need a power amp to drive speakers. Thus, there were power amp introductions galore. A number of these new amps, such as those from Audio Research, Constellation, and Soulution, represent the dawn of new eras from their manufacturers.

In case you haven’t heard, Audio Research Corp is under new ownership. The venerable company was recently purchased by Val Cora of Acora fame. The first fruit of the new team is the Reference 330 tubed monoblock ($90k/pair), a ground-up design that’s “a break with anything ARC has ever done before” effort, according to Cora. The KT170-based unit puts out a healthy 330 watts. (All output figures are into 8 ohms.) The 330 could be heard driving Magico S3s and the combo was a sweet one (see below).

Although management hasn’t changed at Constellation, the company is going through something of a renaissance, updating its entire line for the first time in 10 years. The new products are distinguishable by their fetching champagne finish and Series 2 nomenclature (e.g., the Inspiration Series 2 integrated amp). Inside, all the new models employ switch-mode power supplies, which the company says reap big sonic benefits. First out of the chute are the Revelation Series 2 models, including the new 250 watt/channel stereo amp ($30k) that was performing brilliantly driving Wilson Sasha Vs (see below). Performance Series 2 and Reference Series 2 components aren’t far behind. Also showing, on static display, was the forthcoming Statement power amp, a behemoth of a halo piece that will put out 750 watts/channel in its stereo version or 1500 watts in the monoblock. Pricing and availability are TBD.

Also in the midst of a wholesale revamp, Soulution revealed its 717 flagship stereo power amp, a mate for the 727 preamps recently featured in a glowing TAS cover story by JV. The 717, which replaces both the 711 and the 701, puts out 150 watts/channel and can also be configured as dual mono or bridged mono. Bandwidth is a staggering 2MHz and the price is equally lofty at over $100k.

Speaking of huge amps, the poster child for such products, Boulder, surprised everyone by introducing the 861 PowerAmp stereo amp. Unlike many Boulder models of yore, the 861 is downright petite. In fact, it’s the smallest and—at $9500—least expensive amp Boulder has ever produced. The 861 puts out a modest 50Wpc but is said to be high current. Yet Boulder didn’t disappoint its high-power Goliathan amp devotees. The company launched a new flagship monoblock, the 3050, which puts out 1500 watts and costs a cool $305k/pair.

While many others were scaling up, VTL was scaling down its well-known Reference 600 Siegfried monoblock. There’s now a Reference 450 that looks like a Ref 600 Mini-Me. With “only” 450 watts (versus 600), the new model is also less expensive at $70k compared to the 600’s $100k.

TotalDAC is expanding beyond its namesake products into speakers, amps, and even cables. In Munich, the company was showcasing the Amp-1 Sublime, a single-ended, high-voltage design with a solid-state gain stage. A stereo (130 watts/channel) or monoblock (500 watts) version can be yours for €25k. NB: The Sublime sounded fabulous driving TotalDAC speakers (€70k/pair).

New from Swiss stalwart Goldmund was the Telos 800 stereo power amp. The 300Wpc unit continues Goldmund’s pioneering use of wide-bandwidth circuitry and extensive mechanical grounding. The Telos 800 costs $89,000, and I’m curious enough about its sound to have requested a review sample.

Octave was showing its latest, the Jubilee Ultimate push-pull 140-watt tubed monoblock. The unit features a transformer with a 10–80kHz bandwidth, which is extremely wide for tubed gear. There’s also a sophisticated power-protection system and adjustable bias that allows the amp to be optimized for specific speakers. Price is $150k/pair.

Finally, Vitus showed the final prototype of the SM025, coming in October for €40–50k. The amp will be switchable between 25–30 watts Class A or 150–200 watts Class AB. Users will also have a choice of two output stages. Vitus also introduced a phonostage card for the SIA-030 integrated amp. The card will go for €7–8k.

In Other Analog News

Though power amps dominated Munich’s analog news, they weren’t the only stories. TAD, for example, proudly showcased the gorgeous new C700 preamplifier ($68,500), which sports a new low-noise FET input stage, dual-mono construction, direct wiring to and from the transformer, mechanical grounding, and a custom ladder-resistor volume control.

Sadly, there were very few new integrated amp announcements, but one came from the irrepressible Dan D’Agostino, who was showing off the new Pendulum ($15k). This integrated is in the vein of many of the latest such models in that, besides an amp and a preamp, it also includes a DAC (with Roon and MQA), a streamer, a phono module, and a headphone amp. Shod with typically beautiful casework, the Pendulum’s price and rich feature set should bring DD excellence to a wider audience.

Germany’s own T+A announced that it will shortly be revamping its entire E Series electronics. This is the company’s entry-level lineup, with each component selling for under $10k. The new models will be trickling out beginning at the end of the year, starting with the R1200 E, a disc player/streamer/DAC/power amp.

Many of the best-sounding systems at the show were graced with Crystal Cable, which prompted me to give their room a visit. There, I found a wealth of new products. The company is celebrating its 20^th anniversary with limited editions like the Infinity power cord (€18k and up, depending on length), which features nine conductors of monocrystal silver shielded with gold. The technology will soon migrate to a whole range of speaker cables and interconnects. Not to be outdone, sister company Siltech showed the prototype of its Master Crown series, a full line of flagship cables and cords that will be available by the end of June. HMS of Germany was also in the room, having been purchased by Crystal and Siltech. The HMS products complement those of its parents by being copper (rather than silver or silver/copper variants) and much more affordable—they start at just €250.

The 7 Best-Sounding Rooms

The Constellation/Wilson Room. I visited this room several times and never heard it sound less than engrossing and lively. I already knew from my review of the Wilson Sasha V that the speaker had verve and could produce great tonal variety, gobs of air, and a wealth of inner detail. Now I know that the new Constellation Revelation Series 2 electronics, wired with Shunyata cable, match the speakers point for point. The combo was absolutely dynamite.

The Stenheim/Nagra Room. Here, the illustrious Stenheim Alumine 5 (in SX guise), driven by Nagra Classic electronics, all connected with Crystal Cable, produced stunningly realistic sound. Music came through with an unforced naturalness that was unique in the show. The system held listeners captive with openness and unbridled dynamics.

The Estelon/dCS/Pilium Room. There was nothing showy about this room; but, given a chance, it proved that the Estelon X Diamond remains, as JV observed, one of the greats. In Munich, it was doing its usual superb job. With dCS’ top digital stack as the source and big Pilium electronics, the sound had purity and richness in equal measure.

The Cessaro/Alieno Room. This was the only system I heard that delivered truly life-size scale. Of course, to achieve that the Cessaro horns had to be even larger than life. Indeed, they were so big that you could literally crawl into the bass driver. Completely impractical, but undeniably riveting.

The Wadax/ARC/Magico Room. Wadax boldly showed off the all-in-one capabilities of the aforementioned Studio Player by fronting an entire system with it. The streamed signal then passed through Shunyata cable to Audio Research’s equally new Reference 330 monoblocks, and on to the Magico S3 2023. There’s something, well, magical about these speakers, and they were as bewitching as ever in Munich. The Wadax exhibited no digital sheen whatsoever, and the ARCs held everything together seamlessly. This system sounded like a wine that’s easy to drink but doesn’t lack for complexity.

The Rockport/Absolare Room. Rockport’s Atria IIs were in a fairly large room, but that didn’t seem to faze these modestly proportioned speakers. At $38k/pair, they’re clearly giant killers. The overall system had plenty of scale and openness, perfect imaging, and mighty good bass, too. This was also among the most musically engaging systems I heard. TAS has never gotten around to formally reviewing these speakers, which are now well into their lifecycle, but if we had, I suspect they’d be candidates for our top awards.

The MBL Room. See Best Sound below.

BEST OF SHOW

Best Sound (Cost no object): The MBL Room. On a wide variety of music, the MBL 101 Mk II x-Tremes, backed by row upon row of high-powered MBL amplification, were exemplary and highly musical. There was no sharpness to the sound, and imaging was spookily lifelike. The system threw off tight, subterranean bass effortlessly. Most impressively, there was no compression of choral music dynamics—a first in my experience.

Best Sound (Cost considered): The MoFi Room. Ace speaker designer Andrew Jones has done it again, this time with floorstanding towers that sell for a ridiculous $5k/pair. Here, they were backed by Aesthetix electronics, and the combination yielded whip-sharp transients, an ultra-wide soundstage and stompin’ bass. Indeed, Jones says his new babies have an in-room response down to 20Hz! Choosing a winner in this category was a no-brainer.

Most Significant Trend: Outlandish Pricing. $90k is the new $50k. Manufacturers seemed to have no qualms about pricing new products at stratospheric levels. This trend was not only the most significant, but also the most discouraging.

Most Lust-Worthy Product: The Wilson-Benesch GMT^® One Turntable. It looks impressive as all get-out, costs $370k, and MF says it’s the best. What could be more lust-worthy than that?

Best Joke of the Show: Dr. Roland Gauder of Gauder Akustik was explaining to Robert Harley and me why he avoids all-aluminum enclosures, preferring instead aluminum interspersed with dampening ribs. “We tried pure aluminum. The cabinet rang so much we had to switch the speaker off at three in the afternoon for it to be silent by dinner time.”

Best-Sounding Streamed Tracks: Go to Qobuz and search on “Best of Munich 2024.” A playlist of that name will appear in the results. These were the best-sounding tracks I heard in various Munich exhibitor rooms.