Photos taken by Doug Schneider on May 5-8
Companies featured in gallery below: Gryphon Audio Designs, T+A, Octave Audio, EAT, Chord, Hegel Music Systems, Goldmund, Weiss, Pro-Ject Audio Systems, Astell&Kern, Ceradyn, Grado, Lehmann Audio, Pathos, Phatlab
Companies featured in gallery below: Brinkmann Audio, Ypilson, EMM Labs, Grimm Audio, Amphion, Audio Research, Sonus Faber, BMC, Dynaudio, Ayre Acoustics, WestminsterLab, Audio Solutions, Dynaco
Companies featured in gallery below: ADL, Audio-Technica, Audio Valve, Fisher Audio, Kennerton Audio Equipment, King Sound, PerfectSound, Ultrasone, Violetric, Progressive Audio, Fink Team, Marantz, Focal, Thorens, Musical Fidelity, Soulution, TechDAS
Companies featured in gallery below: Wilson-Benesch, Audiolab, EAR, Vitus Audio, Raidho Acoustics, Crystal Cable, ELAC, Esoteric, Argento Audio, Tidal Audio, Audia Flight, PMC, Constellation Audio, Magico, MartinLogan
Companies featured in gallery below: MSB Technology, Atohm, Kharma, Heco, Albedo, VTL, Metaxas, CH Precision, PureFlow, Zellaton, Estelon, Cyrus, Lindemann, Marten, Nagra
SoundStage! hasn’t done much coverage of equipment racks, but there were so many appealing models on display at Munich’s High End 2016 that we decided a photo essay was in order. These racks are not mere furniture. They’re all constructed specifically for audio, with various techniques used to channel and/or damp vibration that might affect audio electronics and source devices. All of these companies offer racks in many shapes, sizes, and finishes, so if you like one of these designs but need a different configuration, check out the company’s website to see what your options are.
The Munich show has High End in its title, so it should come as no surprise that much of the focus at the event is on audio products costing five or six figures. But I did uncover a few pieces of nice new gear priced within the financial comfort zone of most average audiophiles. Here are the standouts, all priced well under €5000.
I’ve heard two technology demos so far at High End 2016, and my reaction to them couldn’t have been more different. One sold me in the first few seconds; it was the kind of presentation that keeps my enthusiasm for audio going after all these decades. The other disappointed me; it left me questioning the viability of the technology and wondering how it could be sold to anyone beyond the most credulous audiophiles.
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