Anyone who loves sports and watches ESPN—the United States’ most influential sports-related cable network—and, specifically, commentator Stephen A. Smith, knows what the term hot take means. Merriam-Webster defines the hot take as “a quickly produced, strongly worded, and often deliberately provocative or sensational opinion or reaction.” As I traversed the halls of High End 2022, ate in the restaurants of Munich, or worked in various places on my computer, I muttered myriad opinions both to myself and folks I know in the industry. A thought occurred to me: why should the sports reporters have all the fun?
The final day of High End 2022 was much like the first few: lots of new products, some of them very cool. In fact, I came to the realization that we would only cover a fraction of what was on display in Germany—I regret that we’ll definitely miss some relevant products. One thing is for sure, though: customers have some wonderful stereo components to choose from when shopping for a new audio system. Prices below in US dollars or euros.
Approximate system cost: $230,000.
Approximate system cost: €600,000.
Approximate system cost: €100,000.
Approximate system cost: €250,000.
Approximate system cost: €60,000.
Approximate system cost: €400,000.
The second day of High End 2022 was filled with me finding some of the most ambitious products you can imagine. But ambition does not necessarily equate to high prices. Though sometimes it does.
Approximate system cost: €380,000.
Approximate system cost: TBA.
Approximate system cost: £275,000.
Approximate system cost: €350,000
Approximate system cost: if you have to ask . . .
Diversity rules this installment of the SoundStage! High End 2022 product coverage. With prices that range from $699 to over $500,000 (USD), it’s hard to believe that, at High End, there are customers for both of these price categories and everything in between. It serves to remind us that the hobby of high-end audio and listening to music in the home is an attractive proposition for a wide swath of us. Prices for the products below are in US dollars, euros, or Swiss francs (CHF).
The two COVID years prior to 2022 meant no High End show in Munich, Germany. Two missed years were two too many. The pent-up creative energy at work in high-end audio was unleashed at High End 2022. And it was glorious. Anyone remotely interested in audio gear and fine music reproduction was in for a treat in terms of new product introductions and systems singing away. And there were some doozies. All prices below are in euros or US dollars.
If someone asked me a year ago if High End 2022 could be successful, I likely would’ve said, “I have no idea if it will even go on, let alone be a success.”
Perhaps the scariest thing that can happen to an audio enthusiast and journalist is sudden and near-complete hearing loss.
Ask me how I know.
Steyning, West Sussex, England, 26th March 2022
On the weekend of the 26th of March, 2022, a small contingent of the world’s top audio journalists and distributors were invited to witness the launch of a new SME flagship turntable, the first such launch in over 30 years. As if that weren’t enough to warm the cockles of even the most jaded hi-fi hack, we would be hearing the turntable in perhaps the most famous listening room in the world—the room custom-built by Alastair Robertson-Aikman, the legendary founder of SME, as an extension to his delightful Sussex home. Make no mistake: this is holy ground, the audio equivalent of being invited to Balmoral for a weekend of grouse-shooting with the Queen. Since his passing in 2006, even SME hasn’t used the room for listening tests, so its re-opening really was a once-in-a-lifetime event. Alastair, or A-RA as he was affectionately known, was not a man to settle for second best, and his pursuit of audio excellence led to the creation of a hi-fi dynasty revered the world over.
Sometime after the last Leo’s Stereo closed, my father would take me to The Wherehouse on Saturday mornings to shop for CDs. When that chain of stores folded, he moved on to Target or Best Buy or Sam Goody at the local shopping mall. That one could own music, a tangible thing for personal enjoyment, shaped my upbringing. What we didn’t know then was that store shopping—seeing the newest displays, rifling through plastic letter dividers and name placards—was an endangered endeavor.
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