Munich HighEnd 2024
- Thread starter redandgold
- Start date
I find plastic compression drivers in general not for me. However, for at least a short time span I found the Thrax speaker quite engaging.Maybe the BMS sound signature is not for me?
This is similar to my experience with those drivers in PA systems.
For which his comment by J. Crowe is illustrative:
"The 4599HE's performance in the context of home HiFi falls slightly short of my desired target for sound quality... I'm sure it is extremely competitive in a pro-sound application which it is originally designed for."
This year, I brought along friends from Indonesia and the UK to the Zellaton Room, hoping they would appreciate the sound based on my positive experience last year. Unfortunately, this time the sound was bright with light bass and a thin midrange. I could foresee fatigue setting in after just an hour. None of my audio companions enjoyed it, which is disappointing considering how much better it sounded last year. Interestingly, on both occasions I visited the room last year, the turntable was in use, whereas this time it was digital.
On my Facebook page, I shared most of my room-by-room reviews along with videos and sound clips. This year, many rooms left much to be desired, yet a few managed to capture my attention.
Drawing definitive conclusions on systems or electronics based on show conditions can be challenging due to the multitude of variables at play. Nevertheless, certain rooms struck me as overly bright or even painful to listen to, including TAD, Zellaton, Vivid, and CH rooms.
Something seemed awry in terms of pairing or room acoustics, leading to issues with tonality and listener fatigue. While these are likely quality electronics, the demanding nature of show conditions can pose difficulties. I wish them better luck next year.
Among all the rooms, there were a few that truly stood out or made a lasting impression:
Drawing definitive conclusions on systems or electronics based on show conditions can be challenging due to the multitude of variables at play. Nevertheless, certain rooms struck me as overly bright or even painful to listen to, including TAD, Zellaton, Vivid, and CH rooms.
Something seemed awry in terms of pairing or room acoustics, leading to issues with tonality and listener fatigue. While these are likely quality electronics, the demanding nature of show conditions can pose difficulties. I wish them better luck next year.
Among all the rooms, there were a few that truly stood out or made a lasting impression:
- Aries Cerat
- Destination Audio
- Lansche Audio
- Wiener (Apologies for any misspelling; it's a German company specializing in bookshelf speakers)
- Grandinote
- YG Room featuring Soul Note Electronics
- Avalon Room
- Alsyvox
- Lorenzo
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I missed the Thrax room. It sounds like they would have been interesting to hear.
Over at MoterWorld I did hear the Linkwitz speakers and the above commentary has me thinking I had a similar impression to them as you had to the Thrax.
The Linkwitz were very holographic and fun to listen to! They certainly got my attention and I was impressed with what they did but wondered if they were a one trick pony so to speak. I would like to audition them over an extended period of time with music I know.
Their secret sauce seemed to be in the associated electronics, likely DSP and some phase manipulation. The speaker drivers had an interesting configuration but were quite ordinary from what I could see.
Funny thing is that the Linkwitz LX521 and the Thrax Audio Gaida are opposites in terms of radiation behavior.
The Linkwitz appeals to people who like to eliminate cabinet influences in search of the ultimate soundstaging (doesn't exist, except for real live performances), while the Thrax represents more or less the ultimate 'wall of sound' reproduction.
Both systems share a dependency on DSP and a potpourri of drivers (and materials) that in my opinion negatively affect the naturalness.
The impression may have arisen that I'm biased towards traditional (tube based) passive solutions, which is indeed the case.
However, I don't use tube amps myself and own several DSP processors. The output section of one of those:
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How is it that you are biased towards something and yet don’t use it in at least one system?
I asked this year with which output stage the Metronome player was playing and it was the Solid state one .
Really good digital / sounding room , probably the best room in my opinion
Really good digital / sounding room , probably the best room in my opinion
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How sad. It’s a feedback that we hear far, far too often !
(And, no, it’s not about playing chamber music everywhere, all the time.)
Is it possible to change this? Organizers could direct complaints to exhibitors for Munich 2025.
After all, I was partly able to make the rooms of the Brussels show much quieter, just by explaining what needed to be done to the organizer. Now, exhibitors almost all play with closed doors (not locked) to keep the noise level low in the rooms.
So, yes, smart people listen to suggestions.
If we can't conclude anything from a bad demo, many visitors can't even conclude anything from a "good" demo made on electro pop and elevator music (that could have turned out to be a good system/gear on acoustic music).
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I ll probably buy both .
Same with VTL and my current CAT
Compare for an extended period and then sell which is less preferred.
Thats what i ve always done
There are many reasons, some related to practicalities and listening habits/preferences, and for a long time my main focus was on professional audio.
I have friends with tube gear and I may still take the plunge in the future, but since I only use digital sources and I'd prefer to have only 1 box - a DAC/amp - I don't see it happening anytime soon.
While I appreciate certain tonal qualities of tube gear, I despise the fuss (warm-up time, tube bias, wear, fragility, heat, etc.).
I still have a few Class A amps though.
By the way, I believe that we (I share a lot of stuff with my brother) also have a Leak stored somewhere and we have a number of CDPs with tubes.
For my needs some modern Gan FET amps (AGD, Atma Sphere etc.) are good enough. They lack the tube signature - the glow factor - but sufficiently approach the core qualities.
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I have found tube amps to be little actual fuss. Tubes usually last years, sound pretty good from turn on and really sing after 20-30 minutes. Most of the amps I have had needed very little attention. Most SS amps need a long time on to sound even decent.
I just don’t get any non-tube amp claiming it sounds kind of tubelike…they never do. It’s like artificial Strawberry flavor instead of Strawberries.
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