Munich 2022

Hits and Misses…

By Roy Gregory and Dennis Davis

Having written show reports for both and Audio Technique magazine, it seems utterly superfluous to repeat that copy or content here. However, a few post-show observations are certainly pertinent, especially given that we previewed or highlighted certain rooms and products. Which delivered on their promise and which failed to impress? Of course, as far as individual products are concerned, it’s always hard to be definitive. Few companies actually do properly structured, comparative demonstrations, which leaves you listening to complete systems comprising often alien or unknown elements. Add to that a decision to run the AC throughout the show due to health-considerations – a decision that resulted in 55dB+ ambient noise levels in the Atrium rooms where most of the better sounding systems are generally found – and it was frankly hard to reach any solid sonic or musical conclusions at this show. Indeed, the most remarkable thing about most of the show coverage I’ve seen is the absence of any comment on the prevalent noise floor – and the extent to which that undermines the value of what observations were made.

The show itself was a slightly strange experience, lacking the continuity that normally shapes such a large, annual event. If major brands like Wilson, VTL and Nordost all change distribution between one show and the next, you can pretty much guarantee a significant ripple effect across other exhibits. Generally, you arrive in Munich with a pretty good idea of the landscape you are going to encounter but this year it was, if not all change, then distinctly different. Limiting ticket numbers made the rooms quieter than normal, especially on Sunday. With three years of accumulated development, rather than evolution we saw step-changes in product lines and brand presentations, new associations and new strategies from exhibitors, with a notably improved standard of room dressing and display materials.