All prices are in German marks unless otherwise noted.
At time of show report, 1 U.S. dollar is worth approximately 2.1 German marks.

Post-Show Report - An American Perspective
by Jeff Fritz

High End 2000 was as much an educational experience for me as it was an enjoyable one. Having attended my share of Stereophile shows, I had some preconceived notions about how audio shows affect the hobby. Attending the Festival du son et de l’image in Montreal this past March changed my perspective -- somewhat. Germany’s High End 2000 was really something different, though, and will forever change the way I look at the industry. First, don’t believe the notion that high-end audio is dying. Don’t believe either that North America, or more specifically the United States, dictates the course of the world. In fact, we Americans are in some ways behind the curve significantly.

High End 2000 was the nineteenth such show held by the High End Society of Germany. The High End Society is an organization made up of manufacturers, distributors and dealers. The event itself started as a regional show and grew due to the persistence of the organizers and the needs of the ever-expanding industry. The Germans love their audio, which grew out of their appreciation of music and a penchant for the technology that produces it. The Kempinski Hotel has always been the venue for the show, adding a level of familiarity for the exhibitors and visitors. As an example, I met one couple who attends the show every year as part of their annual vacation. These people are dedicated! The result of this enthusiasm? What started as a regional show has developed into the most important audio show in Europe.

The High End Society of Germany is something that should be re-created in America. I know we have had our share of organizations that were created in an attempt to promote specifically the high-end-audio industry. I can’t remember the last time I actually saw something from any of them, however. If they are still around, they can surely learn something from the Germans. The High End 2000 show was really the culmination of a year-long effort to "grow the business," so to speak. Regional shows still exist in Germany, and these help the flames rise all year by promoting the idea that something better exists, and it is high-end audio. The smaller shows are held throughout the year around Germany in locations that are accessible to the locals. They showcase the gear and the music in settings that would appear attractive to the average consumer. Not unlike showing furniture in a simulated living room or kitchen, this approach lets people see how high-end audio would integrate into their lives. And my, is that quite a concept! Oh, I almost forgot, these regional shows are free. Anybody listening?

When the main show comes around each year, there are invariably more converts who have been garnered throughout the year by the smaller exhibitions. And, of course, the manufacturers and dealers grow as well to serve the new markets that have opened. This created, for me, a different feeling walking the halls of the Kempinski than any I have had throughout my years of attending domestic shows. Why? Women, teenagers, families and the stereotypical 30/40/50-something male audiophile attend. A feeling that transcended mere enthusiasm engulfed the surroundings. It leads one to feel that this is not a closed club, an exercise for a small group of males searching for something that they may never find. On the contrary, it is a feeling that the club is open and seeking membership for all who are interested. It is the personality of High End 2000 that I’m talking about. It was a social event that attracted real people. And it was about something that could improve their lives: great entertainment at home.

The focus, it seemed, was less about the rooms and more about the people walking in and out of them. In a word, it was healthy. It was more celebratory than competitive. In fact, I heard a story from a manufacturer that was indicative of what I saw. A competing speaker maker entered his room and commented positively on the sound. I actually witnessed a well-known speaker manufacturer listening to music in a room that was hosted by what I know is a competitor in the marketplace. And guess what? He was enjoying the music! If all this seems strange to you, join the club. But it was a paradigm shift of sorts for this audiophile.

The audio

The trend as far as demonstrations were concerned was overwhelmingly toward two-channel audio. As an estimate, I would say that the typical percentage of home-theater demonstrations was down by about one-third. The important item here, though, is that the home theaters that were shown were better than I’ve seen or heard before. Less volume, more ambiance and cohesiveness, the home-theater setups that impressed most used music and video cuts, and they produced both equally well. If you think that having an integrated music/video system is impossible, you should hear it done properly. I think that the home-theater industry is maturing, at least with respect to the high-end manufacturers. Most mass-market consumers shop by how loud a system will play and how much bass it can produce. Most of the early demonstrations highlighted this aspect of the performance only (which is important to home theater). So many other qualities are needed in a system that does it all, such as cohesion, neutrality, dynamics, etc. Thus High End 2000 showcased a more mature home-theater experience.

The pure stereo crowd was out in force. Vinyl, CD and SACD were all present as the sources for some very good demos. This reinforced to me that each, done properly, can sound amazing. Conversely, a poor performance from the mastering engineer can render the best technology and equipment useless sonically. This is what makes demos difficult: You really don’t know what you are comparing. A bad recording on one of the new formats would certainly sound worse than a great recording on CD. What was evident from the German show is that the showgoers were interested in the technology aspect of the hobby. There was a significant buzz around DVD-A and SACD -- and any other aspect of design that promised improved sound. This is also a healthy trend. It always bothers me that some say you can’t, or shouldn’t, be interested in the hardware. Car enthusiasts like to drive and explore the mechanics. We should not dissuade those who want to explore the means to the musical end. The Germans (and for that matter, the Japanese) embrace both the music and the technology, a very healthy thing for the industry. Remember that we are trying to include new people, not create cookie-cutter audiophiles.

The demonstrations of two-channel music did vary from very good to excellent to downright bad, but then again they always do. What did the good ones have in common? I spent a lot of time with our publisher, Doug Schneider, and we explored that very question. Doug is of the opinion that something is going on in the best-sounding systems that is probably measurable in one way or another. He has an intense desire to correlate the knowledge he has gained from his experience. I’m inclined to agree with him about measurements, but I would add that the path to musical salvation (or sheer neutrality) can be attained through a myriad of routes. The question needs further exploration.

The people

So why did the German people put on such a good show? I don’t know for sure, but I do have some ideas. One manufacturer shared with me that the government funded his research into room acoustics. This allowed a single person to pursue a scientific goal that would have otherwise taken a small fortune. Indeed, there were a number of start-up companies looking for distribution. The old days were like this in the US, small-time operations that went to CES and impressed the right people. This show is at least accessible to the little guy, something at which the CES has failed. Don’t get me wrong -- I’m not anti-establishment. I think the larger companies are prospering for a reason. I just like to see the large and small side by side duking it out on a level playing field. If the big guy wins, at least you know both had the opportunity to be there.

Maybe this was also part of the personality of the show; there were real people as well as companies representing their wares. The passion that some of these people displayed was inspiring, and not just for audio but for anyone who truly loves what he is doing. One manufacturer would not let his guests leave because he had “one more thing that you must hear.” Of course, he meant he had five things we just had to hear, but such was his enthusiasm.

The lesson

The High End 2000 show left me with a clear understanding of where audio needs to go. It needs to integrate into the lives of real people. If it can do this, then it has the chance to be enjoyed out in the open and gain converts. People who love music, movies and the finer things in life will be willing to open their doors to the world that our hobby has to offer. There was a day when the closed-club mentality was the rule. It simply must come to an end. This has to do with the way the industry expresses itself to its customers and the potential customers. It has to do with getting people excited -- meaning winning converts, the way the High End Society does. When the Americans can accomplish this, we can have a celebration of the industry like the High End 2000 show. Until then, we’ll stay behind the curve.

...Jeff Fritz
jeff@soundstage.com