Reference Grade: The Revolver Club at Munich High End 2025
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A Farewell to Munich
Each year, the Munich High End Show stands as a cornerstone event in the world of high-fidelity audio. From breakthrough loudspeakers to advancements in analogue and digital playback, it brings together the industry’s most ambitious manufacturers, designers, and enthusiasts. Since its inception, the show has served as both a launchpad for new ideas and a benchmark for established names—a global touchpoint for anyone serious about sound.
This year marked the final edition at the MOC Munich before the show relocates to Vienna. To witness this milestone, a long-time member of The Revolver Club community made the trip and documented his impressions in remarkable detail—room by room, system by system. What follows is a firsthand account of what stood out, what resonated, and what the future might sound like.
The Last Dance at MOC
2025 marked the end of an era. After two decades of attending this show—eleven times in total—I couldn’t miss the final edition in Munich. For me, this show has never been just a trade fair. It’s the only place you can truly hear, feel, and understand what high-end audio is capable of. YouTube videos and online reviews don’t translate space, tone, or the layered physicality of a great system. That only happens in person.
The MOC may not offer ideal acoustic conditions, but that’s part of what makes it a fair test. Everyone deals with the same walls, power, and room constraints. What matters is how well each team manages those limits. In fact, some of the best listening happens during the final hours of the show—Sunday from 11 AM to 4 PM—when systems are dialed in, cables adjusted, and components fully warmed up.
The Listening Marathon
Across four days, I set out to cover as much ground as possible. With over 500 systems on display, it’s impossible to see it all, but I focused on the most promising rooms and often revisited them on the final day—when systems tend to sound their best.
Showstopper: Wilson Benesch
The best sound came from the UK’s Wilson Benesch. Their setup—while scaled-down compared to previous years—was still formidable: £100,000 speakers, dual Torus subwoofers, an APL Hi-Fi digital front end (also £100,000), and a newly launched turntable priced at £140,000, complete with in-house tonearm and cartridge. Cables by Crystal Cable added another £50,000.
Absurd pricing, yes. But in global high-end audio, £100k is the new £10k. And this system delivered. Both analogue and digital sources sounded equally stellar. The stage was wide, deep, and immersive; the tone was nuanced and natural. I kept returning just to recalibrate my ears to what reference-grade sound feels like.
TAD: Precision Without Flash
A close second came from TAD (Technical Audio Devices) of Japan. They showcased a floorstander from their Evolution series, paired with electronics from their second line—not even flagship gear. But the result was remarkable: fast, clean bass, razor-sharp imaging, and excellent PRaT. The compact woofers delivered astonishing control. I revisited this room often—consistently impressed.
Zellaton, Avalon, and a Few Revelations
Zellaton, a German brand with Swiss ties, collaborated with Greece’s True Life Audio and Dohmann’s turntable from Australia. The room was beautifully set, with deep staging and elegant voicing. The gear lineup, including Scherzinger cabling, was as thoughtful as the sound.
Wilson Audio also surprised me. Paired with VTL amplification and Nordost Odin cables, their setup featured a new Lohengrin amplifier and a Kuzma source. I’ve never been a Wilson fan, but this was the best I’ve heard them—cohesive, emotionally engaging, and beautifully proportioned.
Avalon offered a refined system too, with diamond tweeters, Accuton mids, Doshi Audio amplification, and a Kalista CD player. Room treatment with Helmholtz resonators helped deliver a sound that was balanced, clear, and sophisticated.
Horns, Ribbons, and Cinema-Scale Experiments
Cessaro’s massive horns (with TAD drivers) were paired with hybrid Italian tube amps and a Dalholm turntable. The musicality outweighed spectacle. Even in a tight 14–15 ft spread, it evoked a concert-hall vibe.
Kroma, a newer Spanish brand, impressed in several rooms. One pairing with Engström amps featured Danish woofers and AMT tweeters, spaced 10 feet apart yet producing a soundstage nearly 20 feet wide. Imaging extended far outside the speakers—gripping and cinematic.
YG Acoustics was heard in three rooms. The standout wasn’t the most expensive one. It was a modest setup featuring a Lamborghini green finish and Luxman’s anniversary integrated amp. Though limited below 30Hz, it was musical and inviting—better than their higher-end rooms.
Italy’s Albedo, using Accuton drivers in a transmission line configuration, sounded excellent with Soul Note electronics. But the aggressive blue LED lighting compromised the room’s feel.
Underdogs That Delivered
Rockport, powered by Turkish brands Solaris and Ekol, was a sleeper hit. It wasn’t an official Rockport demo, but my friend Karim Aslan re-tuned the setup based on feedback. From day two onward, it consistently impressed.
Gryphon made a quiet but strong return. Their demo of new compact loudspeakers and revived Antillean Signature amps didn’t show off—but it simply made great music. Calm, balanced, and mature.
A no-holds-barred room featured Lorenzo Audio speakers, SAT’s tonearm and turntable, a €80,000 Taiko streamer, Lampizator Horizon DAC, and CH Precision phonostages. The amps and preamps were from Elipson. Strangely, the digital side outperformed the analog—rare, but telling. While not emotionally perfect, it was technically world-class.
Other Mentions
On the ground floor, SHL from Sweden showcased Vinnie Rossi’s €100k amps. The room was compromised, but the sound was still excellent.
Matter Audio of Greece presented €35k open-baffle speakers with ribbon tweeters. Despite my general aversion to open baffles, I found the sound surprisingly good.
Clarysis from Switzerland recreated Apogee-style ribbon arrays in a 50-foot-wide room with six panels. Acapella brought a multi-million euro system that defied audiophile norms but produced magical sound from one precise sweet spot.
Silbatone from Korea recreated vintage cinema sound using Altecs, JBLs, and Western Electric components from the 1940s–50s. Not to my taste, but many called it the best room of the show.
A lifestyle standout was Loewe’s €10,000 floorstander with dual woofers and an AMT tweeter. Tasteful and musically satisfying—no more, no less.
What Comes Next
As Munich passes the torch to Vienna, the essence of the show remains unchanged: it’s not always about the biggest budget or the fanciest gear. The best rooms were the ones where everything—gear, room, placement, tuning—clicked. That’s what makes this show so vital. And if this year was any indication, Vienna has big shoes to fill.
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