The High End trade fair was held for the first time in Vienna in 2026 at the Austria Center Vienna congress center. The change was significant for the hi-fi industry, as the event had been held for no less than 21 years.
The event has always been known as the Munich HiFi Fair, and the move to the Austrian capital was not just a logistical change.

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In addition, the event was originally scheduled to be held at the usual time at the end of May, but it was decided to move it forward a week to June 4–7 due to Eurovision. Eurovision put a significant strain on the city's event and accommodation capacity.

The change seemed successful.

Over more than two decades, MOC had become a familiar and easily recognizable event venue, while Austria Center Vienna brought a new structure and significantly more space to the fair.

The biggest advantage of the new location was the spaciousness. The listening rooms were larger in many places, movement was smoother, and the worst bottlenecks were reduced. This was especially beneficial for large high-end systems, which need space around them to work reliably. On the other hand, many of the rooms were also very small.

The spaciousness of the space also brought problems. The fair was spread over several floors and halls, making the whole feel fragmented in places. Distances were long, signage could still be improved, and the placement of some product groups, such as headphones, did not form a completely clear whole.

Based on the first year in Vienna, the move seems to have been a success. According to figures announced by the organizer, High End Vienna 2026 attracted a total of 23,106 visitors. Of these, 10,603 were industry professionals, 11,957 were consumer visitors and 549 were media representatives. Visitors came from a total of 104 countries, and there were almost 500 exhibitors.

Overall, the first year in Vienna showed that High End can also operate in a new environment. The Austria Center Vienna offers a good setting for the event, but the routing, signage and layout of the different areas could be further clarified in the coming years. The next High End Vienna will be held at the same location from 6 to 9 May 2027.

Traditional, but also new technology

In terms of content, the change of venue was not a huge change, but Vienna's first High End showed the trends in the hi-fi industry perhaps more clearly than before. Traditional high-end was still strongly present: large floor-standing speakers, massive electronics, expensive turntables, tube amplifiers, special cables and very expensive reference systems were part of the event's basic image.

At the same time, another line of products became more prominent. Compact active speakers, streaming amplifiers, stereos with HDMI connections, soundbars, multi-room systems and all-in-one solutions that fit more easily into interior design were on display at the stands of many well-known brands. This shows that hi-fi is no longer thought of as just a separate listening room system, but is increasingly becoming part of the regular living room.

This division made the fair more interesting than usual. High-end hi-fi still lives in large, heavy and very expensive systems, but the growth of the industry and a new user base seem to be increasingly found in products that are directly related to today's living room. Music is listened to from streaming services, the television is the center of sound in many homes, speakers have to fit the interior and the system has to be easy to use. Many large and well-known brands responded to this development in Vienna.

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RAISING FROM FAIR DONATIONS

The range of products at the fair ranged from large high-end speakers to compact streaming systems and soundbars. The following highlights bring together the most interesting new products from the most well-known brands, as well as a few more unique products that well illustrated the broad content of the fair.

 

Bowers & Wilkins 800 Series Diamond D5 – refinements to familiar basic solutions

 

Bowers & Wilkins 800 Series Diamond D5 was one of the key speaker innovations at the High End Vienna 2026 trade fair. It is the fifth generation of the 800 series and is also part of B&W's 60th anniversary.

The new collection does not change the basic idea of ​​the 800 series. The Diamond tweeter, Continuum midrange element, a separate Turbine Head midrange enclosure in the higher models, and a massively built enclosure are still included. The collection starts with the 805 D5 floorstanding speaker and culminates in the 801 D5 flagship.

The most significant change to the D5 is not very dramatic from the outside. The development has focused primarily on the internal structures of the cabinet, the midrange enclosure, the crossovers, the wiring and the details of the drivers. The goal seems to have been to create a more unified and controlled whole.

A particularly interesting change concerns the integration of the top end. The Diamond tweeter retains the precision and airiness characteristic of the 800 series, but based on trade fair observations, it seems to be better integrated into the whole. This is a significant development, as the B&W tweeter is at its best very revealing, but also easily emphasized in the wrong ensemble. The goal of the D5 seems to have been to maintain resolution, but reduce the risk of top end separation and listening fatigue.

At the show, the B&W 800 Series Diamond D5 represented the continuity of the traditional passive high-end speaker. The new product does not seek to change the entire concept, but rather to fine-tune key areas of the series.

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Jamo – new ownership and return to the loudspeaker map

Jamo was interesting at the fair above all because it was not just about individual new models, but in a way a new platform for the entire brand. The Danish speaker brand with a long tradition broke away from the previous Premium Audio Company entity, and a new Jamo Holding Limited has been established around it. With the new ownership, Jamo will once again be built as its own brand, not just as part of a larger speaker and home theater group.

Based on the first products, the direction looks promising. Jamo is not returning to the market with just nostalgia, but with three differently positioned series. Concert Legacy continues the brand's more traditional hi-fi line, Concert Element brings in a more interior-friendly and easier-to-place speaker concept, and HYG series expands Jamoa into compact Bluetooth speakers and more everyday living room sound.

Concert Legacy is a more traditional hi-fi series in Jamo's new collection. It refers to the Concert 8 and Concert 11 speakers of the 1990s, but it is not a direct remake of the old models, but a new series that continues the same idea with modern designs.

The series includes three models: Legacy 8, Legacy 9 and Legacy 11. The Legacy 8 is a stand-mounted speaker, the Legacy 9 is a smaller floor-standing speaker and the Legacy 11 is the flagship of the series.

The Legacy series is technically based on Scandinavian driver expertise. The tweeters and woofers are from Scan-Speak in Denmark, and the midrange uses a Norwegian SEAS aluminum-magnesium driver with a copper-colored phase plug. The woofers use wood fiber cones.

The Legacy 8 is a two-way speaker with a 165 mm mid/woofer and a 25 mm tweeter. The stated frequency response is 34 Hz ​​to 21 kHz, sensitivity is 87 dB, and recommended amplifier power is 40–200 watts.

The Legacy 9 is a three-way floorstanding speaker. It features two 165 mm woofers, a 165 mm midrange driver, and a 25 mm tweeter. The frequency response is stated to be 33 Hz to 21 kHz, the sensitivity is 92 dB, and the recommended amplifier power is 40–200 watts.

The Legacy 11 is the largest model in the series. It uses three 165 mm woofers, a 165 mm midrange driver and a 25 mm tweeter. The frequency response is stated to be from 32 Hz to 21 kHz and the lowest frequency limit is 26 Hz. The sensitivity is high, at 94 dB, and the recommended amplifier power is 50–250 watts.

The Legacy 9 and Legacy 11 models feature Jamo's DualCore construction, which separates the midrange and tweeter from the bass enclosure. The aim is to reduce the mechanical and acoustic impact of the bass drivers on the midrange. The speakers also feature a downward-facing reflex port for easier placement in a typical room.

Euro prices are €3,299/pair for the Legacy 8, €5,499/pair for the Legacy 9 and €8,999/pair for the Legacy 11. Availability is set to begin in August 2026. Finish options include Onyx, Heritage and Northern Frost.

 

The Concert Element is the most visually distinctive of the series. The Element 50 is a low-profile, furniture-friendly speaker with a distinctive circular driver area and large, interchangeable fabric grilles. They are available in a variety of colors. The series also includes the floorstanding speakers Element 70 and Element 90, as well as the SW10 subwoofer. The idea behind the Element series is to make the speaker a part of the room without the placement requirements of a traditional hi-fi speaker.

The Element 50 is the smallest model in the series, a stand/bookshelf speaker. It is a two-way design with a 165 mm mid/woofer and a 25 mm soft dome tweeter. The cabinet is low and relatively thin, and the reflex port is directed downwards to make it easier to place on a shelf or on top of furniture. Jamo emphasizes that this is a true shelf-standing speaker and not just a small stand speaker.

The Element 70 is a smaller floorstanding speaker. It is a three-way design with a 200mm woofer, 130mm midrange driver and 25mm tweeter. It continues the same low and interior design language, but the larger cabinet volume gives more bass extension and capacity for a larger room.

The Element 90 is the largest passive speaker in the series. It is a three-way floorstanding speaker with a 250 mm woofer, a 165 mm midrange driver and a 25 mm tweeter. Jamo says it can reach 30 Hz in bass without a subwoofer. The design features separate enclosures for the bass and midrange to prevent the bass driver from interfering with the midrange.

The series is completed by the Element SW10 subwoofer, which features a 250 mm long-throw driver, sealed enclosure and 150 watt Class D amplifier.

Prices are stated slightly differently depending on the source: the price range for the Element 50 is probably around €1100-1200, for the Element 70 €2000 and for the Element 90 €2,500-2600 per pair.

The HYG series takes Jamoa to an even lighter and more accessible level. The series includes HYG Reflect, HYG Flow and HYG Flex. They are Bluetooth speakers whose names and designs refer to the Danish hygge concept, i.e. coziness and ease of use.

The HYG Flex is the largest model: a cylindrical battery-powered speaker with two tweeters, a 127mm woofer, up to 15 hours of battery life, Bluetooth 6.0, Auracast support, and a 3,5mm analog input. The price is 279 euros.

The HYG Flow is the most portable model in the series. It is IPX7 waterproof, equipped with a carrying handle, two broadband elements and two passive radiators. Battery life is up to 27 hours, and it includes Bluetooth 6.0 and Auracast. The price is 129 euros.

HYG Reflect is a Bluetooth speaker and clock for your bedside table. It's kind of like a clock radio, but without the traditional radio. It has an alarm clock, mood lighting, wireless charging pad, USB-C port, analog input, and two broadband elements supplemented with passive radiators. The price is 149 euros.

Overall, Jamo's return at the fair seemed strong and clear. The new ownership, the return of the Concert name, and broader consumer products like the HYG series indicate a more independent direction than before. Jamo is not trying to be just a retro brand, but is seeking a place in both the hi-fi enthusiast and ordinary home audio sectors.

Hopefully we can get the new products tested as soon as possible.
So it's worth following our website and subscribing to our newsletter.

More information: jamo.com

VIDEO EXTRA:

Jamo department interview (apologies for the sound problems at the end of the video) and Jamo news in brief:

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Yamaha NX-70A new premium network speakers and more

Yamaha's most notable High End Vienna 2026 novelty was the NX-70A. It is a wireless active network-based stereo speaker system that clearly ranks in the premium class. Based on international information, the price is set at around 3,000 euros, so it is not just an ordinary multi-room speaker, but Yamaha's answer to modern, but high-quality living room hi-fi.

 

The NX-70A combines active speakers, MusicCast multi-room platform, streaming and TV audio in one. The speakers feature HDMI eARC/ARC connectivity, YPAO room correction, Roon Ready support, and AirPlay 2, Google Cast, Tidal Connect and Spotify Connect. This makes them a stereo solution that can be used with both a music system and a TV.

Technically, the NX-70A is interesting because of Yamaha's own Harmonious Diaphragm driver material, which combines Zylon polymer and spruce wood. Yamaha has also used Zylon in its more expensive speaker models, and spruce wood is related to the company's piano soundboard tradition. The idea is to have a uniform sound character across the entire frequency range. The speaker has a 13 cm bass/midrange driver and a 3 cm tweeter, and the amplifier power is stated to be 100 watts for the bass and 60 watts for the tweeter per speaker.

Another essential feature of the NX-70A is the Synergistic Drive design, in which the amplifier and speaker drivers are designed to work as a single unit. This sets it apart from the traditional amplifier-speaker combination. In an active design, the manufacturer can more precisely match the gain, crossover, drivers and enclosure.

The NX-70A has clearly taken a new direction in terms of design. The rounded cabinet, aluminum top and copper-tone details are stylish. At the same time, the cabinet shape aims to reduce internal standing waves and resonances.

Alongside the NX-70A, Yamaha also unveiled the long-awaited WXA-70A and WXC-70A. The WXA-70A is a streaming amplifier for passive speakers, while the WXC-70A acts as a streamer and preamp for an existing system. These are the natural successors to Yamaha's previous WXA-50 and WXC-50, which have been long-awaited updates.

Yamaha's new 70A line now forms a clear entity. The NX-70A offers a ready-made active speaker solution, the WXA-70A updates passive speakers for the MusicCast era, and the WXC-70A brings the same platform to an older hi-fi system. The significance of the new products is that Yamaha seems to be returning MusicCast more strongly to the core of hi-fi, not just as an additional feature for multi-room sound.

On the home theater side, the RX300A and RX500A AV receivers are notable new additions, but for some reason we didn't see them at the booth. In any case, the RX300A is a 5.2-channel AV receiver that supports Dolby Atmos and a 3.1.2 height channel configuration. The RX500A is a 7.2-channel model that enables a 5.1.2 Atmos system and brings with it more extensive network functions.

Both models support modern HDMI features such as 4K/120Hz and 8K/60Hz video signals, VRR and ALLM. They also feature YPAO room correction and Yamaha's ART Wedge structure, previously associated mainly with more expensive AV amplifiers.

VIDEO EXTRA:

Yamaha NX-70A active speakers Vienna Highend 2026

Yamaha speakers inside Vienna Highend 2026

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Klipsch – 80 years of horn tradition and a new generation of active speakers

Klipsch celebrated its 80th anniversary with a strong focus on tradition, but also with a clearly more modern product line.

The most prominent celebratory model was the Klipschorn 80th Anniversary, based on one of the longest-running speaker models in hi-fi history. The basic idea behind the Klipschorn is still exceptional: it utilizes the corner of the room as part of the horn structure and strives for very high sensitivity and effortless dynamics.

This is not just a festive color, but a limited special edition, with only 280 pairs being produced worldwide.

The anniversary model interestingly returns closer to the original Klipschorn thinking. The 80th anniversary version uses a two-way structure, in which a 38 cm K-33-E woofer works together with a new large K-5-K high-range horn and compression driver. The solution emphasizes the typical Klipsch characteristics: high sensitivity, high dynamics and the ease of horn loading.

The basic idea behind the Klipschorn is still the corner placement. The speaker uses the walls and floor of the room as an extension of the woofer, which is why it is intended to be placed in the corner of the room. This makes it a very different speaker than most current floorstanding speakers, but at the same time this very design is the historical core of the Klipschorn.

The anniversary model is finished with a collector's value and craftsmanship. The speakers feature genuine wood veneer, matched wood grain patterns, brass inlays and a cast aluminum horn. Also included is a 180-gram vinyl edition of Paul W. Klipsch's original KlipschTape demos from the 1950s.

The Klipsch Rebellion is perhaps a novelty model aimed at a slightly wider audience. The Rebellion is based on the H8 speaker designed by Paul W. Klipsch in 1958, of which only 16 were made. However, the novelty is not a direct remake, but a modern interpretation of the same idea. Klipsch describes it as the first floorstanding speaker in the Heritage series, and the speaker is handmade in Arkansas.

Technically, the Rebellion is a two-way speaker. The high-frequency range is handled by a K-702 tweeter, which is combined with a K-703 Tractrix horn. The horn uses Klipsch's Mumps geometry, which aims to control the directionality of the horn and reduce interference caused by the horn mouth. The bass and midrange are handled by a new K-81-EP element.

The bass response is complemented by a Tractrix flare port on the rear. According to Klipsch, this solution is new to the Heritage series and is intended to improve airflow and reduce port noise. This is an interesting detail, as Klipsch's Heritage models are traditionally known for their horn construction, not the modern port design.

The Rebellion is priced at $2,599 per pair in the US. In Europe, the price is announced at €2,999 per pair, and sales are apparently scheduled to begin in the fall of 2026. Finish options include American Walnut and Black Ash, with a limited special Tigerwood finish also coming.

Active with Dirac room correction

The most interesting new addition, however, was Klipsch's new generation of modern active speakers: The Fives II, The Sevens II and The Nines II. They continue Klipsch's previous The Fives / Sevens / Nines line, but have been significantly updated for living room use. The new models combine an active two-speaker system, horn-loaded Klipsch sound, HDMI 2.1 eARC, Dolby Atmos support, built-in streaming capabilities and, in the two largest models, even Dirac Live room correction.

The Fives II is the smallest model in the series with a 5,25-inch woofer. The Sevens II uses a larger 6,5-inch woofer, and The Nines II moves up to the top of the range with an 8-inch woofer. All models feature a horn-loaded 25-millimeter titanium tweeter.

The new electronics have been made in collaboration with Onkyo, as Klipsch and Onkyo are now part of the same larger brand. The Fives II, Sevens II and Nines II models show this in practice by introducing AV and streaming features: HDMI pass-through, 4K/120, VRR and ALLM support, wireless streaming and app control.

A test of these is currently in the works. I'm particularly interested in the Dirac one.

 

Klipsch also unveiled its stunning new Atlas headphone series at the show, marking the brand's return to premium headphones after a long hiatus. The series includes three over-ear models: the HP-1, HP-2, and HP-3.

The HP-1 is a wireless noise-canceling headphone for everyday use and travel. It is based on a lightweight design, long-lasting comfort, active noise cancellation and long battery life. Klipsch has also announced a coaxial driver design and planned support for third-party surround sound and hearing compensation features.

The HP-2 is a closed hi-fi headphone with an emphasis on stronger and more physical bass reproduction. It is aimed at the user who wants the isolation and low-frequency weight of a closed headphone, but not just emphasized bass without control.

At the top of the range is the HP-3, a semi-open premium headphone for more critical two-channel listening. It aims for a more open and speaker-like spatial impression. The construction highlights a wide padded headband, Alcantara materials, perforated cups and comfort aimed at long-term listening.

VIDEO EXTRA:

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Onkyo Muse Y-50 Anniversary Edition

Onkyo is also celebrating its 80th anniversary. You wouldn't believe that this brand is that old.

Onkyo started in Osaka in 1946 with speaker technology. Amplifiers, tuners and later home theater equipment came later, but the company's origins were in the technical development of sound and speakers.

Onkyo introduced the Muse Y-50 Anniversary Edition streaming amplifier at the trade fair in conjunction with its 80th anniversary.

The Muse Y-50 combines an integrated amplifier and a network streamer in one device. It falls into the product category that was already strongly represented in Vienna: the combination of a traditional amplifier and a modern network player. It includes modern connections and services such as HDMI ARC, network playback, AirPlay, Google Cast and key music services.

Onkyo's 80th anniversary celebration wasn't limited to the Muse Y-50 streaming amplifier. The same celebration line was also represented by the Creator Series GX-30ARC and GX-10DB active speakers, which are aimed at desktop and near-field listening. Both feature Bluetooth, USB-C, optical digital input and turntable input, with the larger GX-30ARC adding HDMI ARC. The exterior uses the anniversary Bordeaux walnut finish.

VIDEO EXTRA:

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Ruark – a stunning combination of CD playback, streaming and speaker tradition

Ruark expanded its range in Vienna with an interesting combination: the new R710 Music Console music system and Talisman-R floorstanding speakers. The R710 also received TechRadar's Best in Show award at the fair, which speaks volumes about how strongly the product stood out from the traditional high-end devices. This is not just a single new device, but a fitting return to Ruark's own speaker and music system roots in time for its 40th anniversary.

The R710 is a single-device music center that combines an amplifier, network playback and integrated CD player. It continues the idea of ​​the R610 model, but larger and more powerful. The amplifier power is stated to be 200 watts per channel, and the connections include HDMI eARC, USB-C, optical digital input, analog line input, MM turntable input and headphone output. On the streaming side, AirPlay, Google Cast, Spotify Connect, Tidal Connect and Qobuz Connect are included, among others.

The most interesting detail of the R710 is the built-in CD player. The CD drive is hidden behind the wooden slats on the front panel, and the device has a 6,8-inch color display for album covers and playback information. Externally, the R710 is a very stylish retro-inspired device, but the retro impression is not limited to just design. It combines the physical CD format, modern streaming and an amplifier in one living room-friendly package.

Ruark founder Alan O'Rourke emphasized the importance of the CD as the last physical music format in trade show interviews. For the R710, the CD is not a nostalgic extra, but part of the idea where a physical disc, cover art, tactile user interface and modern streaming services can all live on the same device.

The Talisman-R rounds out the package on the loudspeaker side. It’s a modern take on Ruark’s 1990s Talisman loudspeaker, and a reminder that Ruark started out as a loudspeaker manufacturer. The new Talisman-R is a two-way bass reflex loudspeaker that uses natural fibre-based driver materials and is available in finishes that match the R710, including walnut veneer and satin black.

The combination of the R710 and Talisman-R is a good description of Ruark's current direction. The brand is currently known in many countries for radios and compact music systems, but with its new products it is returning more clearly towards hi-fi based on separate speakers. The difference from traditional hi-fi is that the amplifier, CD, streaming and control are assembled in one furniture-like finished device.

Of course, there are other Ruark models on display.

This is a good example of how "everyday" quality sound also belongs at hi-fi fairs.

VIDEO EXTRA:

Interview with Ruark founder Alan O'Rourke

 

PS. Learn more about Ruark's history here.

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JBL Summit Everest – a return to the top of high-end speakers

The JBL Summit Everest was one of the most visible speaker innovations at the High End Vienna 2026 trade fair. It is the top model of the Summit series and at the same time a clear indication that JBL wants to be involved in the heavyweight class of high-end speakers. In the consumer market, JBL is currently widely known for Bluetooth speakers, headphones and soundbars, but the Summit Everest returns attention to the other side of the brand: studios, professional sound, cinemas and large horn-loaded monitor speakers.

Everest is an exceptionally large and technically ambitious loudspeaker. It uses two 38 cm bass drivers, two 25 cm mid/bass drivers and a large Sonoglass horn, complemented by a structure of three 5 cm compression drivers. The dimensions tell the story of the product: it is approximately 144 cm high, almost a meter wide and weighs approximately 237 kg. The price per pair is approximately 160,000 euros.

The Summit Everest is clearly a speaker that continues JBL's own tradition. Two 38 cm bass drivers, two 25 cm mid/bass drivers and a large Sonoglass horn indicate that this is a speaker with large scale, high sensitivity and effortless dynamics. The design is directly related to JBL's studio, monitor and cinema background.

At the trade show, the Summit Everest was one of the most impressive listening experiences of the event. What was interesting was not only the size or price, but the fact that the large system was said to maintain its grip even with smaller-format music. In a speaker like this, the impression can easily be based on sound pressure alone, but with the Everest, the focus was also on control and mastery of the whole.

The Summit series is also a reminder of the other side of the JBL brand. For the general public, JBL often means Bluetooth speakers, headphones and soundbars, but the manufacturer's history is also strongly connected to studios, cinemas and large monitor speakers. The Summit Everest visibly returns this background to the high-end speaker side.

These speakers will probably also be seen and heard at the HIFI2026 trade fair in Finland in September!

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Eversolo – from streamers to impressive amplifiers

Eversolo is known primarily for its network players, large touchscreens and digital user interfaces, but in Vienna the brand clearly expanded its own territory. The most interesting aspect of the new products was the amplifier side: Eversolo no longer seems to focus only on network players and DA converters, but now offers complete “hi-fi systems” in the collection, where the amplifiers are also part of the same visual and technical line.

Several amplifier solutions were on display at the fair, including the SA200 streaming amplifier and separate power amplifiers. What was interesting about these was not only the type of device but also the appearance. Eversolo's amplifiers are highlighted by large front-panel displays and impressive power meters, which bring a traditional hi-fi feel to the devices but with a modern digital implementation.

The SA200 is particularly interesting in this context because it combines network playback and amplification in the same device. In practice, it is a one-device solution for passive speakers: streaming, control, DAC and amplification are all in the same housing. This brings Eversolo clearly closer to traditional stereo hi-fi, but the operating logic remains the same as in the brand's network players.

Separate power amplifiers in turn complement Eversolo's wider ecosystem. They are suitable for use with, for example, the DMP series streamer/preamplifiers. This allows Eversolo to offer a system where the source, DAC, preamplifier and power amplifier are all from the same brand and follow the same visual thinking.

Alongside the amplifiers, the DMP-A8 Gen 2, DMP-A8 Master Edition Gen 2, DAC-R8 R2R-DAC and an external OCXO clock generator were also on display. The DMP-A8 Gen 2 continues the streamer/DAC/preamplifier line, but the models that include an amplifier and power amplifiers represent a truly new direction.

Overall, Eversolo's stand was one of the most interesting examples of modern hi-fi thinking at the fair. The products combine network playback, large displays, power meters, DAC technology and amplifiers in a way that appeals to both the technically oriented user and those for whom the appearance and user interface of the device are an important part of the whole.

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Arcam – 50 years, new speakers and expanding Radia range

Arcam was on display in Vienna with an exceptionally extensive range.

The most interesting change is the Arcam Radia speaker series. Arcam has not been a speaker brand in recent years, but Radia brings it back to the speaker side in Europe. The reason for this is an internal brand arrangement at Harman: Revel will leave Europe as its own consumer brand, and the speaker line built on the Revel Performa4 collection will be sold in Europe under the Arcam Radia name. The solution is unusual, but logical, because Arcam is a better-known hi-fi and home theater brand in Europe than Revel.

The Radia speaker range consists of six models: the R15 and R25 floorstanding speakers, the R35 and R45 floorstanding speakers, the R35C center speaker, and the R25B subwoofer. The passive models use a 25mm aluminum tweeter with an Acoustic Lens diffuser. The range can be built as either a traditional stereo system or a larger home theater system.

Pricing starts with the R15 floorstanding speaker, priced at £1,699 / €2,000 per pair. The R25 costs £2,599 / €3,000 per pair. The R35 floorstanding speaker costs £1,999 / €2,500 each, or €5,000 per pair. The larger R45 in the series, along with a centre speaker and subwoofer, complete the range for home theatre use. Availability is set to begin in Q2 2026, with products expected to hit retailers from May.

The speakers are further enhanced by their connection to Arcam's Radia electronics. The speakers can be used with the SA35 and SA45 streaming amplifiers and future Radia AV products. Arcam anechoic EQ system. In practice, this is a speaker model-specific optimization, where the amplifier knows the measured response of the speaker and can correct the playback more precisely than through general tone adjustment alone.

On the stereo side, Arcam introduced the A50 Signature integrated amplifier and CD25 CD player as new products for the 50th anniversary year. The A50 Signature is positioned at the top end of the Radia amplifier series and uses Arcam's Class G amplification technology. The structure is dual mono, and the power is stated to be 150 watts per channel into 8 ohms. The amplifier was developed in collaboration with Arcam founder John Dawson, but this is not a retro-inspired return to an old model, but the top version of the current Radia line.

The A50 Signature has dropped the built-in streaming module found on the SA35 and SA45, making it a more traditional integrated amplifier with a focus on analogue and digital inputs and amplifier design. It is priced at £2,499 / €2,799 / $2,999.95, with availability starting in Q3 2026.

The CD25 complements the A50 Signature as a physical digital source. It is a Radia-compatible CD player, featuring a dual ESS DAC design and a vibration-damping turntable mount. It is priced at £1,499 / €1,599 / $1,799.95, and will also be available in Q3 2026. The CD25 also ties into the wider CD theme of the show: the physical disc is unlikely to return as the main format in the mainstream, but in hi-fi it is once again visible in the new releases of many manufacturers.

Arcam has also expanded Radia into the home theater space. The new Radia AV series consists of the AVA15, AVA25 and AVA35 AV amplifiers, the AVP45 processor and the PA4 and PA9 power amplifiers. The AVA15 is the entry-level model in the series with 9-channel Class D amplification. The AVA25 steps up the performance with Class AB amplification, and the AVA35 is the top of the range, using 9-channel Class G amplification.

All AVA models feature modern HDMI 2.1a connections, 8K support, Dolby Atmos, DTS, Dirac Live Bass Control and Dirac Live Active Room Treatment support. The AVA25 and AVA35 add Auro-3D and wider channel processing capabilities. The AVA35 uses a more advanced ESS Hyperstream IV DAC Pro conversion and also allows for flexible channel assignment, where amplifier channels can be assigned to different speaker channels according to the system's needs.

The Radia AV range starts at £2,599 / €2,999 for the AVA15. The AVA25 costs £4,499 / €4,999 and the AVA35 costs £5,999 / €6,999. The AVP45 processor costs £5,299 / €5,999, the PA4 power amplifier costs £899 / €999 and the PA9 power amplifier costs around £3,499 / €3,999. The AVA and AVP models will be available in Q3 2026, with the power amplifiers in Q4.

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Pro-Ject Debut Reference 12 – 12-inch tonearm for the Debut series

As an Austrian manufacturer, Pro-Ject was naturally strongly represented in Vienna.
The brand's most interesting turntable launch in Vienna was the Debut Reference 12. It introduces a 12-inch tonearm to the Debut series, which is an exceptional solution in this product category. Longer arms are usually associated with significantly larger and more expensive turntables.

The advantage of the 12-inch arm is a smaller angular error compared to the tracking of the disc groove. In practice, this can reduce distortion caused by tracking error, especially in the inner grooves of the disc. As a counterbalance, the structure requires a larger frame and more precise implementation of the arm, bearings and geometry.

The Debut Reference 12 continues Pro-Ject's familiar line: it brings technical solutions familiar from more expensive turntables to a lower price range. It is not about a flashy special player, but a practical technical upgrade for the user who wants a basic player that goes beyond but not yet to the level of a very expensive high-end player.

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Cartridges – diamond arms and new high-end tip for MC cartridges

Alongside the record players, Vienna also saw exceptionally interesting cartridge innovations. Audio-Technica and Ortofon in particular clearly raised the high-end edge of MC cartridges. Both innovations focus on the same basic idea: a mechanical structure that is as rigid and precise as possible right at the needle and stylus arm level.

Audio-Technica's new product was the AT-MCD1, the manufacturer's new flagship MC cartridge. Its price in euros is around 11,000 euros, so it is clearly a high-end product. The AT-MCD1's special feature is a one-piece diamond stylus arm and stylus tip. The structure is made of laboratory-grown diamond using the CVD method, and the stylus arm has a cross-section of 0,22 millimeters. The idea is to reduce joints and material boundaries at the point where the mechanical movement of the record groove is converted into internal movement of the cartridge.

The AT-MCD1 uses Audio-Technica's new Shibata grinding for the stylus profile. The body is constructed from titanium and aluminum, and PCCOCC copper is used for the coils. The design features a dual moving coil generator, gold-plated connection pins, and screw-on mounts for easy installation. Each cartridge is also individually numbered and comes in a cherry wood case.

Ortofon's answer to the same category was the MC Vertex. It is the manufacturer's new flagship MC cartridge and is priced at around 15,000 euros. The MC Vertex uses a diamond stylus and the new Vertex stylus profile. The body material is titanium, which is manufactured using selective laser melting. This allows for a complex and rigid structure that would be difficult to achieve with traditional manufacturing methods.

Ortofon also introduced the MC X50 cartridge, a much more affordable but still technically ambitious model. It costs €499. The MC X50 uses a boron stylus arm, a nude Micro Ridge stylus, silver coils and the new MC X series body structure. The output voltage is stated to be 0,4 millivolts, the channel separation is 28 dB at 1 kHz and the recommended stylus weight is 2,0 grams.

Based on these innovations, development in phonographs still focuses on very concrete mechanical issues: the grinding of the stylus tip, the material of the stylus arm, the control of body resonances, the material of the coils, and the accuracy of the generator. When the signal is initially generated by a very small mechanical movement, it is these details that largely determine how much information is recovered from the record groove.

At the same time, the price difference speaks to the duality of the analog market. The Audio-Technica AT-MCD1 and Ortofon MC Vertex are very expensive flagship models in which manufacturers show off their technical expertise. The Ortofon MC X50, on the other hand, brings some of the same emphasis to a more reasonable price range. When it comes to cartridges, Vienna's message was clear: the development of vinyl has not stopped, but continues precisely where analog playback is most sensitive – at the contact between the needle and the record groove.

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DALI Vega – an old-fashioned music center in a new form

All-in-one music centers are clearly becoming more common, although the basic idea is not new. Home audio largely started with single-device solutions: radio receivers, radio gramophones and later stereo music centers, where the radio, amplifier, speakers and often also a turntable were assembled into the same furniture-like entity. Only later did the separate hi-fi system establish the idea of ​​a separate amplifier, pair of speakers, program sources and cabling.

Now the trend seems to be returning in the same direction, but with modern technology. Alongside or replacing the turntable and radio are streaming services, HDMI ARC, wireless control, DSP sound processing, automatic placement correction and multi-room support. The basic idea is still familiar: people want a neat music device for their living room that doesn't require a separate amplifier, pair of speakers, a device level and visible cabling.

DALI Vega belongs to this new but at the same time old product group. For example, Focal/Naim's Mu-so-type systems, Ruark's larger all-in-one solutions, and devices like the Canvas L at the interface between television sound and hi-fi are moving in the same direction. They are not just Bluetooth speakers, but they are not traditional hi-fi systems either. They are music centers in a single housing, where the entire system is built into the same device.

Vega is a single-box wireless music center with ten DALI-developed elements and 400 watts of Class D amplification. It features BluOS streaming, HDMI ARC, AirPlay 2, Tidal Connect, Spotify Connect and adaptive sound processing.

What makes Vega special is its flexibility in placement. It can be placed on a table or mounted on a wall, and can be used in both horizontal and vertical positions. The OLED display rotates according to the position, and the system adjusts the sound based on the placement. This is an essential part of the product idea: DALI does not build a traditional pair of speakers, but a single music device that adapts to the room.

These types of products are interesting precisely because they don't try to replace the most ambitious standalone hi-fi systems. Instead, they offer a cleaner and easier-to-place alternative for the user who wants significantly better sound in their living room but with as few devices as possible.

The appeal of the DALI Vega ultimately depends on how well it can create a truly wide and believable soundstage from a single enclosure. This is the biggest technical challenge of the entire product group. With the left and right channels located in the same enclosure, the width and spatiality of the stereo image must be built through element placement, directivity and digital sound processing.

Technically and in terms of usage, however, Vega is one of the clearest examples at the fair of where living room hi-fi is partly moving. Alongside separate devices, there are increasingly single-box systems, in which the hi-fi is not seen as a stack of devices but as a single music center that can be placed in the room.

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Musical Fidelity and the future of the CD

Musical Fidelity brought several CD-themed innovations to Vienna. Of particular interest was the A1 CD prototype, which refers to the Musical Fidelity CDT player of the mid-1990s. The original model was nicknamed “The Frog” because the tubes on its top looked like frog-like eyes. The new A1 CDT uses the design language of the A1 amplifier and the top loader disc solution.

Musical Fidelity also had other CD players on display in several price ranges. The B1xi series is getting its own CD player, and the M8 series introduced a larger standalone model. This shows that the new visibility of the CD is not limited to one retro-inspired prototype.

Interest in CDs seems to be growing, somewhat in the same way as vinyl, though not yet on the same scale. Of course, the CD is not returning as the main format for mainstream music, as listening has permanently shifted to streaming. However, it may have a limited resurgence among hi-fi enthusiasts and listeners who value physical formats.

Technically, the CD is still a very strong format. It offers lossless digital sound, good dynamics, low noise, excellent channel separation, and playback that is not dependent on the condition of the stylus, arm adjustments, or mechanical wear of the record. Compared to vinyl, the CD is perhaps less romantic, but in many ways more practical and technically precise.

The new interest is also related to ownership. A CD is a physical object, but it is easy to use. It does not require an internet connection, an app or a service subscription, and its content does not disappear with the catalog changes of the streaming service. At the same time, the supply of used discs is still large and the prices are often reasonable.

The potential return of the CD would not be a cultural fad like vinyl, but rather a rational reaction to the abstractness of streaming by hi-fi enthusiasts who already own records and listeners who value the physical format. The Arcam CD25, Ruark R710 and Musical Fidelity's CD innovations won't make the CD mainstream, but they do show that the CD still has a place in a modern hi-fi system.

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Soundbars too

Soundbars were one of the most interesting themes in Vienna. Traditionally, a soundbar has been seen as a practical improvement to the sound of a television, not as a true hi-fi product. Now this boundary is starting to shift. Some of the new soundbars are clearly more than just a thin speaker under the television.

The WiiM Bar represents perhaps the more “accessible” end of the spectrum. It is a 3.0.2-structured soundbar that supports Dolby Atmos and DTS:X. The system can be expanded with WiiM Sound rear speakers and a WiiM Sub subwoofer to create a multi-channel system. Also important is the familiar WiiM user interface and streaming platform, which make the Bar part of a larger multi-room system.

The WiiM Bar is priced significantly lower than many other products seen at the fair. That's why it's interesting from AVPlus' perspective: it brings Atmos soundbars, streaming, and multi-room use to a price range that may interest a wider user base. The Bar also works in stereo and 2.1 mode, which sets it apart from many soundbars that are purely home theater-focused.

Canvas L takes soundbar thinking to the next level. It is essentially an active front speaker system built into a TV. The design has its own elements for each channel, and the sound processing aims to create a wider soundstage. The idea behind Canvas L is not just to improve the sound of the TV, but to replace the traditional front speaker system in the living room.

The Dynaudio Symphony Opus One was the ultimate soundbar. It was designed for large TVs, around 83-85 inches, and was priced in the luxury class. The design has 24 drivers: six soft dome tweeters, some of which are directed upwards for height channels, 14 MSP mid/bass drivers and four dual-diaphragm subwoofers. The amplifier power is 1,500 watts in total.

The most visually distinctive part of the Symphony Opus One is its 72 motorized white oak slats. They move according to the operating mode and cover the elements when the device is not in use. The system has several listening modes: a mode that emphasizes pure stereo, a mode that seeks a wider soundstage, a mode that utilizes Dolby Atmos playback, and a processing mode that targets the listening position. It also includes room-specific calibration.

Dynaudio's solution is not a standard soundbar. It's more of a large, TV-integrated sound system that combines speaker technology, furniture-like design, automation and home theater. It shows how far the soundbar category can stretch when price, size and design complexity are not constrained in the same way as mass-market products.

The rise of soundbars at the High End trade fairs signals a significant change. In many homes, the television is the center of the living room, and if hi-fi wants to keep up, it must be able to offer solutions around the television as well. The WiiM Bar, Canvas L and Dynaudio Symphony Opus One represent three different price ranges and three different answers to the same question: can a soundbar also be a serious sound system?

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Meze Audio ARTA and headphones highend

Headphones were still an important part of the High End trade fair. In Vienna, the World of Headphones area remained a somewhat separate entity, but there were still several interesting new products on the headphone side. The most prominent of these was the Meze Audio ARTA.

ARTA is an open high-end planar headphone that uses an exceptionally high impedance of 225 ohms as a planar headphone. This distinguishes it from many low-impedance planars, which often load the amplifier primarily through their current delivery capacity.

However, high impedance does not automatically mean easy driving. It reduces power consumption, but requires more voltage headroom from the amplifier. That is why ARTA is an interesting load for a headphone amplifier: it is not a typical low-impedance planar, but it should not be judged solely on its sensitivity reading. At best, it needs an amplifier that can provide clean voltage and good control at higher impedance.

The ARTA structure is based on the Isodynamic Hybrid Array element developed by Rinaro. Meze has used Rinaro's planar elements before, but ARTA clearly ranks among the manufacturer's top range. The open structure, large element area and Meze's design focus on finishing make it a product where technical solution and luxury class implementation go hand in hand.

According to the trade show reports, ARTA was also one of the strongest performances on the headphone side. In particular, speed, dynamics, bass impact and overall technical precision stood out. This is interesting, because the most expensive high-end headphones often have a distant or overly analytical presentation. ARTA was described more as an energetic and physically engaging headphone than as a mere precision tool.

The ARTA's appeal is therefore not only based on its price range or finish, but also on its slightly different technical starting point. The 225 ohm impedance, Rinaro planar element and open structure make it a headphone whose final performance also depends a lot on the amplifier chosen to pair it with. It is well suited to be the highlight of the headphone side of the trade fair precisely because it is not just a new luxury headphone, but a technically distinctive high-end model.

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HiFi Rose – new headphones with decent specs

HiFi Rose has quickly become known for its impressive and large-screened streamers, DACs and all-in-ones. And also for its amplifiers.

Rose is not exactly a newcomer to the amplifier world. The company's RA180 integrated amplifier is already known for its exceptional retro-futuristic design, mechanical levers and illuminated VU meters. Technically, the RA180 uses Class AD amplification technology based on GaN FET transistors and four separate 200-watt amplifier modules, which can also be used in bi-amping.

At the trade fair, Rose introduced new attractive monoblock power amplifiers, whose front panels are dominated by large meter displays. Traditional power meters have always been part of the hi-fi aesthetic, but Rose implements them with modern display technology. The front panel meters can show not only power but also other information.

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ELAC's retro-inspired clock radio

Alongside the large Concentro M 809 flagship speaker, ELAC's stand also featured a completely different anniversary product: the RD100 clock radio. It is based on ELAC's 1970s RD 100 clapper clock radio, which was a much more mundane but recognizable product from the German manufacturer at the time. The original RD 100 had FM and AM radio, a clock with clapper numbers, an alarm function, and the Space Age-inspired design typical of the 1970s.

The new RD100 is not just a generally retro-inspired device, but a direct reference to ELAC's own history. It served as an interesting counterpoint to heavy high-end products like the Concentro M 809 at the trade fair: the same 100-year-old brand can highlight both a large flagship speaker and a small everyday device that recalls the company's broader consumer product history.

This reminds us that a well-known hi-fi brand doesn't have to operate only in the expensive high-end category. There is also room in the market for smaller, more approachable products, and it's great that these are also being brought to the fair.

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Dutch & Dutch 6c – an active speaker that also dominates the room

The Dutch & Dutch 6c was an interesting active speaker innovation at the fair precisely because of its technical approach. It is a more compact version of the brand's well-known 8c model, but the 6c also uses cardioid directivity for the bass and low-mid range. This means that the speaker aims to radiate low and lower mid frequencies in a more controlled way forward and reduce energy directed backwards.

The solution is particularly interesting for home use, as it is the behavior of the bass and low-mid range in the room that often causes the biggest problems. When the speaker's radiation is controlled already in the structure, the effect of the room can be reduced before the actual correction or DSP adjustment. This distinguishes Dutch & Dutch from many active speakers, where activity mainly means an internal amplifier and a digital crossover.

The 6c was apparently left out of the show, and no real listening review was given. The larger 8c speakers were on display at the booth, and their demo was reportedly one of the most successful at the show. Still, the 6c is an interesting addition, as it brings Dutch & Dutch's cardioid thinking to a smaller, and probably easier to place, size range.

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The main message of the fair was ultimately clear: hi-fi is not going away, but its form is changing. The traditional stack of devices will remain, but more and more integrated, streaming, active and TV-based solutions will emerge alongside it. High End Vienna 2026 was therefore more than just the debut of a new fair venue. It was a picture of an industry that holds on to its history but is also looking for a new place in the modern living room. And high-quality sound is still of interest.