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John Atkinson and Stephen Mejias were unable to attend the Munich High End Show this year, so the call went out to the editors of Stereophile's sibling sites, AudioStream.com, AnalogPlanet.com, and InnerFidelity.com requesting a trip to Germany to provide a bit of coverage for the show.

Wait! What!? You want me to go to Munich? Oh baby, I'm totally IN!

What follows are my impressions of a handful of exhibitors that tickled my ears.

Munich High End, an audio show so big that it claims representation from 95% of high-end brands worldwide, opens this week in Munich's MOC Convention Center. The show opens on May 5, which intentionally coincides with Germany's annual Ascension Day holiday, with a "Press and Industry Day" whose attendance is so large as to be mind-boggling. Then, from May 6–8, Munich High End opens its doors to thousands upon thousands of "the public" from 10am–6pm.

In anticipation of this week's Munich High End, which takes place May 18–21, MQA has announced several breakthroughs. The first involves its hardware partners, who have expanded to include AudioQuest, CanEver Audio, dCS, Esoteric, IAG, Krell, Lumin, Mark Levinson, Moon by Simaudio, Pro-Ject Audio Systems, TEAC, and Wadax. These are in addition to its existing partners, who include Aurender, Bel Canto, Bluesound, Cary, NAD, Brinkmann, Meridian, MSB, Mytek, Onkyo, Pioneer and Technics. All of the latter are expected to demonstrate MQA at the Munich show, with yet others showing at the Los Angeles Audio Show June 2–4.

Nearly 500 audiophiles descended upon Definitive Audio's Seattle location on Thursday, February 26 for the 10th Music Matters event in the Pacific Northwest. The "mother" of all Music Matters, and inspiration for all the other similarly named events that happen around the country, Definitive Audio's definitive four-hour gathering was so large in scope that it qualified as a mini-audio show. With major industry presenters including Stereophile's Michael Fremer (above) and John Atkinson, the evening also offered sufficient food and drink to satiate the most ravenous, and enough interesting music to ensure that even an inveterate show attender named Serinus never once experienced that "if I hear this cut one more time" feeling.

Job cutbacks are one inevitable result of sustained sales declines. In late March, the ailing music industry began to shed excess workers in an effort to reach profitability, with Sony">http://www.sonymusic.com">Sony Music and Bertelsmann">http://www.bmg.com">Bertelsmann Music Group announcing significant reductions in their workforces.

Is the music industry in the midst of a turnaround?

Retail sales of recorded music in the United Kingdom sagged by an unprecedented 13% in the first three months of 2003, according to figures released May 14 by the British Phonographic Industry (BPI). British music fans spent £216 million ($351 million) in the first quarter of this year, compared to £249 million ($404.6 million) in the same period a year ago. In unit sales, albums in the UK declined only 4.8% to 44 million, but prices dropped 9.4%. UK album sales totaled £200 million ($324.9 million); singles were off 42%, accounting for only £16.2 million ($26.3 million).