We invite you to follow in the footsteps of HIGH FIDELITY in time, timelessness and while bending time during the Audio Video Show 2025 exhibition.
One of the things that came up repeatedly in conversations between Adam Mokrzycki, the organiser of the AVS, and me was the scale of the Warsaw exhibition. This is interesting not only because the event is exciting in itself, but also because of its international dimension.
Everyone agrees that the show is huge. Fabio Camorani, head of AudioNautes Recordings, who was in Warsaw for the first time, wrote to me on Monday morning: “A huge event, with a whole host of journalists from Europe and the USA, I also saw an editor from Japan. The only “shortcoming” was the absence of editors from other Asian countries. But maybe I just didn’t come across them.”
text WOJCIECH PACUŁA
images Bartosz Łuczak / Piksel Studio, „High Fidelity”, Tomasz Folta / TF Audio-Consulting
▌ Audio Video Show 2025 in short
» WHERE:
- Stadion PGE Narodowy, al. Ks. J. Poniatowskiego 1
- Hotel Radisson Blu Sobieski, Plac Artura Zawiszy 1
- Hotel Golden Tulip, ul. Towarowa 2
» WHEN:
- Friday, 24 October 2023, 12:00 – 20:00
- Saturday, 25 October 2023, 10:00 – 20:00
- Sunday, 26 October 2023, 10:00 – 18:00
As I said, the scale of the AVS is something we have already become accustomed to. The figures provided by the organiser are impressive: nearly 230 exhibitors in 188 rooms, in three locations (PGE Narodowy, Golden Tulip, Radisson Blu Sobieski). As he himself says:
The Audio Video Show is an exhibition of audio-video equipment and home cinema, with its 27th edition in 2025. With 2,000 square metres of exhibition space, it is the second largest event of its kind in the world.
⸜ O wystawie, → AUDIOSHOW.pl, accessed: 27.10.2025.
It is second largest, because the High End exhibition, previously ‘second in line to the throne’, an event organised by High End Society Service GmbH, is moving to Vienna next year, where there will be fewer rooms to play music. It has also been helpful that this year at PGE Narodowy we had completely new spaces to visit, in the East Stand.
In the London, Paris, Amsterdam, Barcelona and Rome rooms, the ‘big fish’ gave their presentations, with powerful, expensive systems. And in the last room on the right, Warsaw, on Saturday there was a concert by Adam Czerwiński and Henryk Miśkiewicz, consisting of songs from Adam’s latest album, entitled Song for my Mother. This is the latest release from AC Records and another one bearing the ‘quality mark’, the HIGH FIDELITY Master Recordings logo, which will be reviewed in this magazine shortly.
From this brief description, it seems to me that the first ‘time constraint’ emerges: we are unable to visit the entire exhibition in a systematic manner. There is simply not enough time for everything. Andrzej Kisiel summed it up in his foreword to this year’s event catalogue as follows:
‘It is impossible to listen to or even see everything, but this is no reason to worry or to extend the event, as three days exhaust everyone’s strength – exhibitors and visitors alike.’
From this, we can gather that there were ideas to extend the event, probably by one day – High End runs from Thursday to Sunday. But at the same time, we can also read that no one is interested in this, due to the amount of time, resources and energy that it would require.
⸜ Gabi Rijnveld now has her own company, GR Audio Art, and represents several brands; the photo pictures her with a medal from the 150th meeting of the Krakow Sonic Society
And there is no time to listen to everything, no matter how focused and organised we are. Of course, we could use a phrase from a sketch by a group of popular Polish comedians called Kabaret Moralnego Niepokoju (Eng. Moral Anxiety Cabaret) and apply an ‘entry-exit’ system, just to ‘check off’ a given room, but that wouldn’t make much sense.
The only idea for this type of event that guarantees you’ll stay sane, including good organisation and attitude, also satisfaction with the results, is a selectively organised system. Both parts of this name are important, because we have to determine what we really want to see and what we really want to hear or who we want to listen to. If we approach this systematically, there is a chance that we will ‘bend’ time and space.
⸜ Bartosz Łuczak designed all the materials for “High Fidelity” – he hid an Easter egg on the admission ticket and advertisement – “Please scan the numerical code and have your smartphone decode it (something different will pop up on the advertisement and something else on the admission ticket to the presentation)
I say ‘listen to’ and not just ‘hear’ because this year the number of seminars and demonstrations organised in the listening rooms was particularly impressive. And each of these meetings lasted from half an hour to even an hour and a half, as in the case of the metal event with Zbyszek Bielak, which we organised in the J. Sikora room. Such a long part of the day spent in one place automatically excludes a few or even several other rooms from our schedule. Choices, choices, choices… And each one requires good time management.»«
»«
˻ I ˺ MEETINGS
» FRIDAY 18.00
Hotel Golden Tulip → Golden 1 room
STEREO: Blumlein vs Jecklin disk
PŁYTY LP: tempering vs freezing
Coordinators: Dirk Sommer, Birgit Hammer-Sommer & Wojciech Pacuła
⸜ Our guests: Birgit to the right, Dirk to the left
⸜ Alfred Vassilkov, CEO of Estelon, to the left, Roman Wilczewski (with his back towards us) to the right, and the author of this article in the middle
Taking all this into account, the opportunity to meet you at the shows organised by HIGH FIDELITY was a unique experience for me. I know that it meant giving up many other venues and presentations. As usual, you did not disappoint us and were with us from the very first meeting on Friday at 6 p.m.
We started the series with a presentation prepared together with DIRK SOMMER and BIRGIT HAMMER-SOMMER. Dirk is the editor-in-chief of → hifistatement.net magazine, with which we have been cooperating for years. Together with Birgit, they run the Sommelier du Son label, under which they record and release LPs prepared in the AAA analogue system.
⸜ Dirk Räke from the Transrotor company played the records for you
The presentation, which took place in the Golden 2 room, on a system consisting of a Transrotor turntable, Kondo preamplifiers and power amplifiers, Estelon speakers and Siltech cables, was divided into two parts. The first part was related to methods of recording stereo sound. This year, our guests recorded a performance of Mahler’s 6th Symphony by one of the orchestras, using two microphone setups: the Blumlein array and with the Jecklin disk. The former is a classic microphone setup with one microphone above the other, with their axes offset by 90⁰. Manufacturer Kevin Foy writes on his website:
The Blumlein pair technique is one of my favourite stereo techniques for capturing a rich, natural stereo spread in a home studio.
Essentially, a Blumlein pair uses two figure-8 microphones (often ribbon microphones or condenser mics with a bi-directional (figure-of-eight) polar pattern) positioned at 90 degrees to each other.
The result is an incredibly authentic representation of the acoustic space, with an accurate stereo image that mirrors the way we hear sound in real life.
⸜ KEVIN FOY, What is the Blumlein Pair Technique and How to Use it in a Home Studio?, → www.DEMOMENTOR.com, 26th February 2025, accessed: 27.10.2025.
However, this technique has its limitations, mainly in terms of the size of the orchestra being recorded, and is only suitable for small ensembles.
⸜ From the left: Dirk Sommer, Romek Wilczewski and Michael Fremer, representing their Tracking Angle portal, but currently also writing for The Absolute Sound.
The Jecklin disc, on the other hand, works better in large rooms. This technique also uses two microphones, but they are positioned differently and have different characteristics. These are omnidirectional microphones spaced apart at ear distance and pointed left and right. Additional separation between them is achieved by using a sound-absorbing disc. This system mimics the way humans hear sounds and provides a wider, more realistic image than standard microphone pairs, even in binaural recordings played through headphones. This technique is also praised for its relative simplicity and effectiveness in recording large ensembles such as orchestras and choirs.
⸜ System with a Transrotor turntable, Kondo electronics, Estelon speakers and Siltech cables
Listening to Mahler in this way evoked different reactions from you. Some liked Blumlein’s version better, while others preferred the one with the separating disc, as is often the case in life. But it was nice to see that this was not due to a misunderstanding of what we listen to, but to the choices we make. For some, the precise location of the first system was more important, while for others it was the scale and size of the second system’s soundstage. This shows that when choosing how to record an album, the producer also chooses the aesthetics in which we will hear it, and not just the ‘sound’ itself.
The second part was much more demanding. First of all, because we listened to a fragment of the same recording six times, which was rather calm and therefore required special attention. The comparison concerned the differences in sound achieved by ‘tempering’ or cooling LP records. In previous years, Dirk and Birgit had demonstrated the effect of cryogenic treatment, and this time they went all out. They prepared the following records:
- a cryogenized one,
- a tempered (i.e., heated) one,
- one that was first cryogenized and then tempered,
- and, finally, one first tempered and then cryogenized.
⸜ The most important element: you; Birgit Hammer-Sommer to the left
It was indisputable that there were differences and that they were clear. Not everyone found them to be very significant, but even for those of you who heard them but couldn’t decide which was better, it was clear that they were there. Michael Fremer, a journalist for “The Absolute Sound” magazine, who listened to these changes with us, opted for the latter version, i.e. heated and cooled. For me, on the other hand, the cooled and heated version sounded best (in terms of the order of processing).
This is because changing the physical structure of the vinyl changes the way the signal is read by the turntable cartridge. And even those who preferred the completely ‘unprocessed’ version had the opportunity to hear how such seemingly esoteric methods affect sound.
»«
» SATURDAY 12.00
PGE Narodowy → Skybox 207
LP: Song for My Mother, AC Records
Coordinators: Adam Czerwiński & Wojciech Pacuła
The next day, Saturday, was particularly busy for me – I was to host three meetings.
The first one was moving, because in J. Sikora’s room we listened – above all – to the latest album from ADAM CZERWIŃSKI’s AC Records, entitled Song for My Mother (a surprise was the listening session of IREK WOJTCZAK TENTET’s Roots & Wings / Suita Parzęczewska album, of which only two hundred copies will be released on transparent vinyl; more → HERE).
⸜ Adam Czerwiński (to the right), next Jeff Joseph (Joseph Audio) and the CEO of the Aidas Cartridges company, which had supplied the turntable cartridge
The title Song for My Mother comes from the fact that Adam’s mother, to whom he dedicated the album, had passed away shortly before. The title track, which ended the meeting, brought back memories, and so tears appeared (not only in his eyes, I might add).
The album was recorded in California in 2025 in collaboration with other musicians such as Marcin Wądołowski, Darek Oleszkiewicz, Alan Pasqua and Bob Sheppard. The music has a moody, less jazzy sound, with elements of country. And I must say that the album sounds extremely professional, simply wonderful. I haven’t heard a double bass recorded like this in a long time.
⸜ Robert Sikora presenting the transparent version of the Song for My Mother album
As usual, we compared three versions of the release: black, transparent and test press, and you voted for the one you liked best. And, as often happens in life, the votes were almost evenly split. There was agreement that each one sounded different, but when it came to which one was better, we reached complete disagreement 🙂
The point is not that one solution is indisputably better than another. It is more about our choices regarding the basic components of sound and what we are looking for in it, as well as about the system we listen to it on.
⸜ A system with a J.Sikora turntable, Doshi Audio electronics and Joseph Audio speakers; all the cables from Soyaton
The black version is the most attractive, calmer and more rounded. If the system is nervous, this version will sound best. The transparent version, on the other hand, is more accurate, more expressive, and has a better-defined sound attack. This one will sound better in a system with a warm, full sound. For Adam Czerwiński, it was the closest to what he wanted to achieve.
But for me, the test press usually sounds best. It gives me the greatest dynamics and the best energy transfer. It is not as ‘pretty’ as the previous two, but it most closely resembles what I know from tape. Dirk Sommer reiterates what he was told by the Grammy nominee for Best Engineered Album, Classical for mastering the album featuring John Williams’ Violin Concerto No. 2 performed by Anne-Sophie Mutter and the Boston Symphony Orchestra: the test press is a by-product that produces more noise. It’s true, the noise and crackles are louder, but the incredible directness of the sound!
» SATURDAY 15.00
PGE Narodowy → Skybox 207
PŁYTY LP: ZBIGNIEW BIELAK and black metal • pt. 2
Coordinators: Zbigniew Bielak & Wojciech Pacuła
Shortly after this meeting, ZBIGNIEW BIELAK entered the same room. He is the author of album covers for bands such as Carcass, Darkthrone, Ghost, Mayhem, Paradise Lost, Mgła and Vader. He brought them with him for you to talk about even more extreme varieties of metal music than last year. I titled the meeting Zbigniew Bielak and black metal pt. 2, but – as it appeared – I was not precise in that, which was corrected at the very beginning by our guest.
⸜ Zbyszek Bielak to the right
It was a blast! Just like last year, we played as loud as we could, and we could play really loud. Just like last year, we had a J.Sikora turntable and Doshi Audio electronics in our system, but this time with Joseph Audio speakers instead of Kharma. And they really did the job…
The differences between the sound of individual records were exceptionally clear. But even the poorly recorded ones got the listeners excited. And the best ones, especially the wonderful Vader with the Sothis EP recorded at Izabelin Studio, surprised everyone with the power of their sound. Unreleased for many years, it was only released when Zbyszek prepared a new cover referring to the old one, the design of which was lost in hellfire…
⸜ One of the presented recordings was an LP by Sodom entitled Persecution Mania
Both meetings took place in a small room, which sounds really good, but cannot accommodate everyone who would like to listen – whether to Adam or Zbyszek – in comfort. We have already received preliminary confirmation from Robert Sikora that at least the meeting with Zbyszek will take place next year in the large London C hall, which is a new venue for us.
This would be great, as this is where this year’s exhibition of graphic art, the first edition of which took place at the Polish Song Museum in Opole (until 5 May 2024), could be seen. I am curious myself to see how this type of music, which is fast, dynamic and energetic, but also often noisy and flat in stereo, will fare in such a space. The plus is that last year we played it on Kharma speakers, whose system was presented there this year and will probably be there next year as well. And it sounded spectacular, I might add.
⸜ Another LP by the Body Count band and raper Ice-T, and the Carnivore album
In the case of this year’s presentation with the author of the cover for Paradise Lost’s album The Plague Within, time was one of the actors in this presentation. The presentation, scheduled for an hour, dragged on for an hour and a half. We benefited a little from the fact that Wojtek Mazolewski twisted his ankle. Let me explain. The double bass player is a good friend of J. Sikora, which is why he had his own show this year – we were in SkyBox 207, and he was in the aforementioned London C room.
When we discussed the dates with Robert Sikora, it turned out that the 3 p.m. time I had already announced conflicted a bit with the presentation in London. So, he moved it to 4:15 p.m. in order to move, at the speed of Dave Mustaine’s playing, to the other end of the stadium.
⸜ On the left is Nick Doshi, head of the company bearing his name, who did a great job as our DJ.
And here, chance, fate or something like that comes into play – the aforementioned ankle. Because of it, Robert went to pick up the musician, so he couldn’t stay in our room for more than a few minutes. That’s why he didn’t have to move. This, in turn, meant that we had an open time slot, limited only by the nerves of Nick Doshi, on whose Doshi Audio equipment we listened to music and who acted as DJ, and the kindness of our neighbours in SkyBox 207. As it turned out, an hour and a half was ‘the’ moment… And we bent the rules of time.
⸜ And our visitors – crowded, embracing each other but, as it seems to me, content…
»«
» SATURDAY 18.00
Hotel Golden Tulip → Golden 2 room
Files listened to during tests by MARCIN OSTAPOWICZ & WOJCIECH PACUŁA in collaboration with GERHARD HIRT, Ayon Audio.
What did we fail to do in the case of our last planned presentation? This is how it was. For some time now, we had been planning a joint presentation for you – MARCIN OSTAPOWICZ, head of JPLAY, Jact and Xact, and myself. The impetus to carry out the plan came from GERHARD HIRT, who this year planned to show an inexpensive, as far as he is concerned, system consisting of an integrated amplifier and Ayon Audio file player, along with Lumen White speakers and Crystal Cable and Siltech cabling.
⸜ The people who coordinated the event for you – Marcin Ostapowicz and Wojciech Pacuła
So, we planned a meeting where we wanted to talk about the files we use to design (him) and test (me) audio products. It took us quite a while to decide which files to play, the order, etc., but we managed it.
And everything went very well. Except for one tiny little detail: we didn’t manage to crack the spatial code and have all of you who wanted to be with us at Tulip and at the same time listen to Adam Czerwiński’s concert, which took place at PGE Narodowy at exactly the same time, at 6 p.m. on Saturday. It was planned for 8 p.m., but the organiser and Adam decided that an earlier time made more sense.
And indeed, as Adam told me when I met him that same evening – no surprise there – at a restaurant, it was wonderful and they managed to gather almost two hundred people (!).
⸜ Marcin Ostapowicz in the foreground, with Robert Szklarz (Nautilus) and Gerhard Hirt in the background (Ayon Audio)
This means that next year we will have to plan the presentations differently, preferably in the afternoon and early evening. Not that it was bad, absolutely not. I was very grateful to those who gave up the concert to see us. And we thank you twice as much for that! But the fact is that I would like to have ALL of you there, that’s obvious 🙂 Especially since the system prepared by our friend from Austria was excellent. I listened to both Marcin’s and my own tracks with curiosity, because they sounded really fantastic.
⸜ You are also there – thank you!
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˻ II ˺ STATEMENT in High Fidelity ⸜ Polish Edition 2025
» FRIDAY 12.00 || SATURDAY 20.15
STATEMENT in High Fidelity award ⸜ Polish Edition 2025
I did not mention the restaurant by accident. I was there on Saturday evening to award STATEMENT in High Fidelity. Let me remind you that it is awarded to audio products by two magazines: the German → HIFISTATEMENT.net and the Polish → HIGHFIDELITY.pl. We present it together with Dirk Sommer twice a year – in the Polish edition in Warsaw, during the Audio Video Show exhibition, and in the German edition, during the High End exhibition in Munich.
This year, the award went to:
- SV-Audio by Storgaard & Vestskov Frida – stand-mount speakers
- Bladelius Oden Class-A II – integrated A-class amplifier
⸜ The award ceremony took place on Friday at 12 noon; Lærke Vestskov Poulsen in the centre, Dirk Sommer on the right, and Wojciech Pacuła on the left.
⸜ The entire SV-Audio team by Storgaard & Vestskov; third from the right is its head and founder, Casper Vestskov Poulsen
⸜ Here, Mike Bladelius is receiving his award. I would like to add that, in addition to TAD speakers, a Bladelius amplifier and a Lumin file player, the system also featured a fantastic Divine Acoustics table
At the Stary Dom restaurant, we met with the CEO and founder of SV-Audio by Storgaard & Vestskov (Casper Vestskov Poulsen) and the CEO and founder of Bladelius (MIKE BLADELIUS). Mike was accompanied by Krzysiek Owczarek, the Polish distributor of the brand, and Casper by his daughter Lærke Vestskov Poulsen, who works in the company’s promotion department.
It’s a good place, with good food and equally good drinks. We took advantage of all these delicacies, telling stories from our work, recalling events from the past, discussing how music should be listened to and why. Interestingly, the theme of time also came up in these conversations. This is because one of the principles behind SV-Audio speakers is time coherence, hence the first-order filters for the low-midrange driver. And for Mike Bladelius, one of the key aspects of his amplifiers is… time coherence. Coincidence? I don’t think so, to quote a classic…
⸜ Already at the restaurant, from left: Casper Vestskov Poulsen, Dirk Sommer, Lærke Vestskov Poulsen, the author, Mike Bladelius, and Birgit Hammer-Sommer
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˻ III ˺ COVERS
One of the most important elements of High Fidelity’s identity, at least for us, is the presence of our magazine covers at the Audio Video Show exhibition. You see, when I say ‘cover’ in the context of an online magazine, I am transferring a term belonging to the external world to the virtual world. Covers on the internet function only as part of PDF files, never as standalone graphics – except in our magazine.
⸜ Mr Satoshi Yamamoto, head of sales at Final, with the May cover of HF featuring the Final DX 6000 headphones
⸜ Dimitris Baklavas and James Michalopoulos from Ypsilon on the July cover of HF
Very early on, in April 2005 (№ 12), we presented our first ever cover alongside the table of contents on the main page. Every year, we change its style a little, looking for new ideas – and this time, twenty years later, was no different. Bartosz Łuczak, who prepares the High Fidelity magazine for you, is also the author of this year’s concept. We hope you like it.
⸜ Jarek Waszczyszyn with Ancient Audio electronics and Fram speakers, and below, the cover of HF from September this year.
⸜ The cover featuring the Perraux 300iX amplifier, flanked by Karol Goliński (distribution) and your beloved editor 🙂
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˻ IV ˺ BEST SOUND • Audio Video Show 2025
In the same issue of “High Fidelity”, you will find Janusz Tuchowski’s report on this year’s AVS exhibition. It will also feature awards for the systems he selected. However, I couldn’t resist doing the same here. Admittedly, I didn’t have much time and didn’t see much, but among the systems I heard, a few stuck in my memory so clearly that I couldn’t leave them out.
This is a very subjective selection, based on a fragmentary tour, and it leaves out many fantastic systems that I did not hear, but which, according to my friends, were exceptional. But that’s life.
1. LUMIN → VAN DEN HUL → DIAPASON
The Audio Video Show 2025 saw the world premiere of the Didascalia speakers from the Italian company Diapason. Everyone who saw them – and they look great – and then heard them was surprised by the power of the beautiful sound coming from such small structures. What is more, they are two-way speakers (!). The transducer visible on the side is passive. As Paolo Tezzon, one of the designers, told me during a listening session organised for me, this is a kind of ‘new beginning’ for the company, both in terms of design and sound.
The system also included a Lumin file player as the source and Van den Hul electronics, connected with cables from the same company, and I had the opportunity to listen to a presentation prepared by Fabio Camorani (pictured), showing the differences between LP pressings, 1-Step, 1-Step test Press, 1-Step Test Press 45 rpm and original lacquer. Fantastic!
2. AYON AUDIO → LUMEN WHITE & SILTECH
Gerhard Hirt, designer and owner of the Ayon Audio and Lumen White brands, once again ruled the Golden 2 room at the Tulip Hotel. As usual, he prepared a system that sounded simply fantastic. This time, he opted for inexpensive equipment, such as the Ayon Audio S-10 Signature file player with the Spirit V integrated amplifier from the same company, Lumen White White Light II speakers and Siltech cabling.
What was most surprising was the scale of the sound and the bass response. And yet the Spirit V, although excellent, is not a particularly powerful amplifier. The credit goes to its current output and the high efficiency of the speakers. This combination produced a creamy but very detailed sound.
3. J.SIKORA → DOSHI AUDIO → JOSEPH AUDIO & SOYATON
This is the second room where I gave presentations (after Gerhard Hirt’s room), so I had plenty of time to listen to how this system sounds. And it is amazing at how well it reproduces Adam Czerwiński’s sublime jazz and the devilish slaughterhouse prepared by Zbyszek Bielak. This year, instead of Kharma speakers, there were Joseph Audio Pearl Graphene Ultra speakers, and they really did the job…
4. LUMIN → NORMA AUDIO → MULIDINE & HIJIRI
The room in which the small Mulidine Alma speakers delivered incredibly saturated, large-scale sound. Powered by a Norma Audio IPA-80 amplifier, with sources in the form of a CDP-2 CD player from the same brand and a Lumin U2 transport with a Norma Audio HS-DA1 DAC, they demonstrated how well a system can be put together at a very reasonable price. This is yet another confirmation of Norma Audio’s capabilities and my first encounter with the Mulidine brand; you will find a review of its Da Capo speakers in HF on 16 November.
5. BONAWATT → OEPHI AUDIO
I was not familiar with amplifiers from the Polish company BonaWatt or Danish OePhi speakers and cables before. In Warsaw, they sounded very mature and dense, which I really liked. The Triton hybrid amplifier presented at AVS 2025 has a modular design – it allows you to plug in an MM/MC phono preamplifier card, developed in collaboration with MuzgAudio, and a digital-to-analogue converter. It’s a really cool device!
6. SOULNOTE → HORN ACOUSTICS & WK AUDIO
The fact is that the Japanese brand Soulnote performs well in almost all conditions. This was confirmed in Warsaw. Together with the Polish Horn Acoustics Vivo speakers, the following devices were used: the S-3 Reference SACD player with the X-3 clock and the A-3 integrated amplifier. The sound was phenomenally spacious and rich in colour. When testing this company’s equipment, I had already become accustomed to this type of sound, i.e. unforced and natural, but it is difficult to repeat something like this at an exhibition. And yet it worked. The system was connected with WK Audio cables, including those from the new version of The Red series. It looked and sounded great!
7. ARCAM → SPENDOR & CHORD COMPANY
The room, dominated by British brands, offered exceptionally pleasant and musical sound – exactly what one associates with the ‘English DNA’ of sound. The inconspicuous-looking second-generation Spendor A7.2 speakers showed their potential, creating a coherent and emotional soundstage. The whole system was powered by the latest Arcam Radio SA45 streaming amplifier, and the Chord cabling added clarity and elegance to the system.
▌And after the time…
The last thing I would want you to take away from this High Fidelity tour of the Audio Video Show 2025 is the impression that I am complaining. That is not the case. It was a wonderful event, which has already gone down in history as the second largest audio exhibition in the world.
As the organiser reported immediately after the event, the number of rooms, exhibitors, brands and visitors – over 14,000 – allowed it to surpass the High End exhibition in Munich. The latter still surpasses Warsaw in terms of the number of journalists, but – as Fabio Camorani, whom I mentioned earlier, told me – he was shocked by how many editorial offices he saw and how many journalists he spoke to. The matter with Fabio is still developing, as we are preparing a meeting of the Krakow Sonic Society dedicated to his label, AudioNautes Recordings.
I would like to conclude by thanking the organisers, exhibitors, producers and, above all, you for the wonderful welcome and the enormous amount of work put into preparing the event. See you next year! » HF
→ AUDIOSHOW.pl
tekxt WOJCIECH PACUŁA
pictures Bartosz Łuczak/Piksel Studio, „High Fidelity”, Tomasz Folta/TF Audio-Consulting
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» POST SCRIPTUM
I bet one of the things I will remember from this year’s exhibition are… pigs. Small, pink, cute, squeaking, they were handed out by Linette and Stuart, editors of HiFiPig magazine, and you could hear them calling each other in the corridors (like a pack…); interview with Stuart → HERE. This was how they marked the rooms whose sound they liked.
I must admit that I envy them for this idea and for the fact that I did not come up with it earlier. So, the editorial team came up with the idea that we should also reward sound at exhibitions in this or a similar way. There are several ideas as to how it would look, what it would be, and how it will turn out – we shall see 🙂
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