Some scornful tongues claim that the music played at hi-fi trade fairs is not always ideal for demonstrating the quality of the systems on display. There is some truth in this, as it is not uncommon for pieces to be chosen that have served as a “reference” for decades and sound good on every system. A systematic assessment of the sound quality is therefore just as impossible as a demonstration of the strengths of a system. The last HIGH END in Munich is approaching before the leading trade fair moves to Vienna in 2026. In cooperation with Qobuz, the streaming service known for its high sound quality, we at STEREO GUIDE have put together a playlist of reference, test and demonstration tracks for the most important trade fair for high-quality sound reproduction.
The 27 tracks come from various genres ranging from folk to rock. The editors selected them specifically to really challenge a system in individual disciplines. It is quite intentional that the one or other weakness is also revealed, for example when the electronic bass beat does not reach deep enough or an orchestra is not resolved enough. Newer recordings were deliberately favored over the classics. The brand ambassador of the HIGH END 2025, Annette Askvik, will of course also be there!
To make sound tests or demonstrations a little more systematic, we have categorized all titles according to the most important sound discipline that can be tested with them. Here is a brief overview of the six sound test categories – and which titles belong to which. Have fun discovering and at the HIGH END 2025!
Overview of all quality categories and title assignment
Voice reproduction
The reproduction of human voices is not really a separate category for sound evaluation. It challenges various qualities of a system. For example, timbre neutrality. This means that music sounds as it was actually recorded – neither too bright, nor too muffled or discolored. Voices and instruments in particular react sensitively to tonal distortion. Many listeners immediately perceive such colorations as unnatural. Therefore, even if a speaker is convincing in other disciplines, without neutral reproduction it loses credibility. To test this, music with many different sound sources is suitable – i.e. recordings with acoustic instruments, voices and orchestras. Good systems reproduce all of this faithfully and without distortion – just as it should sound.
- Anette Askvik – Com te ro
- Carolyn Sampson – Ave Maria (Gounod)
- Dominique Fils-Aimé – Birds
- Mark Knopfler – One deep river
Neutrality/instrument timbres
Sound neutrality means that speakers or headphones reproduce the timbre of the music as it was actually recorded – without emphasizing or coloring individual tones. Especially when voices or instruments sound “funny”, many people find this unnatural or disturbing – even if the rest is right. In order to assess the timbres realistically, you should listen to different music with many different instruments. After all, it is the mix of fine details and good tonal tuning that shows whether a system really sounds natural – and that is exactly what makes good hi-fi.
- Quadro Nuevo – Rio Sunrise
- Neeme Järvi – Le Cid (Massenet)
- WDR Big Band – Blue in Green
- Jeff Beal – House of Cards Symphony
Resolution/transparency
Many people associate audiophile music reproduction with a particularly finely resolved sound – in other words, the ability to make even the smallest details in the music audible: a soft breath, the bowing of a string or the clacking of a pedal. But this fine resolution cannot simply be measured – it comes from a mixture of good tuning, high-quality materials and clever speaker design. Some speakers rely on hard cones, others on fine foil technology. And when it comes to electronic components, there are also a wide variety of philosophies that can lead to the desired result if implemented professionally. It is important that voices and instruments sound vivid and transparent without sounding harsh or over-analytical. Then listening to music becomes a discovery – every time anew.
- Marek Janowski – Dvorak Stabat Mater
- Tsunoda Kenichi Big Band – Jumpin at the Woodside
- Envy of None – Under the stars
- Pure Reason Revolution – Lifeless Creature
Dynamics, maximum level, impulses
When music suddenly becomes loud or quiet passages create tension, this is known as “dynamics”. It describes the difference between the quietest and loudest sounds – technically measured in decibels (dB). Good speakers or headphones are able to reproduce this difference clearly and without distortion. What is important here is not only how loud a system can get, but also how finely it translates small jumps in volume – for example, when a bass is plucked or a wind instrument is blown. If all of this is perfectly tuned, experts also speak of good timing – then music sounds lively, impulsive and simply captivating.
- Yellowjackets & WDR Big Band – Dewey
- Azalea – Mycelia
- Marcin – Kashmir
- Eva – Etincelle
- Hook – Because it’s there
- L’imperatrice – Dreaming of You
Bass quality, bass depth
Bass encompasses the lowest audible tones – from the low rumble at 20 Hz to the so-called kick bass around 150 Hz. It provides foundation, groove and often also goosebumps. Whether sub-bass (very low) or upper bass (perceptible and rhythmic) – how good the bass sounds depends heavily on the room. Even at a concert, the bass sounds different depending on where you sit. What’s more, everyone likes it differently – dry and precise, soft and full or really powerful. This is precisely why we at STEREO GUIDE judge bass reproduction not only by measured values, but also by personal listening impressions – because good bass is a matter of taste.
- Boris Blank – Vertigo Heroes 1
- Kraftwerk – The Man Machine (Catalogue 3-D version)
- Blank & Jones – not the end
- Wolfgang Haffner – Full Circle
- Malia – Wandrín’ Star
- Chiara – I wanna Love you
Spatiality and localization
Good speakers can do more than just play loud and clear. They let music “stand” in the room. You can hear where instruments are placed, whether something is coming from the left, right or further back. This spatiality depends heavily on the room itself, but also on how precisely a speaker works. Well-recorded pieces that you know are particularly helpful. This is the best way to notice how accurately sounds are reproduced in the room. Whether a system can conjure up a real stage is therefore not determined by volume, but by localization and depth in the sound image.
- Antony Hermus – Concierto de Aranjuez (Rodrigo)
- Alexandre Kantorov – Sonata No. 1 Movement 4 (Brahms)
- Flora Purim – Newspaper Girl
