Genuin Audio

June 24, 2024 0 By JohnValbyNation

High End Munich is a global stage for established audio brands, already heavily covered by the international press. How do smaller manufacturers get noticed in this crowded, high-profile event? I made it a mission to seek out hidden gems and share my discoveries.

Genuin Audio is an German company operated by former high-end dealer and recording studio owner Thomas Wendt.

“I’m the CEO of a telecommunications network company, which develops its own software. I am very familiar with digital technology,” Wendt explained from his corner room in Halle 2. “That’s why I developed my own music server, with an eye to avoiding jitter and high-frequency interference.”

After operating a recording studio, Wendt developed his own DSP-based loudspeakers. He’s currently developing a digital preamplifier to feed digital sources into the loudspeakers’ DSP without conversion or loss.
“Our aim is to offer a complete system of a few highly integrated devices in order,” he stated. “For example, it is better to amplify the fine signal of an MC pickup directly behind the tonearm cable and not two meters behind it. So, we integrated the phono stage into the record player. At the same time, we are addressing a modern audience with our smart concept.”

I was taken by Wendt’s system, which included the debut of a suspended turntable called Drive (€9950), the Pearl MC/MM phono stage (€4990), and a unipivot carbon fiber tonearm called the Point (€3950), mounted with a nude MC cartridge called Sting (€2950). Good names. A 1TB “Tars” Music Server (€9900) fed digits over Wendt’s Genuin cable to the 93dB-sensitive Ava active bookshelf speakers, which employs a 1″ tweeter and a side-mounted 8″ bass driver and is powered by a class-D amp with Pascal modules (€19,500/pair).

Sometimes, DSP software and active speakers make me run for the hills, but the Genuin Audio system was a revelation. Music flowed with a disarming humanity, naturalness, effortlessness, and infectious energy. Amid the cacophony of Munich, Wendt’s modest setup delivered music that brimmed with heart and soul.

Cecile McLorin’s Salvant’s “Devil May Care” played with appropriate swing feel and intimacy, while a classical piece by Delibes had outstanding dynamics and punch. Musicality turned up to 11.

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