Just before leaving for Austria, I wrote an editorial titled “Can High End in Vienna Be as Good as It Was in Munich?” In that article, published June 1 on SoundStage! Hi‑Fi, I laid out the concerns many people in the hi‑fi industry had expressed since the High End Society announced the show’s move from Munich, Germany, to Vienna, Austria.
Their concerns were understandable. High End had spent more than two decades at the Munich Order Center (MOC), and during that time it had become, arguably, the most important hi‑fi show in the world. More importantly, despite its increasingly international nature, it still relied heavily on Germany itself. German consumers attended in large numbers. German manufacturers and distributors formed a substantial part of the exhibitor base. Munich worked. So the obvious question was whether moving the show out of Germany would weaken it.
Now, three days into High End Vienna 2026, with one to go, I think there’s enough information to answer that question.
The move appears to be a success.
Not necessarily a transformative success in the way the move from Frankfurt to Munich was back in 2004, but a success nonetheless—and likely successful enough for High End to maintain its position as the world’s premier hi‑fi event.
Why can I say that? Let’s start with Vienna itself.
The city
Munich was always a wonderful city for High End. It was clean, easy to navigate once you learned the subway system, filled with excellent restaurants, and large enough to comfortably accommodate a major international event. Vienna is every bit as attractive a city; some people would argue that it’s even more beautiful. Personally, I like both cities immensely, but for different reasons.
With its imperial architecture and broad boulevards, Vienna feels slightly grander, while Munich has a somewhat more relaxed feel. And Munich is more familiar for longtime attendees. But in practical terms, Vienna works extremely well as a host city for a major hi‑fi exhibition. And let’s not forget that Vienna is called the City of Music.
Overall, prices for meals and incidentals seem a little higher in Vienna than in Munich, though not dramatically so. Some of that difference may be attributable to a year’s worth of inflation. In any case, the difference isn’t substantial enough to matter much for most attendees.
What has impressed me most, however, is Vienna’s public transit system, which is a big deal for attendees like me and fellow SoundStager Jason Thorpe, because we have no car at our disposal. For about €25, visitors can purchase a week-long transit pass that provides access to trains, subways, trams, and buses throughout the city. I purchased ours online three days before leaving. More importantly, the system is remarkably efficient. Trains arrive constantly—often every two to five minutes—so missing one hardly matters, which isn’t the way it is in most cities. I remember sometimes waiting for 10 to 20 minutes in Munich if we had just missed a train.
Jason and I have to take two trains to get from our hotel to the Austria Center Vienna (ACV), but the transfer takes only minutes. There’s a station roughly one block from our hotel and another about one block from the ACV, and the total travel time is approximately 23 minutes. Frankly, it’s better than using Uber and probably better than driving a car.
And then there’s the food, which I had no concerns about before I left for Vienna. I heard it was good—and it is. As to drink, I’ve experienced one disappointment in Austria’s capital. I love Weissbier, and drank many steins of this delightful beverage during my years covering High End in Munich. I haven’t found a place that serves the stuff here. This doesn’t seem to bother Jason, who will guzzle anything with foam on the top.
The venue
There are clear positives and negatives about the Austria Center Vienna compared to the Munich Order Center.
On the positive side, the ACV feels more modern. It also feels larger—or at least more spacious. There’s considerably more room to walk around, sit down, lounge, or simply move between exhibits without constantly fighting crowds. Even when attendance was heavy, the building rarely felt congested.
Importantly, the venue seems large enough for High End, though I heard complaints that some manufacturers couldn’t get rooms because they were sold out. That said, maybe I’m being selfish, but I thought there was enough to see in 2026 already.
Food access is also better at the ACV. There are more places to buy food inside the convention center itself, directly outside it, and on the nearby streets. That matters more than some people might think. During a long tradeshow day, particularly when meetings and other duties run back-to-back, you often don’t have time to find something to eat.
Navigation vertically through the building is also easier. The MOC relied heavily on a few staircases that often became crowded bottlenecks. The ACV has far more escalators, elevators, and stair-access points, making movement between floors faster.
The large exhibition halls themselves are comparable to the MOC’s hall spaces. In other words, exhibitors using booth-style setups generally transitioned well to the new venue.
Equally important, the operational side of the event has run smoothly. Considering this is the first year in a completely new venue in a different country, I heard surprisingly few complaints about logistics or organization. The staff—presumably hired by the High End Society—have been efficient, professional, and well prepared. It took seconds to get scanned into the show each day so far. Most importantly, I’m aware of no major hiccups, which was surprising to me and others. Exhibitors also told me that their equipment arrived promptly enough.
Still, the ACV is not perfect.
Ironically, one of its strengths—its spaciousness—can also make certain areas feel slightly empty. Some attendees may interpret that as relaxed and comfortable; others may see it as lacking the energy the MOC often had. I found the MOC energy a little too much at times, so I didn’t miss it that much. But exhibitors often like the high energy because it makes them feel like they’re getting more done and, in turn, receiving more exposure.
The larger footprint can also make walking between sections seem longer. Still, the biggest issue is unquestionably the layout.
The MOC was comparatively straightforward. In Munich, High End occupied three primary exhibit levels, and once attendees learned the layout, navigation became intuitive. The ACV is more complicated. At present, the areas with larger rooms occupy four floors, while the hall sections span three more floors in another part of the building. The geometry itself also feels less intuitive. The area with large rooms forms a triangular loop, which branches off to a hall area, which branches off to the other hall areas, turning the whole thing into a bit of a labyrinth, which is likely why there are images and models around to help people find their way. Especially on the first day, many attendees seemed confused about where things were and how to move efficiently from one area to another. That was the complaint I most often heard.
The other significant issue is that one of the hall areas utilized a kind of sprung or platform-style floor system. Unfortunately, that floor resonated audibly in some rooms, which is obviously not ideal for audio demonstrations. Ironically, part of the headphone area—which would have been far less affected by such flooring—was located on solid concrete elsewhere in the building. In hindsight, those spaces probably should have been reversed.
Even so, after the trade-only days on Thursday and Friday, the overall mood among exhibitors and attendees already seemed largely positive. Nearly everyone I spoke with acknowledged both pros and cons, but most felt the advantages outweighed the disadvantages. The real test, however, was always going to be consumer attendance.
Vienna built it and consumers came
In my June 1 editorial, I wrote that many people in the industry feared the loss of German consumer traffic could seriously hurt the event. After the third day—the first public-attendance day—I no longer think that concern is valid. From what I observed, consumer attendance seemed comparable to Munich—or at least close enough that the difference seems unimportant. More significantly, exhibitors I spoke with repeatedly expressed satisfaction with the turnout and overall atmosphere. That’s why I don’t feel the need to wait until the final day to offer an opinion. High End Vienna already appears successful.
I discussed the move directly with several exhibitors and industry representatives. The consensus I heard was interestingly nuanced. Most agreed the move has worked and that High End remains enormously important. However, few seemed to believe Vienna would allow the event to grow dramatically larger in the way the move from Frankfurt to Munich did in 2004. But growth and success are not the same. At least so far, High End Vienna appears more than successful enough to maintain the show’s profile in the global hi‑fi industry.
In closing
One final point deserves mention: Canadian singer Dominique Fils‑Aimé’s role as the music ambassador for High End 2026. Her image appeared throughout the city on electronic posters in the subways and throughout the show itself on large posters, displays, and promotional materials. More importantly, attendees seemed genuinely enthusiastic about her presence and presentations. It was one of the smartest and most successful promotional aspects of the event—and fitting for a show that, despite all the discussions about venues, logistics, and attendance, ultimately revolves around music.
On Sunday, the final day of High End 2026, I’ll see if anything changes my mind about this year’s event. But right now, I can’t see that happening.
Doug Schneider
Founder, SoundStage!
