Performance
Performance from the preamp and speaker outputs is right on par with what we’ve seen from Blaupunkt in recent reviews. Maximum undistorted preamp output measured 3.2 volts and output impedance is a relatively low 101 ohms. Dynamic range measured in excess of –100 dB, which usually indicates some type of zero-bit gate. Our low-level gate cheater test track (A2000 CD103 track 42) produced a usable dynamic range of -91.9 dB.

The power ratings for the internal amps are, as usual, a bit optimistic. Measured in real, undistorted watts at 4 ohms you get about 12 per channel, about what you should expect from a head unit. Otherwise, the amps work quite well. They’re flat, quiet, well behaved, and don’t threaten to sear flesh when you touch the case.

The digital parametric EQ consists of two filters with variable center frequency, boost/cut, and Q (bandwidth) adjustments. The low filter is variable from 32 Hz to 500 Hz in 1/3-octave steps. The high filter is variable from 630 Hz to 10 kHz, also in 1/3-octave steps. Boost/Cut settings range from +8 to -8 and step about 1.3 dB per click. Q is variable in three steps with the lowest setting having a bandwidth of about two octaves and the highest setting having a bandwidth of about .75 octave.

User Evaluation
The München’s user interface is surprisingly good considering the vast number of functions that the unit possesses. Volume is controlled via a large single-function digi-pot with virtually all other functions handled by a four-way rocker and various soft keys. Four multi-function soft keys are arranged vertically along each side of the multi-color display. The display is quite large, offers adjustments for viewing angle, and has a shape that’s similar to the wide-angle letterbox cinema format.

Blaupunkt vastly simplified things with the addition of two soft keys, the Previous/Next and Enter/Exit. My favorite is the Enter/Exit. It’s comforting to know that if you get a little lost along the way, you can just pop that Exit soft key and start from the top again.

Another smart move was giving the parametric EQ its own button. No wading around, just punch the big blue button and you’re there. Using the EQ is a little like the story of Aladdin and his lamp, except that you know the genie is in there. The problem is that it may take a lot of rubbing the first time or two. It gets easier after a few times through, but even stand-alone parametrics can be difficult to tune with. However, I dig this approach. If you’re going to utilize DSP in a headpiece, a useful tool such as a parametric EQ is a sensible way to go.

The geek in me will almost always wish for more boost/cut resolution, more filters, and a higher degree of Q control, but that would only make things more complicated. As it stands, this EQ combined with the unit’s tone controls provides a substantial amount of useful processing power that we rarely see in the world of head units. Overall, the München is a very slick, if somewhat complex, package.