Goldmund, not much inside, but ultra expensive.

Anything that is Swiss made has a high price.Jump on a Rolex asap!!

As you've heard, an item is worth what a person is willing to pay for it.  Some equipment is well designed (R&D cost money), use very good parts (also cost money) and is well built (also cost money).  R&D and tooling up for a product cost money up-front.   Some countries pay a very high salary for their employees also.  These factors along with supply chain issues, add to the price of items.

If it "made in America" or made in Switzerland, etc.  The costs for employees is very high.  Tariffs that are applied to get the item into America also is a factor.

Goldmund makes really good equipment.  The stuff I've heard was excellent.

But, most of us have price point budgetary limits.  So a $340,000 Ferrari is out of the question.  I couldn't even afford the periodic maintenance costs on one.  BMW 335i turbos blow frequently and to remove them, you have to drop the sub frame of the car.  How stupid is that?

For audio equipment, the proof is in how it sounds compared to other equipment within the same price point limits and specifications.   Apples to Apples.

enjoy

Here's Srajan Ebaen's answer in his Goldmund Telos 360 amp review a while back.

Conclusion. Responsible journalism can't skim over a basic fact. Goldmund's Telos 360 are very expensive. For that they're quite empty inside and materially of low weight. The very smallest XA Series stereo amp from Pass Labs weighs more than this pair combined but wants just 1/6th the coin. Such a seriously loaded tab is part of the brand's luxury positioning. It comes with the territory. Where material packaging goes, their own Job 250 monos sold direct at $3'400/pr and manufactured in the same Geneva location show how a very similar circuit with the same power output can be stuffed into far smaller de-blinged boxes. Wherever ownership is invested in such matters, pride takes a hit. With these luxe monos, there's only a reassuring cuddle and the obligatory gleam of gold-plated decals and silkily finished nearly white aluminium to confirm status. Whilst sensibilities on eye candy diverge, there's no argument that these Swiss amps also deliver sonic substance. They aren't pushers of empty calories. Yet they aren't kitchen pickers with big knickers either. The overriding part of their design brief is speed, low noise and the resolution which occurs at the confluence of these two streams. There's very refined smoothness yet no comfort padding from fatty warmth.

With speakers whose warmth is built in with strategic radiation patterns and minor response tweaks à la Kaiser, the Telos 360 amps are truly ideal and ultimate choices which prevent additive fattening, deceleration and coagulation. Hence my earlier amp-as-passive-magnetive-preamp characterization. With speakers on the cooler leaner side like our Albedos or equivalent efforts from Estelon, Gauder/Isophon, Mårten & Co, arriving at a similar sound requires adjustments with your upstream choices. Then a superior valve preamp and/or tube-buffered DAC become natural options. Finally, I can think of precious few if any amplifiers which could brag of an equivalent lineage or core circuit tracking back unbroken 3+ decades. Over this period, the topology has undergone constant refinements by different teams of engineers. Should this be the sonic flavour of your dreams, here it's been tweaked, polished, re-tweaked and polished again and again perhaps to a more extensive degree than anywhere else. It's how Goldmund's commitment to tradition coexists with and informs their commitment to evolution. For those of us insufficiently lubricated*, the Job amps benefit from the exact same commitment. They're simply a few generations behind this now 9th-gen curve. This rewards those who make a far greater investment into the company with the very latest advances and findings. Which is as it ought to be. Finally, the art of scaling up power without sacrificing sophistication is trickier than doubling or quadrupling everything on a proven low-power circuit. That's why to this day we don't have a 100wpc FirstWatt, a 200wpc Bakoon or 300-watt Crayon monos. That Goldmund have learnt how to scale their circuit into high-power turf without sacrificing sophistication speaks to the lengths their various project leaders have gone over the years; and how management continues to invest into relevant R&D to make it so.

Yes research & developmental are cost factors, but their prices are ultra expensive, not mere expensive. This research & development cost must translate into cutting edge sound given the price that one must pay to play: does it?

A lot of folks believe that the ideal amp is going to be sounding like a straight wire with gain. The fact that the Goldmund amps don't have a lot of parts inside them doesn't necessarily mean that they don't sound great. OTOH, we can look at some of the old 70's era solid state gear, particularly receivers from that era ( and some from today as well) and they are chocker block full of parts...and yet they sound poor! (admittedly they are not priced, nor were they priced, like this Swiss gear). Nonetheless, can we equate numerous interior parts to either better sound quality or value??