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New Zealand-based Plinius is now using words drawn from the Maori language to name all of its new products. Making truly beautiful sounds in an all-Plinius line-up, the new Tautoro linestage preamplifier ($7300), set to ship in May, fulfilled its promise to "bridge the gap" from Plinius' top-of-the-line SA-Reference power amplifier to its CD-101 CD player and Koru phono stage (available as an option for $8600 total). When I asked Scott Markwell of Elite Audio Video Distribution how the preamp differs from its M8 predecessor, he pointed out that the M8 could only function as a linestage. "The more versatile Tautoro has an even bigger, more three dimensional soundstage. It also has much greater bass, more punch, and increased dynamics."

It's always fun to drop in to the Burmester Suite. When Dieter Burmester, the firm's founder (left), and Udo Besser, the CEO (right), are not working on the latest sound system updates to the 1.2 million Euro Bugatti Veryon 16.4 supercar, they build massive loudspeakers and amplifiers for home consumers and audiophiles.

The highlight of the VRS Audio Solutions room was witnessing VRS' Vincent R. Sanders and Neil Sinclair (high-end pioneer and former owner of Theta Digital) engage in a heated discussion over optimal methods for achieving hard disk-stored music playback. These two went at it as if dealing with life and death itself. Which, in the case of high-end audio, isn't far from the truth.

I have seen few turntables, no <I>any</I> mechanical devices more likely to induce flat-out gadget lust than the $150,000 Transrotor Artus. It has a magnetically coupled drive assembly, which means no points of contact between motor and platter. It's machined from solid billets of high-grade aluminum, finished to an impeccable sheen. Its deck is gimbal-mounted to freakishly huge counterweights for absolute level and stability (think gyroscope here). Its power supply uses something called "Konstant M3," which I gather is pretty special, but my limited German and the Transrotor rep's far less limited English prevented me from determining in what way.

I don’t know what Paul Motian’s doing, I don’t understand how he’s doing it, all I know is that it’s wonderful. I’ve just returned from seeing the Motian 3 at the Village Vanguard, a high-powered trio that consists of Motian, Jason Moran, and Chris Potter (and no bassist to hold the anchor). Moran, just shy of 33, is, as I’ve written many times, the most extraordinary jazz pianist around. Potter, 37, as I’ve noted a couple times, is a tenor saxophonist with a galvanic tone and fleet agility. But Motian, at 76 (older than both of his trio mates combined, playing topnotch jazz since his days with the Bill Evans trio a half-century ago, and more combustive now than ever), is the heart-racer.

Whenever I run into <a href="http://blog.stereophile.com/stephenmejias/092407leland/">my audiophile doppelganger</a>, Music Hall's Leland Leard, I'm sure to ask him about what's new in his playlist.

Imani Coppola's <i>The Black & White Album</i> was playing strong in the Music Hall suite. Imani sings: