LATEST ADDITIONS

Stillpoints, a vibration-control company that has been making equipment support racks since 2003, has just introduced a 40"-wide, low mass, open-air rack that allows you to stack two components side by side on each support shelf. Each ultra long support shelf holds two 20"<I>x</I>16" equipment shelves, each of which can hold a separate component on the appropriate support technology. Each equipment shelf also contains six pockets of Stillpoints' multi-patented vibration damping technology, making for 12 pockets of vibration control per large support shelf. Stillpoints' Paul Wakeen claims that each time you add another layer of Stillpoint isolation, the sound of your system improves.

Tara Labs has so many levels of cables that factory manager Matthew Sellars, who assists designer Matthew Bond with cable design and oversees implementation, had to draw a four-tiered chart just to explain where the company's newest offerings fall in the Tara Labs hierarchy. That may be an exceedingly long opening sentence. But so is Tara Labs' product list.

Visiting Kara Chafee of de Havilland, whose amplifiers invariably grace music with a wonderful sense of air, enabled me to take a first listen to Cable Research Lab (CRL) cables. CRL's mid-level "Silver" line is a very recent recipient of a "Product of the Year Award" from a certain publication known for its absolutism. Another very positive publication fed CRL an award in 2007.

Jim Aud of Purist Audio Design has released several new products. The diminutive Digital Isolation Adapter ($300) plugs into the S/PDIF output of a CD transport or music server with then the RCA digital cable that connects the transport and DAC plugged into it. The Adapter is claimed to electrically isolate the transport to the DAC, reduce jitter via control of the 75 ohm impedances, and reduce EMI/RF noise.

Much has been made of the influence that Linn, Naim, and Rega have had on our ideas about music-system hierarchies: Before they and a handful of other British audio manufacturers kicked off the debate in the 1970s, the conventional wisdom worldwide was that the loudspeaker was more important than the record player, amplifier, or any other link in the domestic audio chain, and thus deserved to be the object of significantly greater care and attention, not to mention investment of cash. But the Brit-fi approach was different, and ostensibly better reasoned: Because musical information that's distorted or dropped entirely by a record player, a CD player, or any other source can't be made right by any other component in the system, it is the source that must be considered the most important component of all, and to which the majority of funds should be allocated.

Another Consumer Electronics Show has come and gone with thousands of new audio products announced. What stood out for you at the 2009 CES?

<I>It belonged to a tenor!</I> (ba-dum-dum) Thank you ladies and gentlemen, I'll be here all week.