LATEST ADDITIONS

It is a truth, universally acknowledged, that an audiophile in possession of a good hi-fi must be in want of room treatment. The problem, most audiophiles agree, is that said treatment tends to be expensive, big, and fugly. Nucore Technologies, Inc. of Hillsborough, TN and RealTraps of New Milford, CT have some innovative new solutions.

Having read and heard copious praise of the two-chassis Metronome T2i-Signature CD player ($20,600), at times accompanied by claims that it can make CDs sound as good as SACDs reproduced in two-channel mode, I was eager to hear the new one-piece Metronome CD5-Signature player, distributed in the US by Jim Ricketts of tmh audio (above). The CD5-Signature, whose somewhat plain Jane appearance conceals both a tube output stage and variable volume control that can obviate the need for a preamp, retails for a "mere" $18,000. Introduced at the RMAF, it was powered by borrowed-at-the-last-minute Boulder monoblocks feeding Zerobox 109 loudspeakers (40Hz–35kHz response for $7500/pair) via Xindak cabling.

Last summer, John Atkinson and I were playing a jazz gig poolside at my local club, and during a break we began discussing equipment. As JA adjusted his microphones and I became increasingly nervous about the running, jumping kids splashing chlorinated water on his <A HREF="http://www.stereophile.com/hirezplayers/461">Nagra digital recorder</A>, he asked me if I'd like to review the Z1 loudspeaker from BG Corp. "It's an interesting little bookshelf speaker featuring a ribbon tweeter." Hmm&mdash;an affordable bookshelf speaker matching a ribbon tweeter to a dynamic woofer? <I>Very</I> interesting. "Sounds good," said I, and resumed my ivory duties.

The good news: Domestic audio has survived its first half century and continues to live above ground. The bad news: At an age when most hobbies can enjoy the luxury of splintering into smaller factions that hate each other with impunity, ours isn't big enough. There are too few audiophiles on Earth to indulge that kind of specialization, let alone support the very different magazines that would ensue&mdash;so we'll never get to enjoy such promising titles as <I>Liberal Tube Lover</I> (not that I didn't try), <I>The Elderly Skeptic</I>, or, of particular interest, <I>Cable Hating for People Who are Barely Audiophiles in the First Place</I>.

All of a sudden, it seems there's a renaissance in in-ear monitors. Used to be there was just <A HREF="http://www.stereophile.com/headphones/805">Etymotic</A&gt;, but now Etymotic, <A HREF="http://www.stereophile.com/headphones/504shure">Shure</A&gt;, and <A HREF="http://www.stereophile.com/headphones/1204ultimate">Ultimate Ears</A> are all producing high-performance in-ear headphones. It's almost enough to make me suspect we audiophiles have become a marketing juggernaut.

Those are the words that came to me as I began listening to the diminutive set-up in the room sponsored by Acoustic Sounds. As Eric Bibb & Needed Time made beautiful music on their Opus 3 LP, <I>Good Stuff</I>, I gazed at a pair of Manley Labs Snapper Monoblocks ($4250) and Stirling Broadcast LS3/5a V2 Speakers ($1695/pair) sitting on Target Audio MR 28 Speaker stands ($299), as well as a Silver Circle Audio Pure Power One 5.0 power transformer ($5000 with Vesuvius power cord). Interconnects, power cords, and loudspeaker cables were also from Silver Circle Audio.

Mated to MBL electronics via Kubala-Sosna Emotion Series cabling, the Kharma MP-150se produced a huge, "how could it possibly come from such small speakers" soundstage and superior slam. Most important, the system showed no fear either on the top or the bottom of the audible spectrum. It may not match our carpet, but I love the blue. Another system that left me smiling.