MIT's Bruce Brisson was determined to shrink his Multipole technology so that his patented networks did not requite bulky boxes near their cables' termination. Naturally, he thought surface-mount components were the way to go. That was until he began measuring them and discovered that SM components were variable and many didn't measure well.

Similar to the MPC line level terminations are MIT's Multipole In-Wall termination systems, shown here by Kent Loughlin. The five-way binding posts fit into an ordinary on-wall quad box and come in three configurations: 11 pole, 15 pole, and 21 pole network. No soldering required.

Parasound's Richard Schram was delighted to show off the San Francisco company's Model 2100 preamplifier. This $600 preamp is designed for the guy who has a multichannel system—possibly even an expensive one—who feels let down when he listens to his two-channel music.

Canton's Frank Göbl is a busy little beaver. He wondered what it would be like to put the components of Canton's successful Ergo line into new specially designed cabinets that could bring the prices down by 30%. "Cost efficiencies have enabled us to do this without sacrificing sound quality or beauty," said Canto USA president Paul Madsen.

Canton's chief designer Frank G&#246;bl proclaimed the new, improved Vento line "better&mdash;not a <I>lot</I> better, but significantly." What's new and improved?

Naim's long time a-borning $4750 Supernait is finally here. The Supernait's 80Wpc amplifier section is based upon that of Naim's NAP200, giving it 400VA output transient capability.

A quick, final word on Fred Hersch’s week of piano duets at the Jazz Standard. His early set last night with Jason Moran was one of the most enthralling concerts I’ve seen in a long time. At its peak moments (and there were several of them), the two settled into such a head-spinning groove, they sounded like one pianist playing magically with four hands. Moran, as I’ve noted in an earlier <A HREF= "http://blog.stereophile.com/fredkaplan/071607jazz/">entry</A&gt;, may be <I>the</I> jazz pianist of our times, the supreme post-modernist who appropriates everything around him—musical traditions from Schumann and Jelly Roll Morton to Afrika Bambaata and Jaki Byard, as well as random sounds from movies, streets, and Chinese stock-market reports. Hersch matched his intervals, leap for leap. It’s been well over a decade since Hersch could be tagged a merely “lyrical” pianist in, say, the vein of Bill Evans, but even so, it was a jolt to see him tackle a frantic tune like Mingus’ “Jump Monk” (a natural Moran pick) with such finely disciplined abandon. It was an equal delight to watch Moran delve into the rhythmic crevices of an old-hat standard like “If I Had You” with such swaying jigsaw strokes.

Wilson's flagship speaker has gotten a make-over, including a new midrange driver that, the company claims, has even "greater clarity, tonal density, and truthfulness" than the original.

A beaming Gregg Dunn hailed me over to the Cary booth and said, "I know what you are looking for!" He was right. In his hands, he was holding the new Cary Cinema 11V, the video-input/processor that mates with the Cinema 11 (now 11A) audio-only pre-pro that I found to be a really wonderful performer in my <A HREF="http://www.stereophile.com/musicintheround/707mitr/">July column</A>. What the 11V adds is a useful array of video (and audio!) inputs and outputs but, most significantly for audiophiles, it strips the hi-def audio content from HDMI inputs and pipes it through a proprietary digital connection to the 11A. Add an RS232 connection and the two are linked to work as one, although they can function independently. Specs are decidedly cutting edge, with six HDMI 1.3 inputs and capability for 1080p video at 120Hz!