The Mónico ups its blood letting of resonances with zebrawood as does the Calatrava stand. Cliff's proven viscoelastic not only bonds these constrained layers without screws, it applies strategic damping to retune them. All filter parts and power distribution wiring are housed in individual chambers or canals machined directly out of these solid layers. Due to the Mónico's greater thickness over the Granada and Alhambra, many of those parts now install vertically. That clusters them more tightly for a reduced footprint. Still, this tri-pointed triple-footed affair is about the size of De Falla's three-cornered hat if not quite a Mexican sombrero. And because it's hand polished and finished to the Nines, most users will likely keep it in plain sight. Show it off next to your rack. At €10'000, the Mónico costs more but weighs less than my Pass Labs XA30.8 stereo amp. It's an over-the-top boutique product. It's the very best Cliff Orman knew how to design after a few decades in the biz. Having used his previous best as the only power solution for our big system—and a Vibex One 11R in the media room—I was keen to learn how far he had managed to push himself beyond the Alhambra/Granada duo. I first learnt about the Mónico during a small industry event in Granada hosted by Cliff and his Kroma Audio friends Javier Millan and Miguel Castro. Above you see one of their demo systems anchored by the Vibex Calatrava stand with Kodo turntable and Greek Ypsilon electronics all plugged into the Mónico. That's the pedigree of "ancillaries" one expects to surround it ...