Beginnings

Hello, folks.

Audio Explorer has graciously invited me to contribute to this site, so I thought I'd provide a little background about myself. Basically, I love music. I love listening to it, I love collecting it and I even love (trying) to make my own. Listening to music can, at once, be one of the most therapeutic, relaxing and invigorating experiences we humans can have.

That is why, several years ago, I decided to set about building a stereo and entertainment system to finally do justice to the hundreds of CDs I had collected over the years. Being out of college, engaged to be married and (more or less) out of the red, financially, I began consulting Audio Explorer, or rather this blog's administrator, a very old and dear friend, and one who knows his shit when it comes to hi-fi, about which speakers I should listen to and which A/V receivers offered the most "bang for the buck." It had long been a goal to slowly begin putting together a system, but, as with a lot of "noobs," I was always kept away by astronomical price tags. Still, I knew enough not to just head out to Best Buy, bring home the Bose and call it a day.

I waited.

Eventually, after a lot of calls to Audio Explorer, I had a great system for music, movies, games and television. The Rotel RSX-1057 and Paradigm Studio 100s v.4 anchored a 5.1 system that really breathed new life into our living room entertainment. Along with a nice Sony XBR LCD, it all culminated to a substantial improvement over our hand-me-down mid-90's Pioneer stereo and CRT TV.

Now that my wife and I have moved, temporarily, to work in Canada, we've rented a house that has a small space in the basement for TV/movies/gaming and an empty living room upstairs in need of music. Again, I began researching some amps and associated gear to use my beloved Paradigms for a music-only system.

Here's what developed:

Here are the speakers and the Arcam FMJ A38 integrated amp and the matching CD17. I also added a Panamax power conditioner. Like many others, I have also been getting back into vinyl, so awhile back, I went with Pro-Ject's entry level Debut III turntable and Phono Box phono stage preamp. I intend to eventually order Arcam's on-board phono stage.

Nothing re-energizes collecting music as a hobby than a new stereo to listen to it on (or "on which to listen to it," for you English nerds). That's my intention with The Audio Explorer - to chronicle record hunting, discuss music and stereo-related topics and continue to discuss new ways to enjoy music.

Panamax vs. Monster power conditioners.

Monster power conditioners use MOVs, which have a relatively limited lifespan. After the MOVs are gone MANY times the units continue to pass current to the equipment meaning that the next surge could destroy the connected gear. The Monster units do have a light to indicate that they are no longer protecting the equipment but who wants to depend on a light that they can forget to check?

Panamax uses an avalanche diode that acts almost like a flood gate. It opens when voltage is above or below a safe area, then starts testing the voltage. After the voltage is back within the normal range for 7 seconds Panamax units allow the equipment to receive electricity again. When an avalanche diodes fails they are stuck in the "open" position 99.9% of the time. Meaning that the equipment receives NO electricity so the user knows that the power conditioner needs to be replaced.

Panamax specifies that MOVs are 1000 times slower then their avalanche diodes. At trainings Panamax regularly does a demonstration where they hook up a Panamax and a Monster into a device that can create spikes, then into each unit they plug an illuminated lamp. Both units are then hit with a 150 volt spike. In the 10 or so demos that I’ve attended I’ve noticed two things. First before clamping down the lamp plugged into the Monster grows momentarily brighter. A sign that is letting the beginning of the surge through before clamping down. Hence the potencial for damage to connected equipment. No increase in the brightness of the lamp plugged into the Panamax is observable. Second, I’ve NEVER seen a Monster live past the third “hit”. Twice they began to smoke, once a small fire began. The Panamax products have lived through 10-15 hits before they go on with the presentation, they don’t fail mind you the presentation just moves on because they’ve proved their point.

From what Panamax says other surge devices using MOVs will act in a similar manner. If you are considering things up market from the Panamax products Transparent Audio’s power conditioners also use avalanche diodes and offer some of the best power conditioning that I’ve ever heard. PS audio’s new power conditioners use something in addition to an MOV. They claim that these two devices in tandem are better than an avalanche diode. They may be, for me I look at how these devices work in the long term (ie years) and their products are just too new for there to be a body of empirical evidence out there, one way or the other.

For my own use I've used the original version of Panamax's MAX-5510 for about 4 years in my high-end two channel system. For my computer, TV, and AV receiver I use one of their cheaper units.

Power To The People

The audibility of power cords is starling! I've been playing around recently with stupid expensive cords and I must say the differences can be shocking (no pun intended). The main argument against power cords being able to create audible difference is that the power cord is NOT in the signal path, this is false. An amplifier, for example simply modulates the power coming out of the wall to produce a larger version of the signal that it receives as an input. Hence the power supply is in the signal path. Hence, in my opinion the power cord IS in the signal path in a very real sense.

Interestingly this theory of mine was helped to form by McIntosh labs who believes that their power supplies are in the signal path and are major contributors to that "MAC sound." What's ironic is that McIntosh doesn't believe in highend speaker cables or interconnects, let alone power cords. Mac has been very public about this belief. Only recently at trade shows did they start using better interconnects and speaker cable, just to "shut people up." The IEC socket of a removable power cord does compromise the connection slightly but allows for much better power cables to be used, a slight step backwards for the possibility of a couple of major steps forwards. But the same cord soldered directly to the power supply versus being removable and connected to an IEC socket would be the best solution.

Other arguments brought against power cords have to do with the fact that the last 6 feet can’t make up for 50 miles of low quality wire between the utility company and our homes. Again, this simply doesn’t stand up to close scrutiny. First off, it isn’t the last six feet, it’s the first six feet. The power company doesn’t push power to us, we pull power from the electrical company. If this weren’t the case we would not be able to turn off electrical devices. Second, the power that they are running long distances is different from what we find in our homes. In that form it is much less susceptible to EMI and RFI interference. It is converted at a nearby pole by a transformer before entering our homes. In the walls of our homes the electricity is shielded from stray EMI interference by the conduit through which it is running. So the point that it is most vulnerable to these problems is from the outlet to our components.

Aftermarket power cords differ in a number of ways from stock units

-They are a thicker gauge wire than stock units. All things being equal, the thicker the gauge the faster large amounts of current can be delivered to the component. This higher current capability leads to more controlled, more extended bass. Not to mention better dynamics.

-They have better shielding which helps reject EMI interference. This creates blacker background from which the music emerges. Improving the perception of low level detail. This is not new musical information but information that had previously been obscured. The amplifier is also freed from having to amplify the high frequency hash which gives the system a greater sense of ease.

-The plugs make better physical contact. When dealing with electricity poor physical contact between outlets and the blades of the plug causes the electricity to jump the gap between the two surfaces. This causes heat and when dealing with electricity heat equals resistance. This resistance again slows down current delivery.

Under evaluation are three power cords from Transparent audio. All were used to replace the stock power cord on a Panamax Max 5510 power conditioner, which was set to balanced power. Patricia Barber’s “Love, Put On Your Faces” from her album “Modern Cool” and “Man Over” by Robinella and The CC String Band off of their self titled album were the main tracks used for this series of tests.

Transparent High Performance Power Link:
The sibilance on s and t sounds was much cleaner than with the Panamax stock power cord, which tended to make these sounds more aggressive than is proper. Distinguishing between the original event and the reverberation that followed was also much easier with the HPPL cord. The stock cord tended to smear the transition between these two distinct components of a sound. Bass intergraded with the rest of the music much more seamlessly, and lost the mechanical quality that the stock unit added. The Piano on the Barber track had much more body, it was impossible to mistake it for anything other than a grand piano.

Transparent Power Link Plus:
With this power cable the piano has a greater sense of ease and there is an increase in micro and macro dynamics. The piano sounds less forced and more effortless than it did with the HPPL power cord. Gone is the angular sound that plagued the attack of bass notes, it is replaced with a more naturally rounded tone. Bass notes also have more consistent authority, midbass notes are now closer in weight to deeper bass notes. The cleanliness of sibilance has also taken another step forward.

Transparent Power Link Reference:
Piano notes have greater sustain and thus take longer to decay into a more black background. The weight of midbass notes is greatly improved matching the power of lower bass notes much better than the PLP. The choir sounds like it is made up of more voices, but at the came time it is easier to pick out individual voices in that choir.