Maybe I'm amazed

My Martin Logan CLS electrostatic speakers are now powered by the Audioquest AC15 power cords that I recently mentioned. Each was broken in by using them to power my Threshold Stasis S550e amplifier for 24 continuous hours. There is no contest between the Monster Cable PowerLine300 that I was previously using and these. The first thing to strike me is how much more quiet the backgrounds are with the AC15s in place. On Belle & Sebastian’s “It Could Have Been a Brilliant Career” the gentle hums and buzzes of the guitarist’s tube amp is clearly audible in the right channel as he waits for his turn to enter the song. The acoustic guitar also has more body behind the strings and the piano sounds fuller too. These cords have also made the soundstage more spacious, increased the shimmer around cymbals, and allowed music with lots of layers to really reveal itself much more effortlessly. They’ve also gotten rid of the extremely slight sibilance that female vocals could occasionally take on.

Gone is a slight muddiness on cello that I always noticed on Jacqueline Du Pre and the London Symphony's transcendent performance of Elgar's Cello Concerto in E minor, Op. 85 conducted by Sir John Barbirolli. The unwelcome hardness of the dynamic peaks at the very beginning of the second movement have also been tamed and sound much more effortless.

The audible effects of power cords continue to amaze me. How much of these changes are due to the ferrite clamps, how much do the Wattgate connectors contribute, how much of it is just the better wire in the cable. It would be hard to know for sure but the overall effect is nothing short of jaw dropping!

A good deal for skeptics

It would be hard to find a topic more controversial and debated in high end audio today than the effect (or lack there of) of power cords on sound. The discussion of the contribution of power cords to the overall sound of a system has been discussed many times on this blog. When I first started my forays into this phenomena I didn't want to hear a difference, because I'm cheap and I'm a natural skeptic. However, my brand of skepticism is more of an “open-minded skepticism” so investigation was clearly in order. For those looking for an inexpensive way to do some experimenting HCM audio has a closeout deal on Audioquest AC15 power cords at an unbelievable price, $39.95 for a seven and a half feet power cord. As a bonus, they are fitted with WattGate/Marinco 5266, ends. Much nicer than what Audioquest originally offered as the standard terminations.

The AC15s includes a ferrite bead to help stop RFI and EMI from getting into the components. They will be replacing the Monser PowerLine300 on my Martin Logan CLS speakers. Audioquest has been my cable of choice for a number of years now. In addition to being one of the oldest cable companies in existence, they always make clear what makes one level of cable better than the next. Their staff is more than willing to make custom cables to any specifications and to complete and ship them extremely quickly. Take a couple minutes and read this short interview with Audioquest founder Bill Low.

Absolute Power!

I finally got around to changing out the power cords on my DAC, Transport, Preamp, Amp, and Power conditioner. I went with the Transparent Power Link Plus. For a brief moment I tried to kid myself that I’d be happy with the High Performance Power Link cords also from Transparent. This was mostly because they were less than half the price, but the performance gap between the PLP’s and the HPPL’s is undeniable.

The breaking in of power cords seems to occur much faster than interconnects and speaker cable. Perhaps a major contributing factor is that I leave all the components in the system on at all times. Out of the box with zero break-in they edged out the stock cords. After about three hours the difference was more audible than that. After a number of days of beak in it began to sound as if there was a bottle neck in the sound of my system. The obvious culprit was the new power cords. Quickly a theory emerged that the power cords on the amp and power conditioner must be breaking in faster than the cords used on the other components because they had so much more electricity flowing through them. So I removed those two cords and switched them with the cords on the DAC and Transport. The system’s performance improved in some areas and slightly worsened in others for a net gain. After a night of the power cords that had previously been hooked up to the DAC and Transport being burned in on the Power Conditioner and the Amp it was a different story. The new level of accuracy of timbre that the system is exhibiting is startling.

Preliminary results indicate an elimination of a certain hardness that could inhabit the midrange of female vocals. Bass has more tonality and more body, yet is still tight and articulate. Cymbals have taken on a more metallic quality and the subtle differences between different cymbals are much more easily recognized. Gone is the slightly whitish coloration that had overlaid them in the past. There is an increase in sound staging width and depth as well.

Also impressive is the change in stringed instruments, particularly acoustic guitars, hollow body electric guitars, and mandolins. Differences between different electric guitars have become even more obvious. The sound of the body of the instruments is much more integrated with the sound of the strings. A lowering of the noise floor also creates the impression that notes hang in space a little longer. Violin bows sound as if they are being drawn across the strings more slowly and lovingly. For whatever reason this upgrade also made the sweet spot for the Logans much larger, I have no explanation for that one.

An increase in the micro dynamics of vocal performance has made listening to female vocalists beguiling. It’s got me grabbing for Tori Amos, Diana Krall, Sheryl Crow, and Natalie Merchant albums. On my copy of Robinella and the CC Stringband when she flubs a line during “Marie Laveaux” the smile that creeps onto her face is very audible in her voice and is just plain sexy!

The CLS’s disappearing act is impressive under normal conditions, now it’s just plain unnerving. Left/Right imaging is way outside of the speakers when that information is present on the recording. What would happen if I replaced the Martin Logan’s power cords? I don’t want to think about it. The CLS’s aren’t the end goal so spending money on power cords would be silly, or would it? Somebody stop me!

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.