# Power Cord Shoot-Out: 14 Power Cords Reviewed



## markl

[size=small]*Power Cord Shoot-Out: 22 Power Cords Reviewed*[/size]

*Intro*
 Yes, it’s another over-long epic Master’s Thesis from markl. 
	

	
	
		
		

		
			





 This time it’s on aftermarket power cords, and what I learned about them along the way after having *finally* concluded my power cord quest (well, for the foreseeable future, does it ever really *end*?). In this review, I will endeavor to describe and review all 22 of the audiophile power cords I’ve auditioned or owned to date. I will also be rating each one on a 10-point scale on key areas of performance and finally ranking them in order of my personal preference at the conclusion. Those of you not interested in reading the Encyclopedia Britannica of power cords are asked to cut to the chase and scroll down to the very end. Congratulations, in just 2 seconds time and a flick of the mouse you've arrived at what took me 5+ years of agony, experimentation, trial and error to achieve!

*Test Bed*
 Current source: Sony XA9000ES with RAM modifications. Previously: Sony SCD-555ES SACD player with full sacdmods.com modifications 

 Current amp: Rudistor RPX-33 Dualmono Mark II. Previously: Ray Samuels Audio HR-2 headphone amplifier

 As always, my headphones: Sony MDR-R10

*What I’ve Learned About Power Cords*
 --Yes, they make a difference. This difference is on par with (and can be slightly greater than) the differences aftermarket interconnects (ICs) can make. If you can’t hear the differences between ICs, it is doubtful you will hear the differences between power cords either. 

 -- I suspect that the reason power cords seem to effect the sound more than ICs is due to the fact that they appear to actually impact the way the component produces the sound, where ICs only affect the way they pass the existing signal on to the next component. Therefore power cables can influence the sound in a more fundamental way.

 --They require more break-in than ICs, and break-in effects are much more dramatic than with ICs. Try not to rush to judgment.

 --It’s even harder to find a good power cord than IC. There is greater variability in the sound and performance of cords than ICs.

 --Many power cords giveth and then taketh away. They offer substantial gains in some areas, but can take away from key ingredients elsewhere. Or, short of actually harming the sound, they can fall short on some parameters relative to the tantalizing enhancements they provide in other areas. This effect appears to be a factor regardless of price.

 --Power cords are even more component-dependent than interconnects. A power cord that does not show good compatibility with one component, may really shine with another. 

*In What Ways Do They Affect Component/System Sound?* 
 The answer is, “it depends”. Much like with interconnects, it varies from model to model and component to component. If I had to generalize, I would say, *typical* effects of adding a high-quality power cord are:

 --More substantial sound, more “fleshed-out”, greater body and firmness

 --Improved cleanliness of the signal, which equals less grain, improved clarity, and resolution

 --Improved soundstaging, greater sense of air

 --Greater sense of “ease” to the sound

 --Greater sense of energy and power, greater dynamics

 --Lower noise floor, letting you hear into the recording even more

 That said, effects of power cords are not limited to these bullet points, nor does every cord successfully improve those specific areas.

*I’m A Skeptic, Prove to Me That Power Cords Work!*
 I didn’t believe in them either, until I tried one on a lark a few years ago. It had a 30-day no-hassle return policy-- I didn’t return it, and haven’t looked back since. Yeah, I know there’s all that non-audiophile-grade cabling in your walls preceding your fancy new power cord. And then from your walls back to the power plant are miles more. 

 But instead of thinking of it as being the *last* 6 feet of cabling, it can be thought of as the *first* 6 feet. It may be more useful to think of it not in terms of *improving* your system’s performance but in terms of *removing the harm* caused it by stock power cabling. It is also possible that the superior power cords act as a sort of “conditioner” on the power line, conditioning the electricity before it enters your component. Generally, fancy power cords also have superior shielding for rejecting EMI/RFI “pollution”, providing a cleaner transmission of electricity to your gear. 

 My overall experience with power conditioners and especially with power cables has opened my eyes to the importance of having a good, clean power supply to feed your audio gear, it’s truly the “life-blood” of your system, and the effects of correcting shortcomings in the power feeding your gear is not small. 

 If that’s not good enough explanation for you and you have problems with the concept that power cables can effect system performance, do yourself (and me) a favor—just stop reading! This thread is not for you, and debate about their efficacy will not be part of this review or this thread.

 Or, you can try one for yourself and see. 
	

	
	
		
		

		
		
	


	




*How Much Should I Spend On Power Cords?*
 A power cord is not a “band-aid” on a bad component. IMO, it should not be used in the hopes of magically transforming an “unacceptable” component to an “amazing” one; if you have that expectation, you will be disappointed. Putting a fancy power cord on a component that doesn’t already ring your bells is throwing good money after bad. Use your power cable budget and put it toward a better component.

 Does it make sense to stick a $500 power cord on a $150 DAC, CD player, or headamp? I don’t think so. Common sense would tell you you’re better off with a well-chosen $650 DAC/CDP/amp with a stock power cord. A more interesting question is, “is it worth it to put any aftermarket power cable on a budget component of any kind”? I’m not convinced it is. Chances are that component is going to have a very cheap internal power supply; it will be noisy and flimsy with low build quality. To what extent can adding a power cord change that fact? You can feed it lots of clean power, but then it just runs smack into that unit’s potentially inadequate internal power supply anyway. It may just defeat the whole purpose.

 I would argue that expensive aftermarket cords require components with at least mid-fi level or better internal power supplies. My conjecture is that bigger and better-built power supplies will benefit more from adding aftermarket power cords, or at least have the potential for more upside. (Or, maybe more accurately, with an audiophile-grade cord, they will suffer less degradation of performance than they do from their stock cords). YMMV.

 OK, OK, so how much should I budget for power cords already? 
	

	
	
		
		

		
		
	


	




 Well, it’s complicated. 
	

	
	
		
		

		
		
	


	




 IME, aftermarket cables are a lot like headamps—they really don’t start getting good until the $250 mark and above. The lower-end stuff just taunts you by first opening your eyes to the possibilities, and then only delivering a partial down payment on what you can now picture so clearly in your mind. This may only succeed in whetting your appetite for something better (and more expensive). The lower-end stuff may not always add enough value to make it worth while to bother with, or, in many cases, they can do several things right, but fall short in enough areas that they will only succeed in frustrating you. Having glimpsed the Promised Land, you will want a cord that takes you all the way there, and that costs money. Sad to say.

 And if you start investing lots of money in aftermarket power cords, you really ought to have gear worthy of them. Or else you end up back where we started this discussion--with a $500 power cord on a $150 component.

 Like ICs, power cords have different “flavors” or sonic signatures. It may be that in terms of performance, you concede that two particular cords are roughly equal, but you happen to prefer the “flavor” of the one that costs $100 more, it’s just more compatible with your gear, gives you greater pleasure. So, is that difference in flavor and compatibility worth the extra $100? Obviously, that’s up to the individual to decide.

 So, long story longer, getting into the power cord game is opening a huge can of worms. Believe me. 
	

	
	
		
		

		
		
	


	




 Personally, I HATE breaking in cables, and I’ve been through so many in the last 5 months, it’s practically depressing. Be prepared to not find the “perfect” power cord on the first try. Or the second. Or the third… Still up for it? 
	

	
	
		
		

		
		
	


	




*Does Thicker-Gauge Wire = “Better Sound”?*
 Standard stock cords are typically between 22 and 18 gauge. Most aftermarket power cords are between 14 and 8 gauge. Shouldn’t you look for the thickest, fattest, heaviest gauge cord to make the biggest difference?

 IME, there is *zero* correlation between power cord thickness and sound quality in a headphone system. In a headphone rig, you are likely looking at adding power cables to your digital source and your headphone amplifier, two very low-power units. There is nothing to gain by sticking an 8-gauge power cord on a 500mw headphone amp that draws 30 watts from the wall total. In fact, from what I’ve read, big heavy cables on low-wattage equipment can actually be detrimental to performance, and one of my experiences detailed below seems to bear this out.

 So, long story short, don’t reject a power cord for your headphone system because it’s “only” 14-gauge. That’s *plenty* fat enough for this application. The gauge of the conductors in a power cord is just one of a dozen possible design factors that make it sound like it does, and far from the determining factor.

*Where Should I Put My Best Power Cord?*
 Put it on your source. It all flows downstream, to the extent you can improve the performance of your source, you can improve the performance the rest of the signal chain. 

*One More Thing Before We Start the Review…*
 I want to extract one of my earlier observations for further contemplation: 

  Quote:


 “--Power cords are even more component-dependent than interconnects. A power cord that does not show good compatibility with one component, may really shine with another.” 
 

Well, you ask, if that’s true, what is the point of even reviewing power cables at all? You don’t have the same system I do, so of what use are my babblings and pontification on this or that cord?

 All I can reply to that is—“good point.” 
	

	
	
		
		

		
		
	


	




 In this review, I will try to capture the basic sound of each of the cords that have cycled through my system. Hopefully, I can paint some kind of sonic picture for the reader, so you can have some sense of whether one cable or another is likely to succeed or fail within your own rig. But I will still be critiquing and ranking them anyway, and I will still offer my own opinions on how good or bad they are in terms of absolute performance, but it’s up to the reader to keep these caveats in mind.

*22 Power Cords Reviewed*
 *phew* OK, here we go, hope it was worth the wait. Welcome to the review section. These are reviewed in the exact order I owned them, you are looking at the results of 5+ years of experimentation. In that time, some of these models have been discontinued, but that's to be expected. After the general review comments you will find a series of ratings on a 10-point scale (10 being best) that try to apply a measure to several parameters of performance. They are listed in the order in which I owned them.

 (Please note: When describing a certain power cord’s “sound”, obviously I am not describing the sound of the cable itself as it is not in the signal path. The description refers instead to the particular *effect* it had on the components in my system.)

*1. Virtual Dynamics (VD) Power Cables*

 Website: www.virtualdynamics.ca

 Pricing: varies

*Review:*
 The Virtual Dynamics products are the ones that first opened my eyes to the possibilities of aftermarket power cords way back when. This new Canadian company was offering an entry-level product, the Power 3, at a special introductory price of $79. At the time, that was one of the lowest prices on any aftermarket cord (since 2001 the power cord market has bloomed into hundreds of models and companies). I was a skeptic, the whole concept seemed pretty absurd, but at that price, I thought, "what the heck?", and I bit. The rest is the history detailed here.

 All of the Virtual Dynamics cables share a similar “house sound”. If their basic sound doesn’t appeal to you, there is no point in upgrading, you only get the same thing but further enhanced and refined. These cables aren’t particularly “neutral”; they do impart their own sound on the music, but I would think that sound would be appealing to the majority of music lovers on Head-Fi, as it’s on the euphonic, ear-pleasing side. I’ve owned almost all of the VD power cables, and each one was a winner in my system. As you go up the line, they get better and better. 

 I’ve owned 6 of their power cables from their “old” line, starting from the bottom: Power 3, Power 2, Power 1, Reference, Signature, and Nite. These ranged in (list) price from $150 to $1200. VD has recently greatly simplified its product line, as they have gone into distribution through audio dealers, as well as being available direct from the manufacturer. The names of their models have changed, but they are the same basic technology and build, with slightly different cosmetics.

 The VD house sound is tonally warm, forgiving, and musical. They are great at taking the rough edges off of digital and making it sound less brittle, more inviting and “analog”, imbuing the music with a very organic, natural feel. They have slightly rolled high-end and a fat bass. They are extremely energetic and dynamic cables that deliver a lot of signal, they aren’t polite or veiled or muffled, but due to gently rolled highs and warm sonic signature, they aren’t fatiguing. These aren’t cables for people who want a dainty, quaint and light-weight sound; instead, they offer a powerful sound with lots of foundation. 

 However, they sacrifice some detail and some air to achieve their sound, which can be a little “thick” and heavy. If your system is on the thin and lean side, these are a great option for adding meat to your system’s dry bones. Bass is extremely deep, firm and “present”, but a bit loose, “one-note”, fuzzy, and non-directional. If your system seems to lack a solid foundation, you could do a lot worse than go with VD cables.

 IMO, the best price-to-performance model in the VD line was the old Reference, which retailed at around $750. It has since been replaced by the David, which costs slightly less and maybe doesn’t have *quite* the same build quality, but should be close enough. Not the last word in transparency, but very pleasant cables to listen to.

 WARNING: the VD cords have extremely poor flexibility, these are heavy-gauge solid-core conductors. You will need at least 6 inches of clearance to achieve a 90 degree bend.

 Flexibility: 3
 Build quality: 7
 Tonality: 8
 Soundstaging/imaging: 8
 PRAT/dynamics/speed: 7
 Resolution/detail/transparency: 7
 Value: 7
 Overall Performance: 8

*2. KAS Audio Primus*

 Website: http://www.kasaudio.com/

 Pricing (6ft. cord): $600 retail, $300 direct from manufacturer

*Review:*
 This is my number 2 cable for the Ray Samuels HR-2 headamp. It also paired very well with the Stealth when I had a review sample in my possession.

 Very hard to describe its sound, as this is a very neutral cord tonally. For many people, this cord will do what they think a cord should do—don’t add any fancy commentary or special effects, just enhance the performance of my component, thank you very much. If you already like the tonality of your source/amp, but want the other benefits of a power cord, this is an excellent choice. There is a *slight* brittle-ness to the treble, a bit of thin-ness up top and a tiny amount of fogging in the highs, but this is an *incredibly* minor nit-pick. Outside of that, I can detect no particular colorations, and am at a bit of a loss to further describe its “sound”. It will simply make your component sound more like itself, and improve on what it already does well.

 It performs quite well along most of the parameters of the audiophile idiom, without doing any one of them in a spectacular way that will drop your jaw or make you think you are listening to a whole different component. But you will feel it has taken your current component much closer to its maximum performance level. 

 It has fantastic build quality, and sports a complex design which is very expensive to produce, so at the $300 price, it offers good value. As a nice finishing touch, the female end is adjusted by hand, and provides the best, tightest grip of any power cord I’ve ever had in my possession. A real “sleeper” cord no one knows about that is deserving of a higher profile.

 Flexibility: 5
 Build quality: 8
 Tonality: 8
 Soundstaging/imaging: 7
 PRAT/dynamics/speed: 7
 Resolution/detail/transparency: 7
 Value: 7
 Overall Performance: 7 (up to 8.5 on the right component)

*3. Zu Cable BoK*

 Website: http://www.zucable.com/

 Pricing (6 ft. cord): $249

*Review:*
 I know that the Zu cables for the Sennheiser headphones are very popular around here. I’m also aware that the designer behind Zu has an excellent pedigree. So my expectations were pretty high for this cable, which is in the middle of Zu’s power cord line. Well, it didn’t work so well in my system.

 My main problem with the BoK was in terms of tonality, it has an unpleasant coloration that carries over and infects every component you put it on. I would describe the coloration of the Zu Cable *in my system* to be a sort of an aluminum-plastic flavor, if you can imagine such a thing-- a synthetic taint at any rate, not huge but quite bothersome. Also, something in the frequency spectrum is out of whack, there's a slight incoherence to the sound, it can all get confused and muddled.

 The BoK also seems to slightly sap the energy levels of the components it's attached to, they become sluggish, slightly lean, and dark. I felt this cable restrained the performance of gear rather than unlocking its potential.

 Flexibility: 7
 Build quality: 7
 Tonality: 3
 Soundstaging/imaging: 5
 PRAT/dynamics/speed: 3
 Resolution/detail/transparency: 6
 Value: 4
 Overall Performance: 4 


*4. Analysis Plus Oval 10*

 Website: www.analysis-plus.com

 Pricing (6ft. cord): $219

 Analysis Plus is a manufacturer who purports to base their designs purely on science and *measurements*. To this end, they've developed some very unique cable geometries (hollow oval) and special extrusion processes that results in “single-crystal” (ultra-pure) copper. Due to these unique design factors, they assert their cables are *measurably better* than other cables, and their trade show booths are famous for doing demos with their test equipment that show the "superiority" of their cables vs. much more expensive competitors. So, if having cables backed up by science and machines that go “ping” matters to you, these might be worth a look.

 But sometimes, you need to actually *listen* to a cable to determine its true value and performance level vs. its measured specs. Listening to the Oval 10s is really something its designers should have done instead of simply taking their machines’ word for it.

 On the plus side, the Oval 10s were extremely transparent, clean and clear with solid soundstaging. BUT they were way too bright and lean and thin in my system. Bass was lacking, the sound has no foundation, and they were fatiguing to me. Yes, they can dazzle you with their lightning fast delivery, they are extremely quick, almost unnaturally so. But you pay for that with a gauzy whiteness to the background, and the aforementioned thin sound and tipped-up, hissy highs that have an astringent, stinging quality. Music sounds “recorded” instead of natural. Edges can be a bit sharp, and when turned up loud (as I like to do), this cable can leave your ears ringing after a very short session.

 Overall—dare I say it—I found the Analysis Plus too “analytical”.

 Flexibility: 6
 Build quality: 7
 Tonality: 4
 Soundstaging/imaging: 7
 PRAT/dynamics/speed: 9
 Resolution/detail/transparency: 8
 Value: 5
 Overall Performance: 6 


*5. Tek Line Eclipse*

 Website: http://www.teklineaudio.com/

 Pricing (6ft. cord): $149 list (available for less on audiogon)

*Review:*
 This is Tek Line’s bottom-of-the-line cord, it’s a new product for them, and isn’t even on their website yet. It sports immaculate build quality, and is very pleasing to the eye with a midnight-blue outer molded jacket with silver writing on the side. It looks a lot more expensive than the price you will pay for it on audiogon (I paid around $60 at a special intro price which is now over, instead you can bid on it in the auction section).

 This cable excels at soundstaging, image width is very impressive. It provides a definite sense of 3D space, with a very "airy" presentation, easily allowing each instrument to comfortably occupy its own space. The cable really makes you feel like you are in the studio with the musicians, it's pretty eerie. Great image stability too, everything is very well-defined.

 It has a very clean presentation, with a natural tonality, if a bit dry and a little laid back. Unfortunately, sibilants are emphasized, which sticks out all the more simply because everything else is so well-behaved. There's an area in the midrange centered around where male voices lie that is somewhat repressed and recessed relative to what's going on around it. For me, as someone who focuses chiefly on the vocalist ahead of the musicians, that can be an issue. But the major weakness of the Tek Line Eclipse in my system was the light-weight, gently rolled off bass. 

 Overall, bass performance excepted, this cable performs at a much higher level than it has any right to given its street price. Since this is Tek Line’s entry-level cable, I was tempted to move up the line and explore further, but for no good reason, I regretfully did not. Tek Line has been at it a while, but they don’t have any high-profile reviews anywhere and are still somewhat unknown. Based on what I’ve heard, I think these cables are well worth further consideration.

 Flexibility: 6
 Build quality: 8
 Tonality: 6
 Soundstaging/imaging: 9
 PRAT/dynamics/speed: 6
 Resolution/detail/transparency: 7
 Value: 8
 Overall Performance: 7


*6. Iron Lung Jellyfish*

 Website: http://www.2baudio.com/

 Pricing (6ft. cord): $29

*Review:* 
 While perusing audiogon, I came across an ad for the Iron Lung Jellyfish power cord, a no-frills, custom-built hospital-grade 14-guage cable. They have those see-through rubbery molded hospital-grade connectors you see on the Quail cords. They were a mere $29.00 each. What the heck, why not?

 I ordered two of them, put one on my RS Audio HR-2 and another on my Sony SCD-555ES sacdmods SACDP. Let's just say I had *very low* expectations, but I was very pleasantly surprised (I would even say a little slack-jawed *given the price*). Tonally, they are fairly balanced with surprisingly good bass response, though the treble can be a little sugary sweet. They are reasonably clean, but a bit grainier than the best cords I’ve heard, with decent soundstaging (although a little 2-D and flat relative to other cords), relatively low noise floor. These are lively and “fun” cables, toe-tappers, they are quite good at PRAT. Comparing them several times to the stock cabling, the difference could not have been clearer, the Jellyfish represents a significant jump in performance.

 I think if you've ever been tempted to dip your toes in the aftermarket power cables pond, these are a great way to start. I don't think you would be disappointed. At $29 they give you a level of performance that is absolutely ridiculous given the cost of entry.

 Flexibility: 9
 Build quality: 5
 Tonality: 6
 Soundstaging/imaging: 6
 PRAT/dynamics/speed: 6
 Resolution/detail/transparency: 7
 Value: 9
 Overall Performance: 7


*7. Absolute Power Cord Mark II*

 Website: http://www.gttgroup.com/

 Pricing (8ft. cable): $49.95

*Review:*
 Like the Jellyfish, the Absolute power cord is one of those very flexible, molded jobs that looks like a hospital-grade cord more than an audio-grade cord. Also like the Jellyfish, it has one of those rubbery see-through molded male ends that hospital-grade cords have, plus a molded plastic female end that matches the blue color of the cable. It only comes in an 8-foot length, no custom sizes. The manufacturer claims that the cable is completely custom built to spec, it is not an off-the-shelf cord with standard wiring inside. It is built and assembled in China to keep the costs down. 

 The Absolute Power Cord is advertised with heavy emphasis placed on its “neutrality”. The designers claim to have honed and refined the design to be the most neutral power cord on the market. Nice things have been said about the performance of the Absolute cord by people I respect. Nevertheless, they didn’t work so well in my system, but perhaps my experience is not typical.

 Sometimes, saying something is “neutral” can be another way of admitting, “it doesn’t do very much”. That was my experience with the Absolutes. They were somewhat foggy, hazy and reserved. Behind the veiling, yes, everything is in proportion with regard to frequency response, but lack of transparency is still a “coloration” to me, and in that sense, they varied from the promised absolute neutrality. Soundstage was constricted relative to some other cables under review. Depending on the listener, they are either really refined, mature, and well-behaved, or a bit dim and lifeless.

 It has a *very* quiet background, but it achieves this by damping down the sound, throwing a wet blanket over it all. Because of this, it’s also somewhat lacking in PRAT and dynamics. If you were trying to correct a problem in your system by suppressing it rather than eliminating it, the Absolutes might be a good choice.

 I tend to like a more open, robust, expressive, vigorous and dynamic sound. I value clarity/resolution very highly. Viewed through my lens, the foggy, inoffensive Absolutes did not fare especially well, YMMV.

 Flexibility: 8
 Build quality: 6
 Tonality: 6
 Soundstaging/imaging: 5
 PRAT/dynamics/speed: 4
 Resolution/detail/transparency: 5
 Value: 6
 Overall Performance: 5.5


*8. PS Audio XStream Plus*

 Website: www.psaudio.com

 Pricing (2 meter cord): $279

*Review:* 
 Well, at least it *looks* awesome. This is by far the sexiest looking cord under review. Every piece of this is custom-made by PS Audio to their high specifications. The ends are not the usual off-the-shelf Hubbells or Marincos, but custom-molded and sleek-looking with the PS Audio logo built in. This is a very thick, beefy, and *heavy* cord. Although it’s 8-gauge, PS Audio recommends it for digital sources; they actually have a *6*-gauge cable for amps! Because of the extreme amount of shielding and the heavy-gauge conductors, this is one stiff cord, but still not as stiff as some I’ve tried.

 PS Audio has left no stone unturned in their quest to completely re-think the power cord. They have specific reasons (listed in copious detail on their website) for every single design decision on every single aspect of their cords. Given the general reputation of PS Audio’s other products, their general level of innovation, and the fact that everything is custom on this cord, I had high expectations, and if nothing else, was expecting a cable that sounded like no other. And in some ways that’s what I got.

 Tonally, I noticed right away that it sounded almost identical to a Virtual Dynamics cable. Not neutral or thin, but warm, rich, with that same heavy bass that’s a little loose and unfocused. Same slightly rolled highs, same sense of extra force being delivered with the sound, same extra meat on the musical bones, with a heaviness and real foundation to the sound. And that’s about all that I can say good about it.

 First disc I played after installing the PS Audio on my source was AC/DC Back In Black, the 1994 Ted Jensen remaster with which I am very familiar. I was very perplexed by what I heard. It was as if heavy weights had been laid on top of the band, everything ground down to a halt. This cable is sloooooooooooooooooooow as molasses, like the performers are fighting against a heavy headwind, striving against the grain to make progress. That CD should sound energetic and powerful, make you want to bang your head, but it sounded dull, forced, and lifeless, as if all the passion of the performances had been drained out. I let it burn in for two days (it was a used cable so it already had plenty enough hours of burn in already), and then played numerous CDs and the effect of the cord was always the same. I switched it to my headamp, and that didn’t help either. 

 If I had to guess, my feeling is that, despite being billed as ideal for sources, a cable like the XStream Plus really requires a big beefy multi-watt speaker amplifier with high current demands to “pull” the juice through it to overcome the resistance that seems to be inherent in the cable. Gear like CD players and headamps that don’t draw much current don’t seem to suit it. It should also be noted that the XStream Plus is probably the most heavily shielded cable I’ve ever owned. In addition to the layers and layers of regular shielding, it has ferrite embedded in the jacket. That’s part of the reason the cable is so thick and heavy. From my limited first-hand experience, and based on what I’ve read elsewhere, I’ve never been a fan of adding ferrite clamps and such to my audio cables, I find it “chokes” the sound, and truncates highs. It’s *possible* (I speculate) that all that ferrous material might also be responsible for the cables seeming lack of speed.

 Whatever the reason for its sluggishness, I couldn’t wait to get this cable out of my system. 

 Flexibility: 4
 Build quality: 8
 Tonality: 7
 Soundstaging/imaging: 6
 PRAT/dynamics/speed: 2
 Resolution/detail/transparency: 6
 Value: 6
 Overall Performance: 4


*9. VH Audio Flavor 1 & 2*

 Website: www.vhaudio.com

 Pricing (6ft. cord): $103.99 - $114.99 (depending on Model and features selected)

*Review:*
 VH Audio is a relatively new company, helmed by Chris VenHaus. VenHaus made his name on audioasylum by offering DIY-ers home-brewed recipes for power cables based on standard Belden wire. He apparently got so many requests from technically unskilled audiophiles for his cables that he eventually went into business for himself. His cables now apparently do not use off-the-shelf wire, but wire that has been custom-built to his spec. He also has his own trademark “counter-spiraled ground” which I won’t attempt to describe except to point out that it is clearly visible under the sheath of his cords as an individual wire outside of the main bundle that wraps around his cords. 

 Chris VenHaus offers several different “flavors” of power cords, each a subtle variation on his basic design, that he has deemed most compatible with each type of audio component. I ordered a cryo-treated Flavor 1 for my digital source, and a non-cryoed Flavor 2 for my headamp.

 Man, did I HATE these cords when I first plugged them in. They were incredibly raw, poorly-behaved (actually out of control), frayed at the edges, white of background, frazzled and aggressive highs, with all kinds of frequency anomalies, and no soundstage to speak of. Chris VenHaus does caution you in advance that his cables require a lot of burn-in, possibly more than other cords. Well, based on my initial impression, I didn’t even want to bother waiting for them to burn-in-- I was ready to chuck them, as I’d never heard any cable or component change enough through break-in to compensate for what I was hearing from the VH Audio cords. Nevertheless, I left them there while I plotted my next move.

 And much to my amazement, after 3 weeks, they were a very different animal, and quite enjoyable on their terms. The VH Audio cables are quite energetic, lively, extremely fun and engaging. They are a great choice for people who really like to rock out, play air drums and air guitar, and bang their heads while listening to their tunes. They are very dynamic, fast, hard-driving and rhythmic. Bass is the best I’ve heard in a power cord, if best is measured by going deepest and playing loudest and hardest. These cables are ferocious, barely-tamed beasts, and they came to party. If you like to listen as an active participant in the music, they’re sure to excite you in the deepest recesses of your lizard-brain.

 That’s the good news. The bad news is that while these cables most definitely rock, they just don’t do finesse. Or soundstage. They are heavy-handed and aggressive, and they aren’t adept at the little nuances that many audiophiles get off on. Low-level detail? Nope. Air and space? Nope. Midrange lushness? Uh-uh. Sublime treble response? Fuggedaboudit. Subtleties just aren’t their bag, and get lost or just hammered away. 

 Still, in the right system for the right listener, they should really hit the spot. At this point in the quest, my ideal was to find a cable that could deliver the fun factor and dynamics of the VenHaus without losing all those little subtleties that are just as important in good/accurate music reproduction. I really did enjoy the VH Audio cords for what they were, and I miss their bass response. A lot.

 WARNING: these are some of the stiffest, least accommodating cords ever made, they have a mind of their own. They have a rubbery tube around them that positively refuses to accept any shape you want to bend it in-- it just INSISTS on going its own way no matter what, refusing to be bent and to STAY. It automatically flexes back to its original configuration. You will have a devil of a time trying to get the female and male ends (especially the male end) to stay seated in their sockets or outlets. I could never quite succeed at getting a solid connection to the wall outlet, the cable always was displaced slightly, hanging down and out of the outlet, exposing a small part of the male prongs. While this may not affect the quality of the connection electrically, it’s still very frustrating and unsettling to look at. 

 Flexibility: 2
 Build quality: 6
 Tonality: 7
 Soundstaging/imaging: 4
 PRAT/dynamics/speed: 9
 Resolution/detail/transparency: 6
 Value: 8
 Overall Performance: 7.5


*10. Custom Power Cord Company Model 14 Series 2*

 Website: None. Out of business.

 Pricing (6 ft. cord): $260 (retail when new)

*Review:*
 Custom Power Cord Company (CPCC) was a very respected brand a few years ago, before they went out of business. Their higher-end cables won many awards and were included in several of the Stereophile reviewers’ reference systems.

 Yet another extremely stiff cord. This one has a very thick garden-hose like rubber tube surrounding it with lots of air in between the outer shell and the internal wires, presumably to provide an air dielectric (but I can’t say for sure the purpose as there is no longer any website to refer to). Also refuses to bend in a 90 degree angle, and when it does, it causes the outer shell to sort of crimp up on itself at the point where it flexes.

 This was an enjoyable cable. Very level-headed, neutral in tonality, except for a slight bass roll-off that was the ultimate reason I sold it. Very adept at portraying soundstage and air, nice 3D imaging. Definitely puts you right there in the studio with the musicians. Decent “palpability” factor, if a little reserved and polite. Very nice sparkly, effervescent highs, no roll-off, but not aggressive. 

 It’s a real pity it’s missing that extreme low-bass information. It needs more grunt, more foundation, and firmness. Otherwise, a very pleasant cable and a solid performer for the money.

 Flexibility: 2
 Build quality: 7
 Tonality: 7
 Soundstaging/imaging: 8
 PRAT/dynamics/speed: 6
 Resolution/detail/transparency: 8
 Value: 7
 Overall Performance: 7.5


*11. Audio Metallurgy Gold Alloy 9*

 Website: www.audiometallurgy.com

 Pricing: ~$1200 (fake “list price”, these are sold on audiogon auctions for around $250)

*Review:*
 Many new cable manufacturers start out by auctioning their cables on audiogon. In doing this, they often create wildly inflated list prices to try to make people bid higher, or to believe they’ve gotten a really great bargain. (“Wow, I just won a $2000 cable for $400!). The reality is that no one ever purchases at the alleged list price, all items are sold through the auction process, resulting in street prices much lower than the inflated list.

 Some people find the practice dishonest or deceptive. Personally, it doesn’t bother me that much, you can always look at the build quality to determine if you got a good deal or not. And when I paid $200 for a cable where the IEC connectors *alone* cost roughly $150 retail, I just can’t be bothered to get all that worked up about the practice. 

 Audio Metallurgy is “new” but their designers have made cables for several other companies. There are a number of other small mom and pop companies that advertise similar-looking products in audiogon’s auctions; they all share a familiar braided design with similar gold/silver/copper alloy wire conductors. This wire is actually made by Audio Metallurgy for them. Furthermore, the actual Audio Metallurgy cables use thicker-gauge configurations with more strands of this expensive wire, so you get more of the gold alloy wires for your money, *and* they deep-cryo treat it for 168 hours. They top it off with some of the most fancy IECs on the market, the Furutech 25 series gold connectors which retail at $75 a piece. 

 Well, given the build quality, the great connectors, the gold alloy and the good price I got the cable for, I was really anticipating the arrival of this exotic cord. If nothing else, it would surely sound very different than any other power cord I’d tried so far, and so it did.

 There’s a fine line between smooth and soft, between lush and syrupy, between liquid and soggy, between sweet and sickly sweet, and the Audio Metallurgy crossed all of them for me. Not a tonally neutral cord, it has a distinct flavor that will either thrill the owner or completely turn him off. Highs are so sweet, they’ll give you a toothache. Midrange is so warm and fluid, it’s kind of “gooey” and overly honeyed. Bass is also very warm and slightly gentle and unfocused.

 This is not the most dynamic or incisive cable on the block either. It’s fairly restrained and polite. It’s not the most transparent cable either, there is a whiteness to the background, and its lazy attitude keeps it from digging up all those tiny little details that can excite most audiophiles. While very easy on the ears, it lacks life and excitement. Edges are too blunted and warm and fuzzy to stay interesting or engaging for very long. It is quite grain-free and clean, however.

 I concede that some people will surely *love* what this cable does, even if they have to admit in turn that it deviates greatly from any sane definition of “neutral”. I can see this maybe finding a use in a solid-state system where someone wanted to add a little flavor, or rid the system of the etching, grain, roughness, hardness, sharpness or some other typical misbehavior common to solid-state gear. I think that in a tube-based system this would just be too much—way way too much. YMMV.

 Flexibility: 9
 Build quality: 8
 Tonality: 5
 Soundstaging/imaging: 7
 PRAT/dynamics/speed: 4
 Resolution/detail/transparency: 6
 Value: 7
 Overall Performance: 6.5


*12. TG Audio 688*

 Website: www.tgaudio.com

 Pricing (6ft cord): $350

*Review:*
 TG Audio is the name of Bob Crump’s cable company. Like Chris VenHaus, Crump is well-known on audioasylum for providing recipes for home-brewed cables that have been quite popular there in the past. Also like Chris VH, his own branded cables are very different (and greatly improved with special wire that’s not off-the-shelf) from the home-brews made from his designs. He’s been making his own power cords for some years (he started in the early 90’s I believe), which means that the 688 is a very mature product arrived at after years of experimentation. It replaces a number of earlier models. His web-site is beyond minimal, his seems to be mainly a word-of-mouth operation. And after lots of research, I couldn’t find anyone on audioasylum who had one bad thing to say about any of his cords. So I bit.

 Like the VH Audio cables, both users and Crump himself report a longer than average burn-in period with the TG Audio cables. I can confirm the 688 does have some issues prior to break-in. I have around 450 hours on it, and it seems to have settled in, though Crump recommends 30 days or 700 hours to get fully cooked.

 This is the best cable I’ve had so far—on my source. I don’t care for it especially on my headamp. It almost sounds like two entirely different cables on each position. This review reflects its performance on the sacdmods Sony 555ES only.

 Tonally, this is a very neutral cord. Except for a bit of glare upstairs (which I am optimistic could be reduced with further break-in), I am unable to find fault with its presentation of anything else across the frequency spectrum, it is very consistent and coherent, nothing sticks out as being “wrong”. Very natural sound, instruments and voices sound like they are supposed to. Bass is excellent, if not quite as pronounced as the VH Audio cords.

 This cable is a soundstaging champ. HUGE soundstage, with an eerie sense of *depth* to the image, more than I’ve ever heard before. Each musician is firmly ensconced in his own space, this is a very airy cable. It is the best I’ve heard in terms of ability to portray small sounds/events at low volume, and big/loud events LOUDLY, incredible dynamic range. Sounds remain distinct from one another, there is no jumbling or mixing, blending, or blurring together into a muddled, incoherent mush. It has an effortless feel to the presentation, it’s never breaking a sweat, no matter what you throw at it.

 PRAT/dynamics and speed are first rate, it’s not quite the aggressive monster that the VH Audio cables are, but it comes pretty close. This is a powerful cable, very incisive, direct and firm. When big crescendos are required, it doesn’t hold back, it can deliver them all with authority. It’s a very lively, entertaining and engaging cable, one of those rare components that makes you want to grab every CD in your collection and hear them for the first time all over again. The TG 688 really brings the music to life in a very exciting way.

 Where The TG 688 differs from the VH Audio cables is chiefly in its ability to get the slam, crash and bang down without sacrificing the subtleties in the process. This cable does both dynamics *and* finesse. This is a very versatile cable, comes pretty close to doing it all. It’s not the most dynamic cable I’ve ever heard, nor the most detailed and refined, but it offers a very nice balance of both. If you cherish either end of the scale, it won’t disappoint.

 I would rate this cable near the top of the heap in terms of transparency and resolution. It has the black background, low noise floor, and plenty of micro-details. It has very good clarity and low grain level (although not quite the cleanest in this review sample). It has an open sound that invites your mind to come on in and take a wander around the soundstage. It’s quite a realistic and vivid presentation.

 All that said, on my headamp, it lacked a little air, and was a little foggy; it didn’t strike me as anything particularly special in that position (but it certainly doesn’t sound *bad* by any stretch). As I mentioned at the outset of this review, it’s important to try your new power cord on all your components to see where it fits best, you may be surprised at how it affects different kinds of gear.

 Flexibility: 5
 Build quality: 7
 Tonality: 9
 Soundstaging/imaging: 9
 PRAT/dynamics/speed: 9
 Resolution/detail/transparency: 8
 Value: 8
 Overall Performance: 9


*13. Michael Wolff Silver Carbon Source*

 Website: www.wolffaudio.com

 Pricing (6ft. cord): $550

*Review:*
 You may recall I recently wrote a gushing review of Michael Wolff’s Silver/Gold/Carbon interconnects (http://www6.head-fi.org/forums/showt...ghlight=wolff). They are by far the best ICs I’ve ever had in my system. As it turns out, Wolff is primarily known for his power cords rather than his ICs. His latest revision of his Source power cord uses silver ribbons along with Wolff’s trademark carbon conductors. They are terminated with the extremely cool Oyaide P-046 and C-046 (orange in color) IECs. These are their top-of-the-line and run $115 *each* retail. Oyaide is another specialized Japanese company like Furutech specializing in high-end wire, connectors, power strips and the like. 

 Wolff sells two flavors of power cord, one for multi-watt amplifiers (called the Gain), and one for components that draw less than 350 watts of power called the Source. The Source cord can of course be utilized on more than just digital front-ends, and is ideal for headphone amps, pre-amps or other gear that draws far less than 350 watts. It’s a very supple, pliable cable that is flat instead of round, and is very easy to work with. In addition to looking sexy, the Oyiade ends grip nice and firmly. 

 The Wolff Source cord bears a strong resemblance in several key ways to his ICs, and that’s all to the good. It could not possibly be any cleaner or free of distortion. Zero grunge, zero grit, zero grain, the music just *is*. It is beyond immaculate; you get the entirety of the audio signal totally uncompromised. This is a very scintillating, refined, assured, and sublime cable. The sound has the power to delight and elate the listener at every turn. 

 Music through the Wolff cord is able to just *breathe*; I don’t think it’s possible to provide more air than this cable gives. Like his ICs, the most remarkable thing about Wolff’s Source cord is the pure *ease* with which they deliver the sound. I’ve been reading up on descriptions of other cables that utilize carbon in their design, and most reviewers/commentators seem to hit on the same thing—there’s a flowing effortless quality to the way music just pours out of them. 

 The Wolff cord is the least fatiguing cable I could ever imagine. But it doesn’t achieve that by truncating the highs by politely rolling them off. Because it’s so clean and clear, it’s able to present highs in their entirety in a way that does not prick or pierce the ear. This is the most extended top-end of any of the cables under review by a fair margin. If you are a treble aficionado, the way there are bass-heads, look no further, you’ve found the Holy Grail. Highs shimmer and glisten, tantalize and caress the ear in a beautiful way. There’s a lushness there that never bleeds over into the sickly-sweet like the Audio Metallurgy cable can. Cymbals have never sounded better, Wolff’s power cords and ICs do cymbals better than I’ve ever heard them. At last, digitally-rendered cymbal crashes sound like they are supposed to, they fully resolve without breaking up into abrasive white noise. All in all the best treble I’ve heard in a power cord so far.

 Midrange is lush and present, vocals sound fantastic, Wolff’s cables let you hear words that other cables garble. The mystery of what the heck your favorite singer is singing in your favorite song may finally be resolved with the Wolff cord. I wouldn’t describe the midrange as “warm” but it isn’t cold or analytical, either. It’s just about right. I am constantly surprised at how different recordings sound *different* with Wolff’s Source cord. The individual character of the recording really comes through in a distinct and unique way. It does not homogenize the sound or leave its stamp on everything it touches.

 The Source cord throws an *awesome* soundstage. It can tackle the tiniest bits of micro-detail with aplomb. The noise floor does not exist on this cable, if it’s in the recording, and your component is capable of delivering it, the Wolff cord will help it serve it up for your perusal. No stone is left unturned. Incredibly sharp focus and high resolution without the jagged “crispy” edges that mar other cords. Everything is just “there” for you to take or leave at will, it’s a subtle, nuanced cable that isn’t going to shove everything right under your nose in a rude or intrusive way.

 In terms of speed, I have no complaints. It can strike like lightning when required. There are no noticeable strings attached to the sound, it feels like its totally free and unfettered, but because the Source cord is so distortion-free, it all stays firmly focused, coherent and precise. 

 But I am not wholly without a few minor reservations about the Source cord—on my source. My main concern is the way it handles bass which is very different than any other cord I’ve heard. Many aftermarket power cords appear to add weight to the bass to some degree when compared to a stock cable. If your system is lacking in bass weight, that can be an important advantage. My system is built around the R10, which despite all its other charms, I have to admit rolls the bass gently down below, so it needs any extra oomph you can feed it, however artificial. 

 After several weeks with the Wolff cord, I was resigned that it was never going to be a bass monster, although it was clearly a very fluent speaker of the bass language. Then, one day, I threw on Chemical Brothers "Surrender" CD and cued up the track “Under the Influence”, which about 30 seconds in has this *incredible* bass drop where this HUGE slab of electronic bass comes in and starts out at the high end of the bass spectrum and slowly drops down to the very lowest lows the CD format can deliver. All of a sudden, on this track, here was the “missing” bass! Well, where had it been? 

 Befuddled, I downloaded a big set of bass test tones from the web, and dusted off my trusty Radio Shack digital SPL meter. I then proceeded to take several sets of measurements of the bass performance of my system with the Wolff cord on my source and without. I was expecting to see a slight drop off in the Sony R10’s bass response with the Wolff cord attached, but to my surprise, it was stone cold *identical* to the control (VenHaus plus Crump) every single time, and a db or two *louder* than a control set-up with a stock cord in the signal chain (Crump + stock). 

 How is that possible? How is it that the VenHaus gives the illusion of more bass than the Wolff cord even though they measure the same? I puzzled over this for some time and did more listening to the Wolff cord. My ultimate conclusion was that the Venhaus cord is sort of the “cable that cried wolf” (please forgive the pun 
	

	
	
		
		

		
		
	


	




 ) when it comes to bass. I hypothesize that when feeding a musical bass signal (as opposed to a flat test tone), it gets over-excited and exaggerates the response. Individual bass sounds and tones and volume levels get mixed up and it replies with the same bass force to every call for a bass signal of any size. In contrast, the Wolff cord is much more precise, and able to distinguish subtle shadings of bass tones and volumes, and only dips low when the music asks it to, as it did on the Chemical Brothers track I mentioned earlier. 

 Either that or what we *perceive* in bass response as greater “firmness”, “presence”, “solidity”, “authority” or whatever catch-phrase, may be one of those unmeasureable psycho-acoustic phenomena. Or behind door number three we have the limitations of my test, my tools, or my methodology. Take your pick! 
	

	
	
		
		

		
		
	


	




 Nevertheless, in a system like mine with the R10, I can’t always afford to have a neutral bass response, I need a cable that sometimes cries wolf, and the Wolff cable is not that cord (still follow me? 
	

	
	
		
		

		
		
	


	




 ). At least not on my source. When I switched the Wolff cord to my headamp and put the Crump cord (TG 688) on my source-- holy cow!!! 
	

	
	
		
		

		
		
	


	




 My system has *never* sounded better. The Wolff cord makes a *perfect* match for the Ray Samuels HR-2, and I am experiencing no bass roll-off in that position. The HR-2 has been elevated to whole new level (and it was *mighty* impressive to begin with). The Wolff cord affects the stubborn HR-2 more than any other cord I’ve tried in a very positive way. It brings the airiness, the soundstage depth, and the delectable highs to HR-2, increasing the sense of "open-ness" by several degrees. Because the HR-2 also has a low noise floor (which some have dubbed its “blackground”) it is further enhanced by the Wolff Source cord. Sounds really do emerge out of nothing. It’s too bad the cord costs roughly two-thirds what the amp itself does, they make beautiful music together.

 To summarize, the Wolff cord needs to be paired with the right component and the right listener. If you like to listen loud like I do, its unfatiguing nature is positive boon. It will protect your ears by preventing distortion and piercing highs from causing them harm. You can rock out enjoyably and safely at ridiculous volume levels (not that I recommend this, of course 
	

	
	
		
		

		
		
	


	




 ). However, I think for people who like to listen at more sane levels or even low levels, I wonder if the Wolff cord might come across as a little glassy, a little tame, one might actually desire some artificially added zing and bite to keep your mind interested. 

 Still in all, the Wolff Source cord provides a very unique sound that none of the other cables can match. It isn’t colored tonally, so it’s not a matter of preferring or rejecting its special “flavoring”, I don’t think. I do think that if someone was to find the cord unsuitable in a particular application it would be on the basis that they might mistake the lack of distortion as some kind of coloration in itself. It will certainly sound “different” than other more conventional cords, but IMHO that’s down to superior performance, purity of signal, and freedom from fatigue-- not a "coloration" but rather the absence of one. Or, they might wish for some extra firmness downstairs, whether that is natural or not. I think those are all fair objections, we each need cabling that compliments our tastes and needs best, whatever its particular colorations may be.

 Flexibility: 8
 Build quality: 9
 Tonality: 8
 Soundstaging/imaging: 9
 PRAT/dynamics/speed: 8
 Resolution/detail/transparency: 9
 Value: 7
 Overall Performance: 9


*14. Straight Wire Blue Thunder* 

 Website: www.straightwire.com (Blue Thunder is not yet up on the site.)

 Pricing (2 meter cord): $250.00

*Review* 
 Straight Wire has been around for some time, they have lots of distributors and can be found in many of your local hi-fi shops. For such a (relatively) large company in the cable business, their website is surprisingly incomplete. The Blue Thunder power cord is still not listed (though they tell me it will be soon), despite being on the market for almost two years.

 Straight Wire sent me the skinny on the cable separately, so I can share it with you. It's a solid-core design with several ultra-high-purity 18-gauge solid-core copper wires wound together to form each 12-gauge pole. The use of these relatively thick solid-core wires is said to help combat strand interraction that plagues many multi-strand designs. It has Teflon insulation for the best EMI/RFI rejection, and the conductors are encased in a professionally molded cord for reduction of vibration, topped off with Hubbell terminations. These conductors are not just loose inside a techflex outer sleeve like many brands of more home-brewed-style recipes. One would assume that this construction method would increase Straight Wire's costs for producing the wire that makes up the Blue Thunder, as obviously, the wire would have to be professionally built and molded. The cord can also be used for both high-current multi-watt amplifiers *and* front-end equipment.

 I would describe the sound as remarkably neutral tonally (as I have discovered and detailed here, most power cords are not). This makes it harder to describe its "sound". It's extremely clean, with lots of body and firm, if controlled bass. The Blue Thunder puts a lot of "flesh" on the musical bones, somewhat like the Virtual Dynamics cables (which are also based on even thicker solid-core wires). But the Straight Wire lacks the VD cable's tonal coloration that depending on the listener is either very pleasant, or an annoying deviation from neutrality.

 It is not a slow or a fast cable, it's just about right. It has a very unfatiguing, mellow sound due to its relaxed but firm and authoritative nature. Image stability is excellent, as is soundstage height and width. Reasonably detailed, but it does not force those details in an "in-your-face" sort of way, its laid back nature leaves them there for you to discover on your own.

 Overall, The Blue Thunder is a strong performer, offers above-average value at a reasonable list price ($250). It is tonally neutral, if a bit "thick"-sounding, which may be advantageous for folks trying to alleviate a slightly "thin" system. I think this cable would appeal to many who value a relaxed and engrossing sound, rather than a head-banging hyped-up "exciting" or forward sound. Definitely worth a look for the right listener.

 Flexibility: 5
 Build quality: 8
 Tonality: 8
 Soundstaging/imaging: 7
 PRAT/dynamics/speed: 7
 Resolution/detail/transparency: 7
 Value: 7
 Overall Performance: 7.5


*15. Volex 17604* 

 Pricing (6 ft. cord): $8-$12.00

*Review* 
 In other threads on this site, this cheap Volex cord has been compared favorably to cables costing 30X its price. The 17604 is the shielded version of Volex's basic cable which features wire made by Belden. How does it stack up for this reviewer among all the various cables I've had so far?

 Surprisingly well. Let me amend that-- shockingly well (qualifier-- given the price). I can say that this power cord easily and handily beats out several of the much more expensive cables I've reviewed so far. To put that statement in perspective, though, as you've read, there are a number of fancy power cords I didn't care for at all, so it's in that context that this cheap Volex stands out ahead of them. 

 But saying the Volex is better than cables I really detested is not the same as saying it compares favorably with the really good aftermarket cables. A better, more fair and interesting comparison is against another mass-produced budget cable I think very highly of-- the Iron Lung Jellyfish. 

 I was quite surprised at the difference between these two budget cables. I suspected they would sound quite similar, but they don't. 

 The unshielded Jellyfish is much more extended at both ends-- there's clearly more treble and much more bass. The Jellyfish is more "hi-fi" sounding, where the Volex is more "natural" and warm. The Volex has the "tone" thing down. It *harmonizes* very well. It sounds very "real" and natural. In contrast, the Jellyfish has more "glare" than the Volex, sounds are more "recorded" than real, yielding an artifically sweetened sound. Tonally, Volex focuses more on the mid-range, Jellyfish more on the lows and the highs. Neither one is completely right; one has a smiley-face EQ (Jellyfish), the other a frowny-face EQ (Volex). Overall, the Volex is easier on the ears, the sound is "thicker", and less "exciting". If you want to relax into the sound, the Volex would be a better choice, but if you want to be a participant, rather than just an observer, the Jellyfish makes more sense.

 The Jellyfish definitely is superior to the Volex in terms of PRAT and sheer slam. It's a much more forceful, impacting and energetic cable. In terms of soundstaging, the Volex is smaller, moving you back a couple rows. The Volex has less "air" and dimesionality than the Jellyfish, making it seem somewhat 2-dimensional and flat. They are roughly equal in terms of detail/resolution.

 I estimated I switched out these two budget cables at least 30 times doing this comparison. This was a royal pain in the butt. It took quite a while to decide which one I preferred, it was not clear-cut. Overall, these are both terrific budget cables with different strengths and weaknesses, I think it comes down to where you are more willing to compromise. I can live without the extended highs of the Jellyfish (which can sound somewhat artificial), but the deal-breaker for me on the Volex is its pretty severely rolled bass response. I need every last drop of bass I can get, and the Volex withholds a little too much to overlook. And that's a shame because it's so tonally attractive and natural, very "musical" and quite enjoyable. 

 Flexibility: 9
 Build quality: 5
 Tonality: 9
 Soundstaging/imaging: 5
 PRAT/dynamics/speed: 5
 Resolution/detail/transparency: 7
 Value: 8
 Overall Performance: 7.5

*16. Oyaide Tunami Power Cord- Assembled by Michael Wolff*

 Web site: Website: www.wolffaudio.com

 Pricing (6ft. cord): $345

*Preface*
 Since publishing this review (and its updates), I've turned down over a dozen other offers for review samples from other makers/marketers of power cords (who may well be reading this now-- hi! 
	

	
	
		
		

		
		
	


	




 ), due to absolute burn-out (as you can imagine). A few months back, I sold my TG Audio 688 that had been on my source since I first got and recommended it when this review was fresh. I sold it in a temporary pinch (and an attempt to rationalize my system to no avail), and I've regretted it ever since. I replaced it with a cheapie hospital-grade Iron Lung Jellyfish, which I still say greatly outperforms very many much more expensive cords; it's a real and true bargain. Still, it was no TG 688, though it more than held it's own given its absurdly low price. Also, for even longer, I've been happily using the Jellyfish on my stubborn, somewhat power-cord-immune Ray Samuels HR-2, where it has again served more than admirably. Much as I might wish to have used Michael Wolff's Silver Carbon Source cable (now no longer available, he's gone even further upmarket with even more exotic designs) on the HR-2, I couldn't justify buying a cord that cost 2/3rds of what the amp itself cost. C'est la vie.

 Recently Michael contacted me regarding a new (reasonably affordable) cord he was carrying called the Tunami. Even though temporarily "retired" from the power cord game, I asked him to send me a sample copy for review. Here are my results with the Tunami on my source; though again, I am comparing (in recent audio memory) against a much much cheaper unit (though a strong performer) in the Jellyfish. In swapping back and forth between the Tunami and the Jellyfish, I hear a difference on the level that is simply undisputable. This is the difference between a nice budget cord that does no wrong, and a serious piece of audio that provides actual bona-fide *enhancement* (with caveats). I've swapped these cords (and what a pain that is) several dozen times, and though not double-blind, I am more than satisfied that the Tunami is simply in a different class altogether from the mighty little Jellysfish. *But* it's potential drawbacks can't be overlooked.

 That said, a cable on this level demands that you judge it accordingly on a scale fitting its performance and cost. That means I'm going to be harder on it than it would be on the Jellyfish. After all, I'm not judging in a vacuum. The Tunami is not a perfect cable; it has a few potentially deal-breaking attributes that I will point out.

*Review*
 Oyaide is a Japanese company known (to me) for making very exotic (and expensive) ends/connectors for power cords. Their products typically end up on the most top-of-the-line esoteric cords out there. This seems to be their first attempt at producing the actual cord that fits between their high-quality connectors. Of course the Tunami (as assembled by Michael Wolff) uses Oyaide connectors at both ends; in this case, in a very cool-looking fire-engine red. This is a super-attractive cord if looks matter to you. 

 This is one of the relatively few aftermarket fancy power cords that is molded/extruded; it isn't just bare wire wrapped in a tech-flex sheath. This is a professionally-made cable, so the internal wires are not loose or jumbled; they are locked in place inside the rubber/plastic sheath. I've read other manufacturers argue that using molded wire cuts down on vibration, which if you believe some claims, is a source of distortion in the audio signal. 

 The wire itself is the purest copper known to man; this is the same single-crystal copper developed by Prof. Ohno that you've seen used in many expensive interconnects and a few power cords. This is a *very* stiff cord. Not the worst offender in this survey, but still a royal pain to install-- be warned!

 So how does it sound? Great! This is definitely one of the better power cords I've tried so far. The first thing that struck me was the incredible blackness of the background from which sounds emerge. This thing is DEAD quiet. Forget about a noise floor- there isn't one. That's it's defining characteristic, most everything else flows from that attribute.

 This is a very "vivid" and high-contrast cable. There is a big difference between the lowest lows and the highest highs. Everything is thrown into sharp, stark relief with great clarity and crispness to the image. 

 A pitch-black backround also almost always means you get a fantastic soundstage, and the Tunami does not disappoint in that respect. Stereo separation is wide, adding volume to the soundstage. 

 This is a very "hi-fi" sounding cable, if not the most natural and realistic I've heard. It digs up under the sound and pushes it out toward you. This can be thrilling for the right listener. It's an extremely hi-rez presentation; the Tunami leaves little to the imagination, you feel like you get to hear every digital bit on your CDs. Tonally, I wouldn't call the Tunami "warm" or "lush" or "romantic". It's a bit crisp, a bit "digital"; but it errs more toward neutrality than either the warm or cold/analytical sides of the spectrum. This is one of those "ruthlessly revealing" cables that lets the chips fall where they may. Legitimate criticism would be that it's too "revealing", but for some, that's music to the ears.

 This is also a powerful cable. Not as tear-your-head-off aggressive as the VH Audio cords, but the Tunami has a powerful and full bottom end, and drums are allowed to really pound. The Tunami gives a firm and fleshy bass without being heavy or slow. Electric bass lines are easy to follow, and exhibit a wide range of tones, so it's not one-note bass. 

 Adding this cable is like adding a turbo-boost to your system. It gooses everything it touches for better or worse.

 That concludes the positives. On the down side, one wishes for more midrage warmth/lushness. There is a slight hollowness to the mids that is troubling. There's a bit of glare or sugar-coatedness to the highs that isn't natural. The Tunami is a bit "digital" and "analytical". There's a bit of sugar-coating to it that isn't natural. 

 Flexibility: 4
 Build quality: 7
 Tonality: 7
 Soundstaging/imaging: 9
 PRAT/dynamics/speed: 9
 Resolution/detail/transparency: 9
 Value: 8
 Overall Performance: 8


*17. Black Sand Cable Violet Z1 and Silver*

 Web site: Website: http://blacksandcable.com/

 Pricing (6ft. cord): ~$250

*Review*
 Black Sand Cables is one of those low-flying, under-the-radar companies that prefers to let the quality of their products do the talking for them, rather than relying on marketing hyperbole. I've observed as the man behind the company, John, has declined to hype his products on numerous occasions when he could have otherwise easily done so. It seems genuinely not to be his style. In fact, if you were to visit their modest web-site (as it exists as I write), you'd be quite puzzled by their offerings. You'd have a hard time determining what went into their basic offerings vs. what went into their more upscale offerings. It's basically a mess (sorry, John)...

 Allow me to clarify (such as I can with the limited info even I have). Black Sand used to have a full cable product line, but more recently, they decided to focus exclusively on power cords only, as that was where they felt they had the most value-add. To that end, they've developed a few power cords, but at the low-end, after receiving lots of feedback, they decided to consolidate their products into a single design. These bottom-level products are all identical save for the color of the jacket they come in: White, Crimson, Arctic Blue. These are all pure copper designs. Beyond that, they offer a copper/silver hybrid called the Silver Reference Mark 4. That's their current top-of-the-line cable.

 OK, so Black Sand has only 2 products, right? Well, not exactly. This review chiefly concerns their "Violet" power cord, a product that John is not yet convinced he should include in his product line. It was made as an experiment, and rests between their bottom-of-the-line cords and the Silver. John is not sure if he's going to ofer the Violet as a full-time product. I've written to him several times urging him to reconsider and to unleash the Violet on the world at large. We'll see...

 I paid for and received a single Violet, and then later informed John about my intentions to review his product. He then sent me his top-of-the-line product, the Silver to put his best foot forward.

 Well, after giving the Silver and the Violet equal time, and numerous swaps, I have to give the nod to the cheaper all-copper Violet. This all-copper power cord goes WAY WAY beyond the level of performance I've achieved with any other cable. And at a fraction of the price, AND with twice the build quality. (And it's highly flexible, to boot).

 Anyway, this cable (the Violet) is just stunning, I'm very excited; it's really like a component upgrade rather than a mere power cord swap. These impressions concern the performance of the Violet on my source, though I've ordered another one for my headamp. 

 Mad resolution, I'm constantly hearing things I've never heard before, and as you know, that's always a thrill. It's making old 80s CDs sound practically hi-rez. This thing is totally "un-veiled" in every possible way. Best soundstaging I've heard so far (not the biggest, but pretty astounding imaging, everything is so vividly defined and real), and ultra BLACK background. 

 The Violet is all about lifting veils. The question it poses to you is: how many veils do I *really* want lifted? Is there such thing as "too open" or "too revealing"? With the Violet attached, your gear becomes totally open and airy, with a nice full, firm sound. Bass is insanely tight and solid. Everything sounds extremely *real* with this cord. The Violet digs up so much information you've never heard before, it can leave you slack-jawed. 

 This cord (like all great audio products) has taught me something new. Yes, we are all intoxicated by that component which gives us a perceptibly "blacker" background. But, when you think about it, really, half of obtaining a "blacker" background is achieving whiter whites and thus, establishing a greater sense of contrast. IMHO, the Violet is a lot like an Ansel Adams print-- it goes from absolute white whites to pitch blacks; yet it's incredibly sharp and detailed because he's used an absurdly large 4x5 negative. The Violet leaves you with the exact same feeling. It leaves nothing to the imagination, yet at the same time, it doesn't exaggerate or over-emphasize. It's almost realer than real.

 The Violet excels in palpability-- you can reach out and touch the artist(s). Guitars are crunchy and vivid. Voices are so clear, you can easily make out expressions that were previously garbled. 

 Bass and dynamics are second to none. Bass is TIGHT and solid. Bass goes incredibly LOW. The sound this cord makes is eerily present and *real*. There is no way to extract greater dynamic range than to attach the Violet to your gear.

 Regarding the Silver, there's definitely a family resemblance, so there seems to be a Black Sand "house sound". However, the Silver still comes across a bit more constrained, the background not *quite* as black. It has a *slightly* more mellow top end than the Violet. 

 So yes, it's definitely more "refined", but it doesn't have the same degree of impact, dynamics, astonishing dynamic range, and amazing holographic sound of the Violet. I would think if the Violet was "too much" in your system, the Silver would be a great alternative. But for me, the Violet is intoxicating, I pause and listen to songs I normally skip just because everything sounds so fresh and new. Even though this cord is beyond ruthless and ultra-high-rez, it does the neat trick of making everything sound great without resorting to syrupy euphony. 

 Over the course of doing this review, I purchased a second Violet for my headphone amp. While not quite double the fun, adding the extra Violet to my HR-2 has taken my system a few steps further into the direction described above, and that's all to the good.

 One final word of caution on the Violet-- it needs around 150 hours of break-in. While it sounds fantastic out of the box, you will likely notice a bit of extra top-end energy. Don't be too concerned, because over time, it just dissipates away, leaving you with a cable without a sound (coloration) of its own. 

 Flexibility: 7
 Build quality: 9
 Tonality: 10
 Soundstaging/imaging: 10
 PRAT/dynamics/speed: 9
 Resolution/detail/transparency: 10
 Value: 10
 Overall Performance: 9.5


*18. Virtual Dynamics Nite II*

 Web site: http://www.virtualdynamics.ca/

 Pricing (6ft. cord): ~$1300 (the Nite is now up to Series III, there is no more Nite II)

*Review*
 I haven't owned any VD cords since several years and iterations ago (as reported on here earlier in this thread). They have since come a long way in terms of design and sonics (I have also purchased another updated VD cable as my IC now, the Master Series III-- very very nice!). The Nite II has similar advantages as you always get with the VD stuff, but it's more neutral, less warm and romantic than the earlier version of the cord. The new version is also more resolving, with better extension up top (after burn-in, which is prolonged).

 The VD house sound is robust, full and dynamic and powerful. It adds weight and meat to musical bones without making the music sluggish or slow (a la the PS Audio cords). It's an extremely substantial sound that is anything but "thin". Bass is firm and fat with great tonality. But the key is the eerie realness and naturalness (organic sound) to the tone of the VD cords. They are extremely life-like and un-hi-fi. Which is not to say the VD Nite II is soft or unresolving, it's quite crisp and focused. The noise floor is non-existent (after burn-in, prepare for 400 hours) and the backgound is famously black as night (hence the name). It images like a champ, and throws an awesomely deep and realistic soundstage, but it's not as wide or separated as some.

 I wouldn't at all call the Nite II "laid-back", as it's too robust and dynamic. But, like the best gear, it has a way of sounding powerful and clear without assaulting your ears. This lets you listen louder and longer, always a good thing.

 The VD wires are among the fattest (10-guage) and stiffest you'll ever see. They sport insane amounts of shielding plus their pixie-dust "dynamic filerting" material is stuffed into fat cables that are individually wrapped and separate from one another. They are literally the thickness of three regular aftermarket power cords. So if you have very little space behind your components, they are not practical at all, as it takes a lot of room to get a 90-degree bend. If you normally need a 5-foot cable, buy a 6-footer instead to give you the extra room you'll need to make those bends to get it to fit into your socket.

 These cords (and their ICs) are also *very* heavy, so they can stress your IECs on your component. I've taken to stacking things directly underneath the connector of the cord to support its weight at the point where it attaches to my gear. This works well.

 So, anyway there's a conundrum that has crystallized for me lately. Seems to me, at the high-end of audio, when most restrictions/limitations are removed and you're purely into the realm of goodness, you still are presented with a choice to make between two different kinds of sound, each equally seductive:

 1. There's a realistic, natural and organic sound that sounds eerily like life; you get a "presentation" of the master tape (a "show") where you can suspend your disbelief and accept you are witnessing an event instead of a recording or a mere recreation of an event. So, you get to experience the *illusion* that the makers of the music were trying to create in the first place.

 2. Then, there's the other side of the coin-- hyper-real, super-detailed, "hi-fi" sound, where you are examining the contents of the master tape under a microscope. Gear like this doesn't take you out of reality or try to throw a show or create an illusion of life; instead it allows you to penetrate every nook and cranny of the master tape so nothing is left to the imagination.

 Both of these approaches are exciting and appealing in their own way. Depending on my mood and the recording, I could go either way. The difference is in the macro vs. the micro presentation. 

 The Black Sand Violet falls firmly under #2 above, where the Virtual Dynamics falls under #1. Because my new source (RAM modified Sony XA9000ES) is itself so resolving and clear, the combination with the Violet was a bit much. The addition of the VD cord perfectly complimented what the RAM XA9000ES was doing so well, it's no comparison here in this set-up. IMO, the Nite II, even though it's thick enough to be strung up as power lines, is ideal for low-powered digital sources.

 The Black Sand Violet imparts a tiny sheen of artificiality, and a slightly aluminum/metallic twinge that's missing on the VD Nite II. You aren't aware of that until you hear a cable that doesn't have it like the Nite II. In addition to tone, the basic advantage for me of the VD Nite II over the Black Sand Violet is in terms of foundation. The Nite II can't be beat for shear weight and heft of the bass, and overall solidity to the sound which is needed with my Sony R10 headphones. Actually, that solidity is a boon to any headphone, as that's one area where they tend to lag far behind speakers. You do lose a smidge of the focus and ability to absolutely pin-point each sound in space you get with the Violet, but for me in my system, that's an easy trade-off. The blackness of the background is comparable on both (blacker than 3AM on a starless night). 

 Then the question of value. FWIW, I would not likely buy a VD Nite II at full cost when you compare that to the value of the Violet. But, generally, you can pick up a VD Nite II power cord for ~$300-$400 on audiogon, and then it becomes much more attractive, and less of an issue.

 I would say, if your system is more lo-fi, then the hi-rez Violet is the way to go. But if your system is very high-end and revealing, the Nite II is it.

 Flexibility: 3
 Build quality: 9
 Tonality: 10
 Soundstaging/imaging: 10
 PRAT/dynamics/speed: 9
 Resolution/detail/transparency: 10
 Value: 8
 Overall Performance: 9.5


*19. Michael Wolff Bohica*

 Web site: http://www.wolffaudio.com/

 Pricing (6ft. cord): ~$700 

*Review*
 OK, so I just received Michael's latest and greatest power cord, called the Bohica. It has all his latest technology in the cable itself, but instead of the absurdly expensive Acrolink carbon Oyaide connectors, it has the next level down Oyaide's with aluminum barrels, the F-1 and M-1, which together only cost a mere $500. These connectors look SWEET, and clamp down very well at the same time. 

 This cord contains all of Michael's latest thinking on power cord design for sources (and headphone amps). The cables are super-pure flat silver conductors combined with carbon, plus, there is now also a flat copper conductor in there as well to further bring out the bottom octave. The addition of this flat copper conductor is one of the chief differences between the Bohica and the previous Source cord I reviewed earlier. The Bohica cord is designed for components that draw less than 350 watts from the wall, which is everything but the biggest power amps, for which Michael has another cord. I'm currently using this latest Wolff cord on my headamp, the Rudistor RPX-33 mark II. On my source is the $1300 Virtual Dynamics Nite II power cord.

 Sonically, this new Wolff cord is a real WINNER. It's so typically Michael Wolff-- super smooooooth and CLEAN and CLEAR, and Hi-Rez. NOTHING sounds like a Wolff cable and that's down to his innovative use of carbon. It removes a layer of grit and grain you didn't even know was there. It has an EASE to the sound that's enchanting. Yet it leaves nothing to the imagination, it's as full-rez as you could hope for.

 With all those different conductors (copper, silver, carbon), you'd think this cable could be an incoherent mess, but it is anything but. Typical of Wolff's design, it speaks totally and completely with it's own voice, one that is utterly unlike anything you've heard before. I've certainly not heard another power cord that sounds like this, although his ICs (when he still made them, RIP) also had this wonderful sound.

 But trying to pin down its sound is kind of mis-leading, as truthfully, the Bohica just plain *disappears*.

 I can verify my earlier initial impression that this cord is simply fantastic, at the top the class of what I've reviewed so far. If you read my earlier review of Wolff's previous model, you will recall I went through a lot of testing with my Rat Shack level meter to inspect bass response on that cord. To my surprise, the tests showed absolutely zero drop-off in actual bass response even though subjectively, I could never shake the impression it was *slightly* bass light.

 Well, this new cord has no such issues; it has sumptous, full bass. And it retains all the goodies I've come to expect from Michael Wolff-- namely smoother than smooth, cleaner than immacualte, sound. 16-bit cymbal crashes that normally sound jagged, crispy, grainy, harsh or frayed on other cords are simply complete and fully-rendered through the Wolff cable. Is that because all other cables are false or inadequate, or because the Wolff is adding or subtracting something that's not there? That is the question, I guess, to be answered by each listener.

 The Wolff cord handles high frequencies in a totally unique way, and that's something I expect listeners to react to most strongly and immediately. Depending on your ears and biases, the Wolff cord is either artificially smooth and grainless in the extreme (although I'm not sure how you'd fake that), or it's actually rendering lo-rez 16-bit digital in a completely novel and natural way that you haven't heard before-- i.e. immaculately clean and well-rounded, not spitty and harsh. It's certainly not rolling the highs, but it finds a way of cleaning them up along with the rest of the frequency spectrum, and that I suspect may sound slightly "weird" at first blush.

 I could see some folks feeling this presentation of the highs is a bit lacking in "bite", "sharpness", "edginess" or "crispness". Maybe so, but that's where personal preference and system synergy comes in. Those traits could just as easily be labelled "harshness", "hardness", "spitty-ness" or "grainy-ness". I would ask you if those extra frayed edges and brashness are "supposed" to be there. I don't hear that artificial crispy digital sound in real life; I think its something added by our electronics that the Wolff cord helps to remove. But I do suspect the absolute grainlessness of this cord can be disconcerting, especially for ears raised on and trained on digital that naturally expect spittiness or harshness to extreme highs. 

 OK, so much for treble, what about the rest of the frequency spectrum and all the other audiophile goodies? As close to "perfect" as I've heard. Again, I'm going to have a hard time describing the "sound" of the Bohica, because it doesn't really have one. No frequency anomolies, perfectly balanced between forwardness and laid-back-ness, no grain, no background noise, no fake sharp serrated edges, that signature effortless flowing sound, and most critically and significantly of all-- AIR to breathe. The Bohica is open and full, not smothered or damped down, or sluggish and listless. The Bohica provides everything a great upscale power cord can do for your system, but without adding its own flavor or imposing any restrictions.

 If you are trying to "correct" some problem with your gear and are looking to add or subtract this or that, the Bohica will not make a good tone control. If you have a piece of gear that is already performing at a very high level, and you are satisfied with its basic sound but looking for the extra goodness a top-quality power cord can provide, the Bohica is the one. It will take your gear to that next level.

 Michael Wolff has really raised the bar with his new cord; it's a large step forward from his original Source cord reviewed earlier. In fact, it's at the very top of the heap in my quest so far.

 Flexibility: 8
 Build quality: 9
 Tonality: 10
 Soundstaging/imaging: 10
 PRAT/dynamics/speed: 9
 Resolution/detail/transparency: 10
 Value: 10
 Overall Performance: 9.5


*20. Black Sand Violet "Deluxe"*

 Web site: http://blacksandcable.com/

 Pricing (6ft. cord): ~$395 

*Review*
 Today I got my package from Canada with my Premium Deluxe model Violet. This cord has the standard Violet cable but with very expensive ($200 per pair) Oyaide 046 series connectors. These are palladium over gold. It's not called the "Deluxe", but for my purposes, that's what I'll call it to distinguish it from the base model.

 They are orange in color, so in combination with the pale violet color of the cord, let's just say, it's not the prettiest cord on the block, but it will spend it's life behind your rack out of site, so who cares? 

 The first CD I fired up was Porcupine Tree's Deadwing, an album I don't know that well except that it's well recorded. The first track starts out low and has lots of little electronic sounds happening when suddenly it bursts in at full volume with drums and guitars. Well, the top of my head must have hit the ceiling when that happened. I almost jumped out of my skin!

 The sheer dynamics on this cable are borderline *outrageous*, almost overwhelming. Sounds leap out and sock you in the jaw. Drums have amazing pop and thump. Low bass is a subatomic explosive rumble. Dynamic range at both ends of the spectrum are extended 100 yards beyond the range of human hearing. Soundstage is colossal in scale, swarming around you and enveloping you.

 My impression of the original Violet was that it was already a hyper-conductive cord; adding these Oyaide connectors takes that 3 or 4 steps further. I swear this cord makes everything sound 3-4 db louder, it lets so much through you'll need to turn your gear down a couple notches to compensate.

 I think this Deluxe version is perfect for the active listener who likes to participate in the music, whether that's boogieing naked in your living room, playing air drums and guitar, or simply nodding your head or tapping your foot. If you love electric guitars with lots of balls and crunch, look no further. If you value CLARITY and ruthlessly REVEALING gear, look no further. This is your Mecca.

 With 6 hours of burn-in the cord is still a bit toppy for my taste, but this was true of the original Violet which normalized at around the 150 hour mark. Still, this cord is so completely absurdly extreme, it boggles my mind. No one (who is honest) who listens to this cord can credibly say that aftermarket power cords do nothing. If you can't hear this difference, you are deaf as a post.

 If you liked the original Violet (and I know there are now many many happy owners), the Deluxe model is all that but on steroids-- not just squared performance, but cubed. It's super-intense and alive. 

 In short, this cord KICKS ASS. Yes, it's "off the hook", but it may even be off the *charts*.

 But is it too much? Depends on the listener and the system and the kind of music you favor. The question for me is, will everything else sound too tame and reserved after I switch back?

 Well, after more listening, I eventually found that the Violet Deluxe was indeed a bit too much of a good thing in my system. It's certainly one heck of a cord, but not for the squeemish. If I was younger and more inclined to jump around when I listen, this cord would make more sense. These days, I like to kick back and listen with my eyes closed, imaginging the performance. For that purpose the Violet Deluxe does not work quite as well.

 If nothing else, one thing I learned from the Violet Deluxe is just how much the connectors can affect the sound of a power cord. The difference between the stock ends and the Oyaides on the same violet cord was nothing short of night and day. However, that difference wasn't 100% positive for me in all ways. Now, to be fair, Black Sand can terminate the basic Violet cable with any number of different hi-end connectors. Others have reported favorably about the use of different Oyaides on the Violet to get a more mellow sound. John at Black Sand won't steer you wrong-- he knows the sound of the cord with all the different connectors he offers. Just describe the kind of sound you are after and he'll set you up with the right pair for you.

 Flexibility: 7
 Build quality: 9
 Tonality: 7
 Soundstaging/imaging: 9
 PRAT/dynamics/speed: 10
 Resolution/detail/transparency: 10
 Value: 9
 Overall Performance: 9.0


*Conclusion*
 Still with me? 
	

	
	
		
		

		
		
	


	




 To wrap this up, it’s time for me to rank order all of the cables under review. This rank ordering reflects performance in my system, based on my own biases and needs. It reflects performance on those components on which each cable fared best. It is not a straight listing of cables in order of the “Overall performance” rating I gave within the individual reviews. Those ratings are dependent on cost/value, flexibility and other factors, the final rank order is based on pure *sound* alone, all other factors be damned.

 1. (Tie) Virtual Dynamics Nite II (on my source), Michael Wolff Bohica (on my headphone amp)
 2.Black Sand Violet with stock ends.
 3. Black Sand Silver
 4. Split decision between the TG 688 (for my source), and the Wolff Source cord (for my headamp)
 5. Black Sand Violet "Deluxe" (with Oyaide 046 ends) 
 6.Virtual Dynamics Reference (since replaced/superseded by the David)
 7.(Tie) KAS Audio Primus (on my headamp) and Oyaide Tunami (on my source)
 8.VH Audio Flavor 1 and Flavor 2
 9.Custom Power Cord Company Model 14 Series 2
 10.Tek Line Eclipse
 11.Iron Lung Jellyfish / Volex 17604
 12. Straight Wire Blue Thunder
 13.Audio Metallurgy Gold Alloy 9
 14.Analysis Plus Oval 10
 15.Absolute Power Cord
 16.Zu Cable BoK
 17.PS Audio XStream Plus

 Thank you for reading!


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## Jon L

Quote:


  Originally Posted by *markl* 
_[size=small]*Power Cord Shoot-Out: 14 Power Cords Reviewed*[/size]

*What I’ve Learned About Power Cords*
 --Yes, they make a difference. This difference is on par with (and can be slightly greater than) the differences aftermarket interconnects (ICs) can make. If you can’t hear the differences between ICs, I doubt you will hear the differences between power cords. 

 -- I suspect that the reason power cords seem to effect the sound more than ICs is due to the fact that they appear to actually impact the way the component produces the sound, where ICs only affect the way they pass the existing signal on to the next component. Therefore power cables can influence the sound in a more fundamental way.

 --They require more break-in than ICs, and break-in effects are much more dramatic than with ICs. Try not to rush to judgment.

 --It’s even harder to find a good power cord than IC. There is greater variability in the sound and performance of cords than ICs.

 --Many power cords giveth and then taketh away. They offer substantial gains in some areas, but can take away from key ingredients elsewhere. Or, short of actually harming the sound, they can fall short on some parameters relative to the tantalizing enhancements they provide in other areas. This effect appears to be a factor regardless of price.

 --Power cords are even more component-dependent than interconnects. A power cord that does not show good compatibility with one component, may really shine with another. _

 

I would have agree 100% with you on the above statement, especially about the sheer frustration involved in finding power cords that are "good enough." Even the most ardent cable non-believers, once they spend the time and attention with many power cords on revealing sytem, will have no choice but to come to the same conclusions. 

 Even the most praised and/or expensive power cords tend to have enough quirks to ruin the balance once used on multiple/all components. This is why it's so much work to find the one cord that will synergize with any given component and to make the whole system work together. 

 I've tried many power cords, many from same companies and/or method/material you mention, and I can agree with your impressions as far as what I've heard in my system.

 I should pick up the Jellyfish for kicks b/c it sounds like it resembles the sound of Volex 14/3 "SJT", which is my "cheap" reference for doing least harm to the power. Not bad at all and more neutral than many thick $$ cords.

 I have also made DIY cords using the identical gold alloy Audio Metallurgy uses and can confirm that that's how that alloy sounds in power applications. It also sounds like that in interconnect applications, where it works better anyway. 

 I've owned various TG cords before, but not 688 or Slvr. 688 is the same cord as Slvr, but Slvr just uses special AC plug that's silver-plated, which Bob says is a bit more revealing. If you find 688 a bit too revealing already, Slvr probably is not the way to go. Bob uses tin-plated copper, which is finer than VH recipe, and twists the hell out of it, which I believe gives that transparency and smoothness. 

 VH 1 and 2 uses much thicker gauge tinned copper, which is responsible for that dense, dynamic sound, but which is also responsible for loss of some refinement. I have made DIY cords using VH 1,2 wire and do find them a bit too unrefined. The partial solution is to keep the shield and double the conductors, which tames the coarseness some, which lets more subtleties come through. Downside is darkening of sound. VH 4, which uses non tin-plated wire is another way to go.

 I've been looking at the new Tekline cord b/c it is priced so attractively. I've owned Tekline PC12W, which created some buzz a while back. I also own Tekline Ag12 cord, which is all silver. This cord is my reference for treble extension, purity, sweetness just like your Wolff cord. These cords that have tremendous treble, unfortunately, all seem to have issues elsewhere. Which is how these things go.

 For your future listening fun in real-world prices, I would suggest Eichmann Express 6 series 2 power cord, VH Flavor 4 or AirSine, Omega Mikro, and various ribbon cords (interesting sound).


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## radrd

Quote:


 I suspect that the reason power cords seem to effect the sound more than ICs is due to the fact that they appear to actually impact the way the component produces the sound, where ICs only affect the way they pass the existing signal on to the next component. Therefore power cables can influence the sound in a more fundamental way. 
 

I suspect that the reason power cords seem to affect the sound more than ICs is due to the fact that the cord is thicker and more impressive; therefore, the auiophile gets more "excited" about the potential changes that the cord might make...

 Great review by the way. I enjoyed every moment I spent reading it!


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## Jahn

Where's the Quail Cord? 
	

	
	
		
		

		
		
	


	




 Just joking, thanks for the reviews, and it's good insight on the whole "do power cords make a difference?" debate!


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## Nospam

Actually, I'd like to see a Quail power cord HONESTLY compared to these much higher priced ones. Just as I would like to see an unbiased comparison of the freebie ICs to all the various ICs that are always recommended around here.

 It would be interesting to see just what all the extra money buys you.


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## pabbi1

And a 3rd for how the Quail stacks up... especially against the Iron Lung Jellyfish - basically the same cord?


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## markl

Sheesh, no pleasing some people! 
	

	
	
		
		

		
		
	


	




 Well, this isn't some "official" Head-Fi comparison of power cables. I'm just a private citizen with the above cables at my service that I've reviewed. If you want to include a Quail cord, you are free to do so, but then you have to buy all 14 of the other cables I tried on my own to make that comparison. Lots of luck with that!


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## catachresis

Thanks Markl! Now if I can just get myself to stop thinking about used watches, a new portable mp3 player and refurbishing my Croft preamp (the big ticket item), I'd take a plunge on budget power cables. . . .


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## lan

Quote:


  Originally Posted by *markl* 
_If you want to include a Quail cord, you are free to do so, but then you have to buy all 14 of the other cables I tried on my own to make that comparison. Lots of luck with that! 
	

	
	
		
		

		
		
	


	


_

 

Aw shucks. And I was going to ask you to borrow those other cables 
	

	
	
		
		

		
		
	


	




 kidding. It would be easier to lend you the Quail cord.

 I believe in power cords but I just cannot fathom acquiring and testing this many. I already have an insanity where I can tell when things are powered on and off in the house and different outlets sound different. To introduce this variable would just be too much 
	

	
	
		
		

		
		
	


	




 So I have to give you a bravo 
	

	
	
		
		

		
		
	


	




 It's a very personal journey and what you write may not be exactly what another's is like but at least you have articulated what is usually hard to. It gives people an idea what to look for.


----------



## Welly Wu

Mark,

 You stopped putting numerical ratings for the later half of the power cords you reviewed so far. I realize that this is a work in progress, but are you going to put them in or not?

 Do you have the Cardas Golden Reference Power cord somewhere in your snake pit? Will you review it?


----------



## riffer

Best thing I ever did was just buy some DH Labs power plus and terminate my own with Hubbell plugs and Wattgate or Furutech IEC's. Got rid of everything else except the PS Audio Plus and Prelude (I guess I liked them better than you)

 Maybe it's because I made them myself, but they are the best ones I have ever heard.


----------



## markl

Quote:


 You stopped putting numerical ratings for the later half of the power cords you reviewed so far. I realize that this is a work in progress, but are you going to put them in or not? 
 

 Doh! Thanks Welly Wu, for calling my attention to this unintentional oversight. It is now fixed.

  Quote:


 Do you have the Cardas Golden Reference Power cord somewhere in your snake pit? Will you review it? 
 

 Nope, don't have any Cardas.


----------



## eyeteeth

Very cool Mark! 
	

	
	
		
		

		
		
	


	



 I've not just yet gone through and digested all your material but wanted to get the 'Thanks' out anyway.

 I've done not very much auditioning of power products thus far and knew that that _final frontier_ lay ahead. 
 You've spared me much ground work!


----------



## PhilS

Mark, great review! Thanks for all the information and all your effort in typing that up. Man, I would have some serious writer's cramp.


----------



## Solude

My power cord experiment showed me that 1) pcs make a pretty large difference in sound 2) pcs impart their sound on anything connected 3) it isn't always for better, and many times worse than the cheapy 18awg freebie cord 
	

	
	
		
		

		
		
	


	




 Oh and if you want a power cord that improves clarity, speed and impact... the XLO Reference2 isn't it 
	

	
	
		
		

		
		
	


	




 Another feature I noticed is the beefier the power supply, the less effect the power cord has. While the A324 responded reasonably to the cord, the Reference displayed no change.


----------



## RichardS

Thanks Mark...I wish the 'pro' reviewers would show some guts and compare and contrast in the same way you have...

 I'm mostly a lurker here (no headphones--yet, anyway) but I've been on a similar quest this year and have experimented with 20+ cords, mostly in the $500-$1500 range, but not usually keeping them all around to compare. Once I'd find a cord I liked better than the one I had on a given component, it got replaced and the other sold.

 I haven't heard the Wolff Silver-Carbon Source (but may have to try it). I presently use a Wolff Carbon Source on my Genesis Lens. When I first got it, I put it on my Tact 2.2x, where it really impressed me...really smooth, sweet, quiet and dimensional, providing a great sense of ease. It has since been replaced by a Concierto Violin which just does everything a little better and injects (lets through?) a little more life and presence.

 Impressed with it, though, especially for the $$, I got a Gain cord to try with my Tact amp, but it just didn't do it here--sounding less focused and the detail was a litttle smeared compared to the Foundation Research LC-2 that resides there.

 I tried it on my transport, but the Electraglide Statement 2 Rev rules there, letting everything through, top-to-bottom, so for now it stays on the Lens where it's a nice match, and seems to slightly soften the very slight etch here.

 I haven't tried the VH Flavor 1 or 2, but do have an Airsine, and agree with Jon about trying it. It's found a home on my AM Stealth, so it's affecting my whole front end (2 transports , 2 jitter boxes and pre). I have another Concierto on the way and will compare it here, but so far it's worked better here than anything else I've tried--open, airy and dynamic.

 A couple other lesser-known cords that I've really enjoyed IMS are the Von Gaylord Chinchilla and the HMS.

 And I agree that PCs can make as big or bigger contribution than IC or speaker cables.

 Keep up the good work...


----------



## dhwilkin

Really, really nice comparative review, markl. You definitely summed up my feelings on the lower-end Chris VenHaus Flavor 2 cord very well, especially when it comes to soundstage. Great tonality, great dynamics, but just not the total package. I may have to look into a few of those other cords at the top of your list for the speaker system I'm planning on building soon.


----------



## Patrick82

PS Audio power cables are great for connection between wall and PS Audio Power Plant, especially because of the shielding. You don't need a fast cable because the Power Plant is sort of a buffer, I believe. It wastes a lot of power which turns into heat.

 But PS Audio cables are bad for low power equipment. For a source you can't go wrong with a Nordost cable which is very transparent.

 Edit: Tried Valhalla for the Power Plant and I was wrong. I got more detail when I replaced Statement into Valhalla.


----------



## markl

Quote:


 Aw shucks. And I was going to ask you to borrow those other cables kidding. It would be easier to lend you the Quail cord. 
 

 Sure, if someone wants to send me one, I'd be glad to give it a spin.

  Quote:


 For your future listening fun in real-world prices, I would suggest Eichmann Express 6 series 2 power cord, VH Flavor 4 or AirSine, Omega Mikro, and various ribbon cords (interesting sound). 
 

 Doesn't the Eichmann have one of those mystery boxes on it? I've always mistrusted cables with black boxes that have extra passive componentry in the signal path. I'd rather keep the signal clean. AirSine is out of my budget range, but I'd love to hear one.
  Quote:


 I suspect that the reason power cords seem to affect the sound more than ICs is due to the fact that the cord is thicker and more impressive; therefore, the auiophile gets more "excited" about the potential changes that the cord might make... 
 

 Well, if that were the case, my findings would have simply ranked them in order of thickness, thickest being best, but that's obviously not how it worked out. 
  Quote:


 A couple other lesser-known cords that I've really enjoyed IMS are the Von Gaylord Chinchilla and the HMS. 
 

 Thanks for the suggestions, but these are out of my budget range as well.


----------



## Solude

Anyone had the chance to compare the TG Audio Lab HSR to the 688?

 The 688 sound like the cord for me but $350 is a lot to spend unheard. Wish they were on AudioGon more often.


----------



## DeeJayBump

Quote:


  Originally Posted by *Solude* 
_ Wish they were on AudioGon more often._

 

Actually, there are *three* of them right now on Audiogon. $225 each.


----------



## markl

Solude, I see 3 of the 688 up on audiogon now. The 688 was intended to replace the HSR series, supposed to be a nice improvement over them. From what I've read, due to customer requests, it seems Crump decided to keep offering them as they are lower in price than the 688.


----------



## Solude

Figures that would happen, let me see if I can make some err... Wolff Source appear 
	

	
	
		
		

		
		
	


	




 Also noticed a few SLVR cords up for grabs. $225 688, $280 SLVR hmmm. What to do, what to do


----------



## markl

Solude, Wolff's latest cord uses silver instead of copper. I've never seen a newer silver version on audiogon, only the older copper ones. While I've never heard the copper, Wolff seems to feel the new silver version is a good step up in performance.


----------



## Solude

Am I right in assuming the difference between 688 and SLVR is copper vs. silver? Being I generally dislike silver, with exceptions, that the 688 reviewed would be the safer bet?


----------



## markl

No, the SLVR is badly named IMO. It's the same exact identical cable as the 688, even has the same connectors, the only difference is the prongs are coated with silver to provide better transmission. Is that worth the extra? I'm skeptical, but who knows.


----------



## Solude

I'd put money down the $150 would be better spent on some Cardas contact enhancer and a nice bottle or case 
	

	
	
		
		

		
		
	


	




 of wine 
	

	
	
		
		

		
		
	


	




 I'll have to look into a pair of 688 for my Reference/Tri-Vista after I sell my A324. Wife getting whee bit annoyed with the pile up of gear, need to pace myself


----------



## markl

OK, cord #14 will be Straight Wire's Blue Thunder cord. (It's not even on their web site yet, they are going to amend it shortly to include it). It's a 12-gauge cable made up of fat 18-gauge solid-core pure copper teflon-coated strands. Supposed to have a big bass response. I expect it will sound similar to the Virtual Dynamics cables. We'll see...


----------



## jpelg

Great job, mark. Excellent, as are _all_ of your reviews.

 I'm still chewing & digesting most of the info in this comprehensive writeup, and I'm sure I will be for some time. It will definitely go down in the permanent archives, and serve as a reference for anyone looking at PC's from now on. Thanks for undertaking such a monumental task.


----------



## Solude

No kidding, I had pretty much decided to stay stock as far as PCs after my XLO experience but it looks like a TG 688 is in my future thanks to Mark.

 Thanks a lot 
	

	
	
		
		

		
		
	


	




 Kidding, I'm all for better sound but have put a $275/cable cap on my system so even used, the Wolff is out


----------



## catachresis

Terrific and thoughtful review, Mark, but I finished and groaned with irritation that I can't afford just to go and upgrade all my power cables now. Uggh, damn you headfi.


----------



## walkman666

Man, that is just a very comprehensive review. Thank you. It was interesting to read your comparative review as I have the VH Audio flavors 1, 2 and 4, and would not know how they stack up against anything else. They are stiff, BTW, but I did not find them unbearably so like you did. They are flush where I want/need them to be, and it was not difficult to arrange them as I intended. I guess perhaps plugging them into a very tight outlet, like the PS Audio powerport, has kept the male ends in place (but I'd bet you have a tight outlet as well...sorry for the potentially perverted reference!).

 - walk


----------



## pabbi1

I ordered an Iron Lung Jellyfish to shoot out (shooting blanks?) with the Quail... and have talked with Tek Line...

 A truly inspirational thread... 

 There is a lurking question, not too far afield - IF I were adding an IEC to my CDP, any suggestions as to what would stand up to a majority of cords? Surely an inferior IEC would defeat any cord upgrade...


----------



## markl

Thanks all for the kudos. I welcome any and all opinions on any power cord I've reviewed so far (or any others for that matter). Anyone is more than welcome to post their findings in this thread. Cheers.


----------



## Salt Peanuts

Thanks for the great review - it was a great read. My wallet hates you though. LOL.

 BTW, if you're still willing to take a Quail cord for a spin, let me know. I know I have at least two of them lying around in my place.


----------



## clatter

I'd just like to add my thanks as well. I've been looking out for a review like this for a while now.


----------



## markl

OK, I've added my review of the Blue Thunder from Straight Wire to my shoot-out. I've pasted it here below so you don't have to sort through the whole review if you've already read it. I've also adjusted the final rankings to reflect the presence of the Blue Thunder. (FYI, you can purchase my Blue Thunder 2M cable, it is in the For Sale section now! 
	

	
	
		
		

		
		
	


	




 )


*14. Straight Wire Blue Thunder* 

 Website: www.straightwire.com (Blue Thunder is not yet up on the site.)

 Pricing (2 meter cord): $250.00

*Review* 
 Straight Wire has been around for some time, they have lots of distributors and can be found in many of your local hi-fi shops. For such a (relatively) large company in the cable business, their website is surprisingly incomplete. The Blue Thunder power cord is still not listed (though they tell me it will be soon), despite being on the market for almost two years.

 Straight Wire sent me the skinny on the cable separately, so I can share it with you. It's a solid-core design with several ultra-high-purity 18-gauge solid-core copper wires wound together to form each 12-gauge pole. The use of these relatively thick solid-core wires is said to help combat strand interraction that plagues many multi-strand designs. It has Teflon insulation for the best EMI/RFI rejection, and the conductors are encased in a professionally molded cord for reduction of vibration, topped off with Hubbell terminations. These conductors are not just loose inside a techflex outer sleeve like many brands of more home-brewed-style recipes. One would assume that this construction method would increase Straight Wire's costs for producing the wire that makes up the Blue Thunder, as obviously, the wire would have to be professionally built and molded. The cord can also be used for both high-current multi-watt amplifiers *and* front-end equipment.

 I would describe the sound as remarkably neutral tonally (as I have discovered and detailed here, most power cords are not). This makes it harder to describe its "sound". It's extremely clean, with lots of body and firm, if controlled bass. The Blue Thunder puts a lot of "flesh" on the musical bones, somewhat like the Virtual Dynamics cables (which are also based on even thicker solid-core wires). But the Straight Wire lacks the VD cable's tonal coloration that depending on the listener is either very pleasant, or an annoying deviation from neutrality.

 It is not a slow or a fast cable, it's just about right. It has a very unfatiguing, mellow sound due to its relaxed but firm and authoritative nature. Image stability is excellent, as is soundstage height and width. Reasonably detailed, but it does not force those details in an "in-your-face" sort of way, its laid back nature leaves them there for you to discover on your own.

 Overall, The Blue Thunder is a strong performer, offers above-average value at a reasonable list price ($250). It is tonally neutral, if a bit "thick"-sounding, which may be advantageous for folks trying to alleviate a slightly "thin" system. I think this cable would appeal to many who value a relaxed and engrossing sound, rather than a head-banging hyped-up "exciting" or forward sound. Definitely worth a look for the right listener.

 Flexibility: 5
 Build quality: 8
 Tonality: 8
 Soundstaging/imaging: 7
 PRAT/dynamics/speed: 7
 Resolution/detail/transparency: 7
 Value: 7
 Overall Performance: 7.5

*Conclusion*
 Here is how I would rank the cables under review:

 1.Split decision between the TG 688 (for my source), and the Wolff Source cord (for my headamp) 
 2.Virtual Dynamics Reference (since replaced/superseded by the David)
 3.KAS Audio Primus (on my headamp)
 4.VH Audio Flavor 1 and Flavor 2
 5.Custom Power Cord Company Model 14 Series 2
 6.Tek Line Eclipse
 7. Straight Wire Blue Thunder
 8.Audio Metallurgy Gold Alloy 9
 9.Iron Lung Jellyfish
 10.Analysis Plus Oval 10
 11.Absolute Power Cord
 12.Zu Cable BoK
 13.PS Audio XStream Plus


----------



## jimmyjames8

This is just the kind of post I needed to run across this afternoon. Many Thanks to Mark for all the hard work. Comparitive listening is a pain in the butt. You should have charged for this info.

 I have played around with PC's for years since the father of them all, Synergistic Research came out with one. The only thing I know for sure is that 9 times out of 10, just about any after market cord improves the sound of a component over it's POS 18awg molded OEM wonder cord.

 I got a new SACD/CD player at the first of the year and totally forgot about changing out the PC until a couple of weeks ago. I had an older ZU $150 power cord in a drawer (forgot the name, probably replaced by now, visible twisted wires in see thru panty hose, kind of a brown or yellow tent to the whole affair). All I can say is WOW!. Whole component upgrade. Soundstage got wider and more 3D and bass goes lower and got tighter.

 I have replaced other OEM cords with Volex and other OEM computer/server power cords. All are either 12 or 14 awg and all sound better than the stock cheapies. These computer cords were free from my company's junk bin. Seriously, they throw these cords in a 50gallon fiber drum and if they can't sell or auction the drum when it's full they throw it in the dumspter. The cords come from desktop pc's and servers that get replaced with new technology. You have to sort thru the crappy and skinny ones to get the 12 and 14awg ones. These are the best deal going in power cords.

 The Crumps are great. I have one HSR on my power amp. Immediate tightening up of the sound. I have Synergistics of various price points on my Levinson gear with their screwy rt. angle inlets on the bottom.

 There really is no magic to PC's. Twist and gage are the primary ingredients that mirror noise rejection and basic DC electrical parameters such as resistance, capacitance and inductance. The alchemy of twist, insulation and termination is where it gets interesting.

 Now I have to unplug everything and play around with all my different cords on my headphone rig. Thanks a lot.


----------



## Solude

Warning about the TG 688...

 Despite sounding quite good, mine had a rattle in the wall connector end so I opened it up. Low and behold, the one I have is a cheater cord, no ground. The rattle was the unused terminal had backed out and the play produced a rattle effect.

 No harm no foul, but good to know depending on the connecting equipment. I can't use it for my source, but my amp could care less.


----------



## fewtch

BTW, for power cord doubters: Headphone-related gear uses very little electricity (even sources don't pull very much wattage), and I recommend going battery power whenever/wherever possible to avoid this whole issue. So much cleaner than AC. In fact, if I ever get a good full size CDP I'm going to try and mod it (or have it modded) to use a large battery pack instead of AC power. I hate AC power! Hate it with a passion. Why spend big to try and clean up that dirty stuff, when you can get clean DC directly from batteries?

 P.S. the above doesn't apply to tube gear (which I think does draw significant wattage) and probably not turntables either. Common sense is the key word here...


----------



## gpalmer

Quote:


  Originally Posted by *fewtch* 
_I hate AC power! Hate it with a passion. Why spend big to try and clean up that dirty stuff, when you can get clean DC directly from batteries?_

 

LOL, I heard it hates you too!


----------



## fewtch

Quote:


  Originally Posted by *gpalmer* 
_LOL, I heard it hates you too! 
	

	
	
		
		

		
		
	


	


_

 

Heh, last time I got shocked was it! 
	

	
	
		
		

		
		
	


	




 (j/k)


----------



## helix

dare i say it *batteries have noise*
http://www.tnt-audio.com/clinica/reg...s_noise4_e.htm
 you could do much better than a battery by replacing your 7*15 with one of the new regulators from linear technology.


----------



## helix

http://www.google.com/search?hl=en&l...se&btnG=Search

 works from google, look a few links down.


----------



## K2Grey

Quote:


  Originally Posted by *omedon* 
_Do you realize that if you perceive a difference then there is in fact a difference? A difference is a difference no matter what._

 

This is not actually correct, unless you are referring to a difference in yourself. The difference most people care about is a difference inherent in the power cord, not a difference in the listener.


----------



## immtbiker

Markl has provided us with a detailed review, that took a great deal of time and effort, and I applaud anyone is willing to put their free time into trying to help other members gain some knowledge about something that they themselves might not be able to be exposed to. 

 The fact of whether burn-in or cable characteristics make a difference should not be argued here. There are plenty of threads for that. If you disagree with Markl's findings, fire off a PM to him. Please don't polute or crap in this thread. I have deleted any thread-crapping, and unfortunately responses to the threadcraps, even if they had some valid points, because they *were* responses to thread craps. If you don't like what he is saying, just move onto the next thread, because a lot of people are getting value from this one.


----------



## omedon

Quote:


  Originally Posted by *K2Grey* 
_This is not actually correct, unless you are referring to a difference in yourself. The difference most people care about is a difference inherent in the power cord, not a difference in the listener._

 

I understand what you are saying. I did indeed mean to imply a difference in yourself. A difference is still a difference.

 I think that all anyone can give in any of these subjective reviews is there experience. If people only wanted to know the differences in headphones, amps, cdp, power cord, etc. Then they could just look at the product specs. The difference in the listener is why you read a review. This is also why it is important to use your own ears.

 Any cord is by definition different from any other in that they are not one in the same. But these cords all have very different physical properties some silver some copper, etc. Ears are not electrical instruments and and the mind is wildly unpredictable. Even the seemingly smallest difference could have a giant impact when it reaches the brain. Perhaps that .05% is the type that really floats your boat.

 I have had some extreme auditory hallucinations that were not merely created from thoughts and experience but were molded out of the sounds in my environment. A very plain sound becomes a complex piece of music.


 This probably doesn't need to be in this thread. But since I took the time to write it...


----------



## fewtch

Actually omedon, I think you helped illustrate the essential difference(s) between the objectivist and subjectivist viewpoints very nicely.

 P.S. I'm not really in either camp myself... call me a "situationalist." There are situations where objective views are called for, and others where subjectivism makes more sense. IMO it just depends, period.


----------



## helix

objectivists save money. 
	

	
	
		
		

		
			





http://sound.westhost.com/cables.htm
http://www.diyaudio.com/forums/showt...=&pagenumber=1


----------



## eyeteeth

Quote:


  Originally Posted by *immtbiker* 
_Markl has provided us with a detailed review, that took a great deal of time and effort, and I applaud anyone is willing to put their free time into trying to help other members gain some knowledge about something that they themselves might not be able to be exposed to. 

 The fact of whether burn-in or cable characteristics make a difference should not be argued here. There are plenty of threads for that. If you disagree with Markl's findings, fire off a PM to him. Please don't polute or crap in this thread. I have deleted any thread-crapping, and unfortunately responses to the threadcraps, even if they had some valid points, because they *were* responses to thread craps. If you don't like what he is saying, just move onto the next thread, because a lot of people are getting value from this one._

 

Absolutely! The dude put in the time and effort! Thanks moderator immtbiker.


----------



## markl

I would like to thank the mods for cleaning this thread up and explaining forum policy to the newb, and reminding the old-timer who really should have known better. 
	

	
	
		
		

		
		
	


	




 Solude, I would really enjoy reading your comments on the TG Audio 688 when you have the chance. Cheers.


----------



## omedon

Fewtch

 What kind of battery set up are you using? I have been considering pouring around $300 CDN into a Jon Risch power conditioner/surge protector w/ an acme ac outlet & upgrading my hubbel wall outlet to an acme.

 If I could get a nice battery set up then the problem of conditioning/surge protecting would be solved. Though I imagine there could still be some benefit gained by using quality outlets & powercords.

 Pierre Sprey @ mapleshade records uses all battery powered equipment for his recordings.

 My thanks to MarkL for doing the review. I am now very interested in the TG Audio 688. My brother is quit happy with the r_crump Asylum Cable that I made him. I have been considering the z-cable gold lightning with heavy Z-sleeve fas a possible upgrade for a while now. It is nice to have a list of other possiblities to try.


----------



## Solude

I certainly will post some but am going to give the 688 some time to burn in and wait for my Reference to return before running a comparison of throw ins, Volex 14AWG Shielded, XLO Reference2 and TG 688.

 Since everyone has access to the throw ins I'll be comparing the rest to it.

 I will also have my Monster AVS2000 by then so should be interesting all round comparison but no 14 PC undertaking


----------



## pabbi1

For those who were curious, the Iron Lung Jellyfish is an almost identical twin of the (1st) Quail group buy, sans ferrite cores. 

 Unfortunately, I have had a headphone cable failure, so I can't accurately compare the differences sonically until that is resolved.


----------



## markl

pabbi1, I'm not so sure. I just asked Jahn to read off the exact lettering that's on his Quail cords that he recently had for sale. The lettering he read off is not identical to what is on my Jellyfish. The most significant difference is that his Quail cords are 18 AWG while the Jellyfish is 14 AWG. Further, the latest batch of Quails ordered seem to be an entirely different color with different connectors on them. I would hesitate to say they are the same cable without complete info.

 I want to add, that while I'm trying to figure out my next move power-cord-wise, I've retreated back to the Jellyfish on my Ray Samuels HR-2. Bizzybee has lowered the price of his cable to $23.99, making it an even better bargain.

 What can I say, I love this cable. If you are into CLARITY in the extreme at the expesne of smoothness and cleanliness, and can forgive a little extra brightness, the Jellyfish is just an outstanding cable regardless of price.

 If I had to guess, I would guess that it's unshielded, which may account for its supreme open-ness and slight sizzly highs. 

 Anyway, if I had to do it over again, I might rank the Jellyfish a space or two higher in my rankings, it's an absurd baragain.

 Mark


----------



## pabbi1

Initially, the JellyFish does indeed sound more open than the Quail, undoubtedly due to the ferrites.

 However, if I may, I'll present the case of 'twins seperated at birth'... 'cept one has a couple of unsightly growths...

http://home.swbell.net/pabbi/qjf1.jpg
http://home.swbell.net/pabbi/qjf2.jpg
http://home.swbell.net/pabbi/qjf3.jpg
http://home.swbell.net/pabbi/qjf4.jpg

 Sometimes words just can't convey the message... I should have refined my remarks to looks alone.


----------



## markl

pabbi1, can you do me a favor and post the writing on the side of the Quail? I would be curious to see if it's identical to the Jellyfish or not.


----------



## pabbi1

Quail:

 UL SJT E90165 105C VW1 14AWGX3C Well Shin CSA TYPE SJT Shielded FT2 LL57855

 JellyFish

 UL SJTW E90165 105C VW1 14AWGX3C Well Shin CSA TYPE SJTW Shielded FT2 LL57855


----------



## ServinginEcuador

Looks like all this positive press is driving up the price on the Wolff products. His PCs went up $50 at each length, and the ICs also took an upswing as well. Too bad, I was eyeballing the XLR IC, but at $925 for a 1m run I may be looking elsewhere.


----------



## michaelhwolff

That's odd since the power cords are priced $150 less than what they were a year ago. The interconnects have not seen any price hike at all, although they are due.


----------



## ServinginEcuador

Guess I'd better order the .5m balanced cables before that happens. 
	

	
	
		
		

		
			





 I thought that the 1m balanced cables were $875 a few weeks ago, and were now $925? 
	

	
	
		
		

		
		
	


	




 I must be remembering wrong, my apologies!

 I am extremely interested in buying one of your power cords and a balanced cable as I trust MarkL's ears quite a bit, and want the best I can afford for my PCs and ICs.


----------



## michaelhwolff

No aplogy required. 

 Best of listening to you and everyone. Let us celebrate the beauty of music.
 By the way I went to hear Paul McCartney in concert the other night. I was stunned not so much by the music but by the presence of such a great composer.

 Regards,
 Michael


----------



## eyeteeth

Quote:


  Originally Posted by *ServinginEcuador* 
_the best I can afford for my PCs and ICs._

 

It's out of pure greedy curiousity that I wish a second round of power cords (& or ICs) could be presented by markl. Cables of the next tier or two (or five!) up in pricing and of the big established names. Not that the established names have something to offer more than the smaller guys but just to find out if the status is well deserved or not. The big Shunyatas, Nordosts, etc. Shunyata Anaconda Alpha, Nordost Brahma 2M Power Cord , Nordost Valkyrja 1 Meter.

 I don't suppose those guys are handing out audition samples. Dealers might though.


----------



## markl

Since posting the review, I've been contacted by several cable-makers and even a couple private Head-Fiers who've asked me to review their power cables. I've had to politely decline at this time, as I'm a little burned out after 5 months of intensive cable-swapping, burning in, and analyzing results.

 Maybe after a little break, I can start a "Round 2", but for now, I'd like to just go back to just listening to the music, not my power cords.


----------



## eyeteeth

Quote:


  Originally Posted by *markl* 
_ as I'm a little burned out after 5 months of intensive cable-swapping, burning in, and analyzing results.

 Maybe after a little break, I can start a "Round 2", but for now, I'd like to just go back to just listening to the music, not my power cords. 
	

	
	
		
		

		
		
	


	


_

 

"burned out"? 
 Oh come on you just got burned-in! 
	

	
	
		
		

		
		
	


	




 Yeah it's a burden and a lot of work, even the small surveys, nevermind 14 cords. Dropping it all and just enjoying music is a welcome relief.
 Oh...and if a second round up occurs can the music used be specified? I find that useful info.


----------



## Solude

I've finished my rough comparison of the TG 688, XLO Reference2 and throw in 18awg non shielded PCs. Here are my unaltered notes:

_tg vs. stock* - sft dynahi

 Van Halen - Doin' Time

 tg: not full black, good impact, down LOW, wood block recessed, good skinning

 stock: better black, good impact, down LOW, better snare, shimmering, wood less recessed, good skinning


 DMB - Mother Father

 tg: good clarity, bass line fuzzy, highhat mia, poor shimmer, smooth but not quite together, 

 stock: lighter, bass line easier to follow, hat recessed but not mia, good shimmer, good pace, cleaner


 tg vs. stock* - tri-vista

 Van Halen - Doin' Time

 tg: good black, good impact, LOW, snare back seat, good shimmer, wood not recessed, smooth

 stock: minor compression, lower impact, not quite as low, snare more forward, good shimmer, wood not recessed, more immediate


 DMB - Mother Father

 tg: louder, fullness less focus, bass line in tact, hat present, smoothing effect, bloom hurting blackground, better finish

 stock: same loudness, cleaner tighter, bassline clear, airy, hat present, micro intact, compressed macro, less pleasant exit but more presented


 xlo vs. stock* a324

 xlo: good impact, moderate separation, fuzzy, poor blackness, repeating sound, not very snappy, 

 stock: cleaner, better separation, tonally brighter, snappy, shimmer, energy


 xlo vs. stock* headamp

 xlo: black, clear, good impact, snappy, fairly bright, speed, build up

 stock: about same, minor less swing*, minor less clean*

 * when in power bar


 xlo vs. stock* rudistor

 xlo: good scaling, blackness, no loss, good low drop, see motion, shimmer, rattle background

 stock: minor drop in dynamics, good low drop, clearer_

 Outside of my head these probably mean very little so here is how it break down into character:

 Stock: baseline performance, neutral with good resolution, clearest most transparent of the ones I have at the expense of slight compression in its sound.

 688: deviates from stock by having a fuller more bloom type sound, the main music is presented in the forefront while micro details take a back seat, smooth in its delivery

 XLO: deviates on a large way towards euphoric bloom, fuzzy bottom heavy character that somehow manages to be very warm but with poor extension and impact

 Stock is still my preferred PC on my system. The XLO was far to gone from neutral to be usable. The TG 688 though would be very pleasant on a dry or bright source that needed some warming up.

 Also worth noting that in all cases the most drastic change comes from the source PC change. The amps respond in a much less obvious way

 I will be holding onto my 688 though until both my Reference is back in house and my Volex 14AWG shielded and Monster AVS2000 arrive. Then we'll see what stays and what goes


----------



## markl

Solude, was the TG688 fully burned in? Crump is adamant about 30-day full burn-in (24/7), although I found few changes after 3 weeks.

  Quote:


 688: deviates from stock by having a fuller more bloom type sound, the main music is presented in the forefront while micro details take a back seat, smooth in its delivery 
 

 One thing your comment says to me is that the TG688 is better at keeping loud sounds loud and soft sounds soft, that is leaving dynamic range intact. That agrees with my finding, but I don't find that a negative, to me that means it's more accurate than a cable that compresses everything. The main music should be louder, more present, smaller events should be smaller. But the problem is you need a system with a very low noise floor to take advantage of the full dynamic range without losing smaller events/micro-details into the mist (though it looks like you have a very nice set-up there!).

 But maybe this is not what you are describing? Cheers.


----------



## markl

I also just realized I never addressed my methodology in the review, which differs from yours, Solude, but may be interesting to discuss or at least note.

 *In general*, I would install the PC, and give it an hour or 3 to warm up or settle in before any initial listening. If the cable was pre-owned, and fully burned in, I could then go straight into taking notes. I would use CDs very familiar to me, and continue listening over the course of a week (for cables I didn't really like), or more (for cables I did like) to any number of CDs (easily 40+ for each PC, I have a CD changer, so could load up 5 at a time and switch on the fly). There was one occasion where a pre-owned cable was removed after only 2 days because I just hated it (the PS Audio cable).

 If the cable was new, I would burn-in for 100 hours or more before beginning taking notes (although I would sneak some listens.

 I very seldom (although I did) do A/B type tests of different cables (but only to verify some very broad observations), but those are tricky because of all the time and effort involved in swapping out the cables, a lot of time elapses between impressions. I know that Michael Wolff, for one, feels his cable needs to "settle in" for a couple hours after you swap its position before it sounds right, so that made A/B-ing with his cable potentially more difficult, although that was one cable I did some A/B-ing with to figure out its relative bass response in a broad way. I'm sure this effect can vary from PC to PC. Anyway, in general, I preferred to do longer-term listening over the period of many listening sessions and just recording impressions as I went.

 One thing I discovered for me is that it's important not to rush to judgement. It may just be that the first CD you fire up happens to sound great on that particular cable, then you get all excited, only to be let down on other discs. It can also be that one particular cable is just more honest than another and plays a CD back that sounded great on a stock cord, not so well. I've also found that certain CDs I've really thought were reference recordings don't sound as good with certain PCs. Then you throw the old PC back on, and suddenly it's back to sounding good, even though, in general, on other recordings you prefer the sound of the PC that didn't play back your reference recording the best. Anyway, I found that if I relied on just a few songs to evaluate a particular PC, it could have a tendency to really narrow the possibilities (or times at bat for a particular PC), and skew the results in favor of an overall bad PC or against an otherwise fine performer. YMMV.

 Not saying there is anything wrong particularly with the A/B process, just noting that I approached my imprerssions differently. In the future, I think I'll include a Methodology section in my reviews, it never really occurred to me to do that before.

 Cheers.


----------



## Solude

These are pretty priliminary findings. I bought the TG used so no idea how much burnin before me but I have about 200 hours on it.

 Granted this is my preference but so far I find the 688 hides the micro details in the bloom. I really enjoy the micro details, its what splits pop rock and genuine rock talent but if you bury the background melody under the main music it loses some flavour.

 In the case of DMB-Mother Father the admitedly background cymbal work is totally MIA taking away some timing queues right out of the mix. Or the wood percussion in Doin' Time building the pace kicks in later than normal reducing the build up.

 But this is all in my system, with my preferences. The Tri-Vista is already pretty warm with good bottom end weight and the Dynahi is neutral if a little shouty. On my previous A324 the added bottom end and smoothness would have really helped.

 That said it just goes to show that PCs really offer different though not always positive changes in one's system. I'll run another comparison with more varied music when I get my Reference back. The Dynahi is nice but frankly I prefer a well implemented Dynalo. The Lo has more weight with a less shouty character similar to the 688 just to a smaller degree.

 I'd imagine the 688 to be heaven on something like a Benchmark DAC1.


----------



## markl

Quote:


 That said it just goes to show that PCs really offer different though not always positive changes in one's system. 
 

 Couldn't agree more, Solude. That's why PC reviews are so tricky and why I put the big caveat at the start of my review. Gotta run.


----------



## Solude

I normally use more songs but this is prilim, just trying to get a jist for the 688 character. What I do is use varying artists, ranging from simple to complex, rock to jazz, vocal to instrumental...

 I really like Doin' Time because its well recorded, has lots of activity but all percussion, varying layers of volume, incredible soundstage depth and width... so its a great tune to judge dynamics, decay, timbre, pace, blackness, staging, bass right on through to treble. On my previous speaker rig its scary how well layed out the set is, you could duplicate Alex's set in your home with it as a reference :O

 Anyway there are others I generally use but basically I build my play list, doubling up on every song. I listen on the first pass of a song, take notes on the second and repeat this for as many songs that make the playlist. I try to keep it between 2-6 for time and memory reasons. Then I swap components and run through it again. Listening without notes, then with for each song. Whatever is 'on deck' is plugged into something else to keep it warm. So while the stocker is under critique the 688 is powering my monitor. 

 Not perfect but definitely sufficient for me to decide between components. I expect that once my Monster AVS2000 arrives and I'm dealing with perfect power judging PCs will be less a hit and miss. But that XLO is never coming back


----------



## Solude

Worth noting that I tend to look for what something does wrong more than right. If its wrongs are intolerable, it doesn't matter what it does right


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## markl

I have received word that Bob Crump has passed away over the Thanksgiving holiday. He was a class act, a very nice guy in my (limited) dealings with him. Rest in peace, and thanks for the fine cables. 
	

	
	
		
		

		
		
	


	






 I suspect this means his TG Audio cable business is finished, as I'm certain it was a one-man operation, and he made them all himself. Probably only way to get his cables now will be on the used market.


----------



## rickcr42

Quote:


 I have received word that Bob Crump has passed away over the Thanksgiving holiday. He was a class act, a very nice guy in my (limited) dealings with him. Rest in peace, and thanks for the fine cables. 
 

Sad news indeed.I will miss his posts over at AA a lot.Always an interesting read no matter what your opinion of the points being made.Yup.will be missed by many including me.


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## markl

OK, so even though I'm supposed to be on a hiatus from power cable reviewing, my curiosity was piqued by Solude's review of the incredibly cheap Volex 17604. He liked it better than my number one choice, the TG Audio 688. Since it was so cheap, I thought, "what the heck, why not?" I've added a new section to the review, but I've cut and pasted it here so you don't have to hunt for it. 

 Here are my results:

*15. Volex 17604* 

 Pricing (6 ft. cord): $8-$12.00

*Review* 
 In other threads on this site, this cheap Volex cord has been compared favorably to cables costing 30X its price. The 17604 is the shielded version of Volex's basic cable which features wire made by Belden. How does it stack up for this reviewer among all the various cables I've had so far?

 Surprisingly well. Let me amend that-- shockingly well (qualifier-- given the price). I can say that this power cord easily and handily beats out several of the much more expensive cables I've reviewed so far. To put that statement in perspective, though, as you've read, there are a number of fancy power cords I didn't care for at all, so it's in that context that this cheap Volex stands out ahead of them. 

 But saying the Volex is better than cables I really detested is not the same as saying it compares favorably with the really good aftermarket cables. A better, more fair and interesting comparison is against another mass-produced budget cable I think very highly of-- the Iron Lung Jellyfish. 

 I was quite surprised at the difference between these two budget cables. I suspected they would sound quite similar, but they don't. 

 The unshielded Jellyfish is much more extended at both ends-- there's clearly more treble and much more bass. The Jellyfish is more "hi-fi" sounding, where the Volex is more "natural" and warm. The Volex has the "tone" thing down. It *harmonizes* very well. It sounds very "real" and natural. In contrast, the Jellyfish has more "glare" than the Volex, sounds are more "recorded" than real, yielding an artifically sweetened sound. Tonally, Volex focuses more on the mid-range, Jellyfish more on the lows and the highs. Neither one is completely right; one has a smiley-face EQ (Jellyfish), the other a frowny-face EQ (Volex). Overall, the Volex is easier on the ears, the sound is "thicker", and less "exciting". If you want to relax into the sound, the Volex would be a better choice, but if you want to be a participant, rather than just an observer, the Jellyfish makes more sense.

 The Jellyfish definitely is superior to the Volex in terms of PRAT and sheer slam. It's a much more forceful, impacting and energetic cable. In terms of soundstaging, the Volex is smaller, moving you back a couple rows. The Volex has less "air" and dimesionality than the Jellyfish, making it seem somewhat 2-dimensional and flat. They are roughly equal in terms of detail/resolution.

 I estimated I switched out these two budget cables at least 30 times doing this comparison. This was a royal pain in the butt. It took quite a while to decide which one I preferred, it was not clear-cut. Overall, these are both terrific budget cables with different strengths and weaknesses, I think it comes down to where you are more willing to compromise. I can live without the extended highs of the Jellyfish (which can sound somewhat artificial), but the deal-breaker for me on the Volex is its pretty severely rolled bass response. I need every last drop of bass I can get, and the Volex withholds a little too much to overlook. And that's a shame because it's so tonally attractive and natural, very "musical" and quite enjoyable. 

 Flexibility: 9
 Build quality: 5
 Tonality: 9
 Soundstaging/imaging: 5
 PRAT/dynamics/speed: 5
 Resolution/detail/transparency: 7
 Value: 8
 Overall Performance: 7.5

 Here is where the Volex fits in on my rankings:

*Conclusion*

 1.Split decision between the TG 688 (for my source), and the Wolff Source cord (for my headamp) 
 2.Virtual Dynamics Reference (since replaced/superseded by the David)
 3.KAS Audio Primus (on my headamp)
 4.VH Audio Flavor 1 and Flavor 2
 5.Custom Power Cord Company Model 14 Series 2
 6.Tek Line Eclipse
 7.Iron Lung Jellyfish / Volex 17604
 8. Straight Wire Blue Thunder
 9.Audio Metallurgy Gold Alloy 9
 10.Analysis Plus Oval 10
 11.Absolute Power Cord
 12.Zu Cable BoK
 13.PS Audio XStream Plus


----------



## MikeW

In my setup this cord sounded harsh and lacking in bass(when connected to amp). I guess it all comes down to synergy, I much prefered the stock cord that headroom supplied, an 18 AWG Unshielded volex. I've got a Magicpower (very welll reviewed) coming here in a week or so, should ship out tomorrow. It's a 10AWG unshielded design, think it's made from carol cable. Can't wait to try it out. I also use volex cords on my speakers, computer, monitor and dac.


----------



## kontai69

Quote:


  Originally Posted by *MikeW* 
_I've got a Magicpower (very welll reviewed) coming here in a week or so, should ship out tomorrow. It's a 10AWG unshielded design, think it's made from carol cable. Can't wait to try it out._

 

Let us know what you think. I had the MagicPower on my GS-1 and thought it sounded too dull. YMMV. Also, if you like its sound in your system and want to purchase more, it is very easy to make your own. The MagicPower is just 10/3 Carol wire which you can get at Home Depot. The Marinco IEC and wall plugs can be purchased at Parts Express. You would have to add a few bucks more for the Techflex and heat shrink tubing, which is purely cosmetic in purpose.


----------



## markl

OK, so I've added yet another cord (taking me well over the 14 cord mark). Here's my review of the latest power cord and how it fits in with all the others....

*16. Oyaide Tunami Power Cord- Assembled by Michael Wolff*

 Web site: Website: www.wolffaudio.com

 Pricing (6ft. cord): $345

*Preface*
 Since publishing this review (and its updates), I've turned down over a dozen other offers for review samples from other makers/marketers of power cords (who may well be reading this now-- hi! 
	

	
	
		
		

		
			





 ), due to absolute burn-out (as you can imagine). A few months back, I sold my TG Audio 688 that had been on my source since I first got and recommended it when this review was fresh. I sold it in a temporary pinch (and an attempt to rationalize my system to no avail), and I've regretted it ever since. I replaced it with a cheapie hospital-grade Iron Lung Jellyfish, which I still say greatly outperforms very many much more expensive cords; it's a real and true bargain. Still, it was no TG 688, though it more than held it's own given its absurdly low price. Also, for even longer, I've been happily using the Jellyfish on my stubborn, somewhat power-cord-immune Ray Samuels HR-2, where it has again served more than admirably. Much as I might wish to have used Michael Wolff's Silver Carbon Source cable (now no longer available, he's gone even further upmarket with even more exotic designs) on the HR-2, I couldn't justify buying a cord that cost 2/3rds of what the amp itself cost. C'est la vie.

 Recently Michael contacted me regarding a new (reasonably affordable) cord he was carrying called the Tunami. Even though temporarily "retired" from the power cord game, I asked him to send me a sample copy for review. Here are my results with the Tunami on my source; though again, I am comparing (in recent audio memory) against a much much cheaper unit (though a strong performer) in the Jellyfish. In swapping back and forth between the Tunami and the Jellyfish, I hear a difference on the level that is simply undisputable. This is the difference between a nice budget cord that does no wrong, and a serious piece of audio that provides actual bona-fide *enhancement* (with caveats). I've swapped these cords (and what a pain that is) several dozen times, and though not double-blind, I am more than satisfied that the Tunami is simply in a different class altogether from the mighty little Jellysfish. *But* it's potential drawbacks can't be overlooked.

 That said, a cable on this level demands that you judge it accordingly on a scale fitting its performance and cost. That means I'm going to be harder on it than it would be on the Jellyfish. After all, I'm not judging in a vacuum. The Tunami is not a perfect cable; it has a few potentially deal-breaking attributes that I will point out.

*Review*
 Oyaide is a Japanese company known (to me) for making very exotic (and expensive) ends/connectors for power cords. Their products typically end up on the most top-of-the-line esoteric cords out there. This seems to be their first attempt at producing the actual cord that fits between their high-quality connectors. Of course the Tunami (as assembled by Michael Wolff) uses Oyaide connectors at both ends; in this case, in a very cool-looking fire-engine red. This is a super-attractive cord if looks matter to you. 

 This is one of the relatively few aftermarket fancy power cords that is molded/extruded; it isn't just bare wire wrapped in a tech-flex sheath. This is a professionally-made cable, so the internal wires are not loose or jumbled; they are locked in place inside the rubber/plastic sheath. I've read other manufacturers argue that using molded wire cuts down on vibration, which if you believe some claims, is a source of distortion in the audio signal. 

 The wire itself is the purest copper known to man; this is the same single-crystal copper developed by Prof. Ohno that you've seen used in many expensive interconnects and a few power cords. This is a *very* stiff cord. Not the worst offender in this survey, but still a royal pain to install-- be warned!

 So how does it sound? Great! This is definitely one of the better power cords I've tried so far. The first thing that struck me was the incredible blackness of the background from which sounds emerge. This thing is DEAD quiet. Forget about a noise floor- there isn't one. That's it's defining characteristic, most everything else flows from that attribute.

 This is a very "vivid" and high-contrast cable. There is a big difference between the lowest lows and the highest highs. Everything is thrown into sharp, stark relief with great clarity and crispness to the image. 

 A pitch-black backround also almost always means you get a fantastic soundstage, and the Tunami does not disappoint in that respect. Stereo separation is wide, adding volume to the soundstage. 

 This is a very "hi-fi" sounding cable, if not the most natural and realistic I've heard. It digs up under the sound and pushes it out toward you. This can be thrilling for the right listener. It's an extremely hi-rez presentation; the Tunami leaves little to the imagination, you feel like you get to hear every digital bit on your CDs. Tonally, I wouldn't call the Tunami "warm" or "lush" or "romantic". It's a bit crisp, a bit "digital"; but it errs more toward neutrality than either the warm or cold/analytical sides of the spectrum. This is one of those "ruthlessly revealing" cables that lets the chips fall where they may. Legitimate criticism would be that it's too "revealing", but for some, that's music to the ears.

 This is also a powerful cable. Not as tear-your-head-off aggressive as the VH Audio cords, but the Tunami has a powerful and full bottom end, and drums are allowed to really pound. The Tunami gives a firm and fleshy bass without being heavy or slow. Electric bass lines are easy to follow, and exhibit a wide range of tones, so it's not one-note bass. 

 Adding this cable is like adding a turbo-boost to your system. It gooses everything it touches for better or worse.

 That concludes the positives. On the down side, one wishes for more midrage warmth/lushness. There is a slight hollowness to the mids that is troubling. There's a bit of glare or sugar-coatedness to the highs that isn't natural. The Tunami is a bit "digital" and "analytical". There's a bit of sugar-coating to it that isn't natural. 

 Flexibility: 4
 Build quality: 7
 Tonality: 7
 Soundstaging/imaging: 9
 PRAT/dynamics/speed: 9
 Resolution/detail/transparency: 9
 Value: 8
 Overall Performance: 8

*Conclusion*
 Still with me? 
	

	
	
		
		

		
		
	


	




 To wrap this up, it’s time for me to rank order all of the cables under review. This rank ordering reflects performance in my system, based on my own biases and needs. It reflects performance on those components on which each cable fared best. It is not a straight listing of cables in order of the “Overall performance” rating I gave within the individual reviews. Those ratings are dependent on cost/value, flexibility and other factors, the final rank order is based on pure *sound* alone, all other factors be damned.

 1.Split decision between the TG 688 (for my source), and the Wolff Source cord (for my headamp) 
 2.Virtual Dynamics Reference (since replaced/superseded by the David)
 3.Split decison between KAS Audio Primus (on my headamp) and Oyaide Tunami (on my source)
 4.VH Audio Flavor 1 and Flavor 2
 5.Custom Power Cord Company Model 14 Series 2
 6.Tek Line Eclipse
 7.Iron Lung Jellyfish / Volex 17604
 8. Straight Wire Blue Thunder
 9.Audio Metallurgy Gold Alloy 9
 10.Analysis Plus Oval 10
 11.Absolute Power Cord
 12.Zu Cable BoK
 13.PS Audio XStream Plus


----------



## markl

P.S. To manufacturers of power cords who would like me to review your products, please PM me-- I'm back (I guess) 
	

	
	
		
		

		
		
	


	




 .


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## jayB

GREAT JOB mark..

 I've bought a pair of Wolff IC's and 2 Iron Lung Cords based mostly on your reviews & have been quite happy..

 Do you have thoughts on isolation of components? Vibrapods? BDR Cones?

 I've been playing with Michael Wolff's 
 "Tuning" Pads which produce some subtle effects on my stuff..


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## markl

Hi jayB, I tried Vibrapods, but honestly couldn't verify if there was any difference.


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## Gabe Logan

Great reviews markl.I always enjoy reading them which is how i ended up getting the VH Audio for my DAC.Keep them coming and hopefully someone answers you and sends cables of their products for reviews.


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## Herandu

I frequently scratch my head when I read about power cords. If everyone just started screening the leads, it would help in clearing matters up. With all those mains and signal wires running next to each other behind our stereo equipment, chances are that intermodulation etc. is going to take place. I have been using aluminium foil for years in order to screen my various cables from each other. 
 But there is no substitute for a beefier power supply. I tend to change the capacitors in the power supply of my equipment where possible. You can hear the difference in my power amps alone.


----------



## JahJahBinks

Quote:


  Originally Posted by *Herandu* 
_I have been using aluminium foil for years in order to screen my various cables from each other. _

 

Did you ground the foil?


----------



## Herandu

Quote:


  Originally Posted by *JahJahBinks* 
_Did you ground the foil?_

 

As a matter of fact, I did.


----------



## markl

*Black Sand Cables Violet and Silver*

 OK, so here is my write-up of the latest power cord I've tried, which happens to be the BEST so far...

 Web site: Website: http://blacksandcable.com/

 Pricing (6ft. cord): $180+

*Review*
 Black Sand Cables is one of those low-flying, under-the-radar companies that prefers to let the quality of their products do the talking for them, rather than relying on marketing hyperbole. The man behind the company, John, has declined to hype his products on numerous occasions when he could have easily done so. It seems genuinely not to be his style. In fact, if you were to visit their modest web-site (as it exists as I write), you'd be quite puzzled by their offerings. You'd have a hard time determining what went into their basic offerings vs. what went into their more upscale offerings. It's basically a mess (sorry, John)...

 Allow me to clarify (such as I can with the limited info even I have). Black Sand used to have a full cable product line, but more recently, they decided to focus exclusively on power cords only, as that was where they felt they had the most value-add. To that end, they've developed a few power cords, but at the low-end, after receiving lots of feedback, they decided to consolidate their products into a single design. These bottom-level products are all identical save for the color of the jacket they come in: White, Crimson, Arctic Blue. These are all pure copper designs. Beyond that, they offer a copper/silver hybrid called the Silver Reference Mark 4. That's their current top-of-the-line cable.

 OK, so Black Sand has only 2 products, right? Well, not exactly. This review chiefly concerns their "Violet" power cord, a product that John is not yet convinced he should include in his product line. It was made as an experiment, and rests between their bottom-of-the-line cords and the Silver. John is not sure if he's going to ofer the Violet as a full-time product. I've written to him several times urging him to reconsider and to unleash the Violet on the world at large. We'll see...

 I paid for and received a single Violet, and then later informed John about my intentions to review his product. He then sent me his top-of-the-line product, the Silver to put his best foot forward.

 Well, after giving the Silver and the Violet equal time, and numerous swaps, I have to give the nod to the cheaper all-copper Violet (again, sorry John). This all-copper power cord goes WAY WAY beyond the level of performance I've achieved with any other cable. And at a fraction of the price, AND with twice the build quality. (And it's highly flexible, to boot).

 Anyway, this cable (the Violet) is just stunning, I'm very excited; it's really like a component upgrade rather than a mere power cord swap. These impressions concern the performance of the Violet on my source, though I've ordered another one for my headamp. 

 Mad resolution, I'm constantly hearing things I've never heard before, and as you know, that's always a thrill. It's making old 80s CDs sound practically hi-rez. This thing is totally "un-veiled" in every possible way. Best soundstaging I've heard so far (not the biggest, but pretty astounding imaging, everything is so vividly defined and real), and ultra BLACK background. 

 The Violet is all about lifting veils. The question it poses to you is: how many veils do I *really* want lifted? Is there such thing as "too open" or "too revealing"? You wouldn't think so until you've heard your source with the Violet attached. Totally open and airy, with a nice full, firm sound. Bass is insanely tight and solid. Everything sounds extremely *real* with this cord. The Violet digs up so much information you've never heard before, it can leave you slack-jawed. 

 This cord (like all great audio products) has taught me something new. Yes, we are all intoxicated by that component which gives us a perceptibly "blacker" background. But, when you think about it, really, half of obtaining a "blacker" background is achieving whiter whites and thus, a greater sense of contrast. IMHO, the Violet is a lot like an Ansel Adams print-- it goes from absolute white whites to pitch blacks; yet it's incredibly sharp and detailed because he's used an absurdly large 4x5 negative. The Violet leaves you with the exact same feeling. It leaves nothing to the imagination, yet at the same time, it doesn't exaggerate or over-emphasize. It's almost realer than real.

 The Violet excels in palpability-- you can reach out and touch the artist(s). Guitars are crunchy and vivid. Voices are so clear, you can easily make out expressions that were previously garbled. 

 Bass and dynamics are second to none. Bass is TIGHT and solid. Bass goes incredibly LOW. The sound this cord makes is eerily present and *real*. There is no way to extract greater dynamic range than to attach the Violet to your gear.

 I just bought a second Violet for my headphone amp, I felt compelled to swoop in and scoop it up before they're all gone. John is still pondering whether to put it in the product line, I hope he does. It's the best cord I've heard so far (out of 20+), best built, and dirt cheap (as these things go), too. It's also considerably more flexible than your average aftermarket cord.

 I spent another hour and a half with the Silver last night. There's definitely a family resemblance there so there seems to be a Black Sand "house sound". However, the Silver still sounds a bit more constrained, the background not *quite* as black. It has a *slightly* more mellow top end than the Violet. 

 So yes, it's definitely more "refined", but it doesn't have the same degree of impact, dynamics, astonishing dynamic range, and amazing holographic sound of the Violet. I would think if the Violet was "too much" in your system, the Silver would be a great alternative. But for me, the Violet is intoxicating, I pause and listen to songs I normally skip just because everything sounds so fresh and new. Even though this cord is beyond ruthless and ultra-high-rez, it does the neat trick of making everything sound great without resorting to syrupy euphony. Also, with further burn-in (or mental adjustment), the brightness I noted in the Violet is less and less of an issue. 

*Conclusion*
 Still with me? To wrap this up, it’s time for me to rank order all of the cables under review. This rank ordering reflects performance in my system, based on my own biases and needs. It reflects performance on those components on which each cable fared best. It is not a straight listing of cables in order of the “Overall performance” rating I gave within the individual reviews. Those ratings are dependent on cost/value, flexibility and other factors, the final rank order is based on pure *sound* alone, all other factors be damned.

 1. Black Sand-- Violet.
 2. Black Sand-- Silver
 3. Split decision between the TG 688 (for my source), and the Wolff Source cord (for my headamp) 
 4. Virtual Dynamics Reference (since replaced/superseded by the David)
 5. Split decison between KAS Audio Primus (on my headamp) and Oyaide Tunami (on my source)
 6. VH Audio Flavor 1 and Flavor 2
 7. Custom Power Cord Company Model 14 Series 2
 8. Tek Line Eclipse
 9. Iron Lung Jellyfish / Volex 17604
 10. Straight Wire Blue Thunder
 11. Audio Metallurgy Gold Alloy 9
 12. Analysis Plus Oval 10
 13. Absolute Power Cord
 14. Zu Cable BoK
 15. PS Audio XStream Plus


----------



## BrianS

great write up mark


----------



## HumanMedia

Mark-thanks for making the world a better place with your review(s).

 How did the Black Sand cables change over the break-in period?


----------



## markl

Hi HumanMedia-- there is some brightness at the start, but I can happily report that that subsides over time. It's rare that I can type this (and if you've read my reviews, you know this is true), but at this point, I am absolutely without criticism of the Violet. 

 I just want to point out that it appears John has cooked up another batch of the Violets, they had sold out of remaining B-stock after my review appeared:

http://cls.audiogon.com/cgi-bin/cls....owr&1153898120

 The cords I bought were B-stock, returned cords (though they appear brand new) with maybe 40-hours burn-in. These up now are brand new versions, so the price is marginally higher than the $180 I printed. *However*, when you consider that this cord (IMHO) handily beat out a $1200 power cord, it's still a screaming bargain.


 P.S. In all disclosure, it should be noted I did receive a small piece of "consideration" from Black Sand Cable after the fact. Namely, they sent me a free Black Sand Cable T-shirt! 
	

	
	
		
		

		
		
	


	




 I'll wear it proudly.


----------



## Solude

Why oh why do companies do this... its violet 
	

	
	
		
		

		
		
	


	




 My Cardas blue us pushing it, pink is well not WAF for sure 
	

	
	
		
		

		
		
	


	




 BSC make it another color please!


----------



## markl

LOL, well in my case they stay hidden behind my rack, so no one sees them...


----------



## BrianS

santa sees them...
 in fact last time i chatted with him he told me he uses those cables to climb down chimneys as rope cuz they are so well made


----------



## Vic

Markl,
 thanks for the huge work
	

	
	
		
		

		
			





 .
 One ot the most interesting threads ever.

 I have a question, maybe someone can reply. I cannot find any of the PC listed here in the UK and apparently none of the manufacturers makes a UK version. 
 What about if I used a US/UK convertor iwth one of these cables; would there be a big loss in quality? 

 Another point: the Wolff website list the Source cable at $1,000 instead than $600


----------



## markl

I would imagine that using a converter or some kind of cheater plug would definitely degrade the sound. 

 Michael Wolff has upgraded his power cords since this review, hence the price differential.


----------



## Spare Tire

With these one man companies, i'm sure you can message him and ask for a custom cable with UK plugs. Though i'm sure it wont be free.


----------



## Vic

Quote:


  Originally Posted by *markl* 
_I would imagine that using a converter or some kind of cheater plug would definitely degrade the sound. 

 Michael Wolff has upgraded his power cords since this review, hence the price differential._

 

Many thanks.

 It must have been a serious upgrade


----------



## Akathriel

Quote:


  Originally Posted by *Vic* 
_Many thanks.

 It must have been a serious upgrade
	

	
	
		
		

		
		
	


	


_

 

He now uses 400 dollar connectors standard
	

	
	
		
		

		
		
	


	




 .


----------



## sbulack

I had my own experience of the importance of pairing a PC with the equipment best suited to its capabilities. I purchased an Iron Lung Jellyfish to try it on my DAC instead of the Volex 17604. When I had replaced the stock PC with the Volex, all Sennheiser "veil" evaporated (I'm using the HD580 in this rig). When I tried the ILJ in this rig, once the sound had settled, the "veil" was back. So, back to the Volex in this rig.

 My work rig, though, ends in ER4S phones, and I thought that a little veil in the high end of this rig might be an improvement. So, at work, I replaced the Volex 17604 powering my computer with the ILJ and - long story short - my work rig has never sounded SO movingly beautiful - with NO loss of the detail or high end beauty that I love, just a toning down of some brightness in its high end that, to my ears, can be fatiguing at times. And, relative to the Volex in this rig, with the ILJ I HEAR the bass more and FEEL it less - which, with the ER4S, is an improvement to my ears.

 So, I heard first-hand what Markl had noted in his preliminary review notes, the importance of good synergistic match-making between a PC and the component/rig with which it is paired. In my home rig, ending in HD580, the Volex is clearly my favorite of these two PC's. In my work rig, ending in ER4S, the Iron Lung Jellyfish is my clear keeper.

 So, now, I'm counting my pennies, plotting to see when I can spring for a Violet PC.

 Thanks so much, Markl, for all of yourself and your multiple talents that are behind this cornucopia of PC information. This has GOT to be my favorite thread in a great while.


----------



## markl

sbulack,
 Thanks, this review represents 5 years of searching for a cord that didn't leave me wanting a little bit more of this or a little less of that. It's not comprehensive (how could it be in the universe of cords out there), but I'm gratified whenever my quest can benefit anyone else. If not for that, I wouldn't bother...


----------



## Thaddy

Any plans to introduce the Signalcable power cords into the test?


----------



## markl

Nope, I be done for now. 
	

	
	
		
		

		
		
	


	




 It never really ends per se, I know, but it's gonna be some time before I look to my *power cabling* as a limitation on my system.

 Long before that, I'll be looking at any new headphones (provided we get some unexpected miracle high-end cans in the near future, but I ain't holding my breath 
	

	
	
		
		

		
		
	


	




 ), sources, and amps.

 So this is really it for me and power cords (after 5 years of searching). IMO, that speaks to the quality of the Black Sand Violet. I'm hoping some members will pick one up now that John's made a few more. I'm pretty sure you won't be disappointed. and if you do, good or bad, please post here your findings...


----------



## yo2tup2

i got a violet a few days ago. have it installed on my amp and the improvement is huge!

 incredible dynamic range 
	

	
	
		
		

		
		
	


	




 i'm using it in a 2ch setup, and i've never heard dynamics like this. i went from having good dynamics to kick you in the chest dynamics. very nice! 

 you're spot on with "whites being whiter." i have some music playing now and jack white's guitar is on fire 
	

	
	
		
		

		
		
	


	




 now i'm thinking about getting another for my source. i'm wondering if it makes as much of an improvement on the source as it does on my amp. i know i can just unplug it from my amp and and try it on my dac, but it sounds too good where it is now and its staying put


----------



## markl

yo2tup2, very cool, glad it worked well for you in your system. I think your DAC will absolutely benefit from another Violet. Cheers.


----------



## KenW

Hmmm, tempted to try these Violets. A bit pricey compared to my Volex cords though!


----------



## Jon L

I received my 2 Violet cords. They are already burned-in, but after some hours, I have some random thoughts. 

 These don't have sonic signatures of any plating, silver or tin; they sound like 100% unplated copper. 

 They also don't have "solid core sound"; I'll bet these are pretty fine strands of copper. 

 Thankfully, they don't sound heavily-shielded, which is a good thing IMO. They sound like they definitely have less amount of shield than the Silver Reference.

 I also doubt there's much teflon insulation, if any, in there. PVC or polyethylene would be my guess as primary dielectric, which is not necessarily a bad thing. 

 So far, they don't quite have the sub 40Hz brutality that my DIY "shotgun" 83802 cord, but that thing is 10 AWG almost-solid-core in heavy teflon; not fair


----------



## Jon L

I just saw this on Agon about the Violet
http://cls.audiogon.com/cgi-bin/cls....owr&1156861887

 So apparently, the pure copper conductors are "wrapped" in teflon. So I was wrong in my guess about the dielectric. I think this is a tribute to Black Sand b/c it has the detail resolution of teflon without that telling teflon "unnatural slippery" signature. 

 Oh, after some more settling time, you can forget about my comments about sub 40Hz bass, too. 

 I will say more about the Violet in the near future, but I can advise people right now to GRAB the Violet while you still can


----------



## markl

Knew you'd like it JonL based on what you said you were looking to achieve in your system. Keep the comments coming!


----------



## yo2tup2

Quote:


  Originally Posted by *markl* 
_yo2tup2, very cool, glad it worked well for you in your system. I think your DAC will absolutely benefit from another Violet. Cheers._

 

i sure hope so, because i have another coming my way


----------



## markl

Yeah, the combination of having a Violet on both my source and amp, while not quite double the pleasure of just having it on my source, is certainly another well worth-while enhancement further in the Violet direction. My system sounds REAL GOOD now!

 I told JonL I really thought the Violet was a different animal from the Silver, and it seems he agrees. I respect what the Silver does, it's still an excellent cable. If I hadn't heard the Violet, I'd have probably shelled out for it. But the Violet to me, is just on a different level. There is some special voodoo in there.


----------



## rlmacklin

I highly recommend the Black Sand Cable Violet Z1 power cords - 

 I currently have two 6-footers on Denon DVD-3910 source and Modwright SWL 9.0SE (w/ Bendix 6900 tubes) linestage since I received them 6/21.
 They were still improving at nearing a week after installation (smoothing out an initial slight brightness/hardness in the highs, towards pure musicality). 

 The sonics have been stable over last several days so I believe they are essentially fully burned in at this point. 
 I am currently using Grover UR-7 ICs from Denon to Modwright and from Modwright to Odyssey Stratos HT-3 power amp (w/capacitance upgrades).
 [As Grover UR-8s are now available, I have some of those on order via "upgrade.]

 Results:

*amazing detail retrieval *from CDs/SACDs/DVDs 
	

	
	
		
		

		
		
	


	




 , 
*“holographic” imaging*, 
*large 3-D soundstage*, 
*"black hole" background*, 
*superb dynamics and dynamic range*, 
*superb frequency extension and balance*. 

 These power cords are neutral and musical. 

 I e-mailed to John of Black Sand Cable:

 a) that I might be tempted to call them "Ultra-Violets" - as the musical performance is stunning and even "ultra-real" in that it seems more of the music/musical information on the CDs, etc. is finally presented, or 

 b) maybe he should rename them "Black Holes" - for the "background" noise floor seems to have been "sucked into oblivion." 
 [I used to hear some sort of occasional low-level noise from my right front speaker (Polk SDA-1), probably from the right channel Bendix 6900 tube in my Modwright linestage, but this seems to have "disappeared" (in that it is below audible levels now).] and

 c) I ordered a 12-foot Violet Z1 for my Odyssey Stratos HT-3 power amp...


----------



## markl

Right on rlmacklin! 
	

	
	
		
		

		
		
	


	




 I obviously heartily agree 100% with your observations. Have we not yet achieved a quorum as to whether John should keep this cord in his line? 
	

	
	
		
		

		
		
	


	




 Methinks the answer be a resounding "yes".


----------



## Vic

I have contacted Black Sand to ask it they would supply a Violet with UK connections, but never received an email back, I guess they are pretty busy filling orders after your review.
 My question is: what about if I ordered them a pair of regular US Violet and then find a good DIYer here in the UK to put a UK plug on. Would I loose a lot of sound quality in between.
 Sorry for being a pain in the neck, but these are the disadvantages of living on the other side of the mighty Atlantic lake.


----------



## Akathriel

No, most IECs are solderless but even if there is solder, the difference would be inaudible. The biggest drawback is it might not look as pretty, but some skillful heatshrink makeup will take care of that.

 EDIT:Even so, I would avoid the hassle and have it done in factory. Have you called him?


----------



## Vic

Quote:


  Originally Posted by *Akathriel* 
_No, most IECs are solderless but even if there is solder, the difference would be inaudible. The biggest drawback is it might not look as pretty, but some skillful heatshrink makeup will take care of that.

 EDIT:Even so, I would avoid the hassle and have it done in factory. Have you called him?_

 

Thanks for the reply. I have not called them, just emailed. I think to give them a phone call is a good idea.


----------



## Black Sand Cable

Hi Vic,

 I did respond to your email.....I normally respond to all emails the same day. If by chance you don't hear from me right away, something has gone wrong somewhere!

 My guess is that my original response has somehow ended up in your spam folder!

 Cheers

  Quote:


  Originally Posted by *Vic* 
_Thanks for the reply. I have not called them, just emailed. I think to give them a phone call is a good idea._


----------



## Vic

Quote:


  Originally Posted by *Black Sand Cable* 
_Hi Vic,

 I did respond to your email.....I normally respond to all emails the same day. If by chance you don't hear from me right away, something has gone wrong somewhere!

 My guess is that my original response has somehow ended up in your spam folder!

 Cheers_

 

Yes, I have to apologies to John from Black Sand for my mistake.
 He had replied immediately to my email, but I thought the mail was coming from another company.
 Definetely I should take some time off from work


----------



## locust star

I've had a Violet Z1 cord since about a week and a half ago, and I'm amazed at how much a difference it makes-it really is more like a component upgrade. My system has a more realistic, 3-D kind of sound with stronger and tighter bass and I can't believe all the details I'm hearing that I never heard before. 

 Thanks for the excellent reviews, markl, and thanks for the great cord and welcome to the forum, John.


----------



## taoster

i suspect the power in US is not as clean as the power found in UK/AU(220-240V). I don't know if it has to do with Voltage but I have yet to hear anyone report major improvements by people outside US.


----------



## Jon L

Black Sand Cable Violet Z1 power cord--Impressions

 Since a lot of people are familiar with Volex 17604 cord, I will go ahead and enumerate what the Violet Z1 brings to the party compared to Volex.

 BTW, I hold the Volex in pretty high regard, as I prefer it to MANY audiophile cords I've tried over the years. Volex excels by not having gross errors of commision, i.e. midbass bloat, "chromed" upper midrange, skewed tonal balance, etc that many audiophile cords exhibit. It DOES have some errors of ommision that become obvious in comparison to truly great cords like the Violet.

 Violet's calling card in my mind is CONTROL. Not the usual control in bass people think about, but even-handed control from top to bottom. It fires the notes as if from a 45 Magnum, perfectly in trajectory without wobble or overshoot. Notes don't have that dreaded "ringing," which can be very tiring in upper-mids/low-treble, exactly where digital sources tend to "ring." Music appears with natural speed, hangs there just the right amount, and decays without foreshortening, and everything is in balance as should be.

 Volex tends to do the initial leading edge pretty well, but it can lose control during the sustain and decay, leaving the impression that some notes have not completed fully with requisite harmonic envelope and decay. It's not so bad compared to other cords, but this is why some of these lesser cords sound choppy and non-continuous during a note's mid-flight/decay. 

 With Violet, same control applies to treble, which effortlessly extends to stratosphere without any peaks or valleys, yet with requisite natural sparkle. It is, in fact, one of the best trebles I've heard out of any cable. Lesser cords, including Volex, don't have the same refined, filigree'd, yet densely detailed treble, and certain notes within the similar treble area tend to "stick out" or recess due to unevenness in the range. Violet's treble is not overly airy/light or spotlit; it is just right in terms of quantity, density, speed, and impact. 

 Bass follows in the same vein. You won't find the at-first-impressive upper to midbass "boom" many audiophile cords exhibit. Violet's upper-bass and mid-bass are extremely linear without being threadbare, but more importantly, the bass, especially upper-bass, has LIFE. It's the most lively upper-bass I've heard out of a cord, completely opposite of "dead" bass that pervades many cables and recordings. 

 Compared to Violet, Volex's upper-bass to mid-bass is not as bouncy or impactful. All the bass notes are there, and the drum beats hit, but they don't hit with the conviction and tunefulness of the Violet. 

 Midrange. This is where I felt the Black Max Silver Ref didn't fit my tastes in that it was a little too relaxed and smooth for me. I know tons of audiophiles love this kind of sound, especially in all-solid-state systems, but in my tube-based system, I wished for a little more vibrant, a bit less laid-back, and more microdynamically textured midrange. The Violet did just that, though it never crossed into midrange brightness or hardness at all. Everything is still very even and controlled, yet that extra midrange expressiveness and liveliness was there. Black Max probably does have slightly more treble purity and refinement and a tiny bit more low-bass extension, though. 

 I'm not a big soundstage guy, but Violet pretty much hits it right on the nose. Images start right at the plane of the speakers then extend deep into the stage. Left to right and front to back feel naturally expansive with firm, 3-D images occupying spots. This is not a cable that has overly forward imaging/soundstaging that crowds you. Volex's soundstage feels much flatter and 2-D, and it does crowd you a bit more. 

 Now, people talk about "black" background, etc, and Violet does have a very quiet background. I personally don't like those "ink black" backgrounds where the space between instruments feel like vacuum/black hole. Thankfully, Violet's spaces, while quiet, were not air-tight vacuum but had substance and smell of venue imbued within the space. I'm not sure what kind of shielding Violet has, but I sure am glad it doesn't sound over-shielded. This is actually a strong point of Volex, too, which has shielding, but not too much unlike many audiophile cords. Volex's background, however, has noticeably more grainy air compared to Violet. 

 I did directly compare Violet with some other cords. Audience PowerChord is a nice cord with lots of good reviews behind it. Compared to Violet, it is less neutral-sounding tonally b/c low-midrange to upper-bass is noticeably more ripe and fluffy. Extreme treble is rolled off, yet somewhere in low-treble to upper-midrange there is a couple of narrow peaks that add extra "air" to voices in good recordings but adds a kind of a grainy sparkle to many mass-market recordings. 

 I also compared it to my proud DIY cord, which is Belden 83802 in "shotgun" configuration. Each leg has 12 AWG x2, and the braid shield acts as floating shield. This is an awesome DIY cord that has beat off some seriously $$$ cords. Violet is more refined across the ranges with smoother upper-mids yet more extended extreme treble. My DIY cord is slightly too powerful in mid-bass and has more bass power and impact as a result, but that's HUGE conductor AWG speaking, and Violet has a more linear bass response. 

 So is Violet the Perfect Cord? Well, it may as well be, especially if you're running solid-state components. There really isn't much to fault here, and that's saying A LOT when it comes to power cords. 

 For low-power components, my Omega Mikro power cord with tiny copper ribbons does sound a wee bit more pure and transparent, but it can't be used with big components, and some have accused it of being "too lean," or rather not having ANY extra warmth. I don't really agree with that, but it will sound kind of threadbare with components that require lots of power due to the small ribbon. 

 As far as Violets, go get'em b/c I can't think of any cords at that price, new or used, that comes close, period.


----------



## Patrick82

Quote:


  Originally Posted by *taoster* 
_i suspect the power in US is not as clean as the power found in UK/AU(220-240V). I don't know if it has to do with Voltage but I have yet to hear anyone report major improvements by people outside US._

 

If you input 220V into a PS Audio Power Plant and output 110V you get better sound than if you input 110V into it (Power Plant will step up to 143V). It's better to step down the voltage.

 However, if you input 220V and output 220V you get worse sound because the european Power Plants output 100-120V and use an extra step-up transformer to change it into 220-240V which gives 5 times (0.5% vs 0.1%) more distortion. 
	

	
	
		
		

		
		
	


	




 (That's why european Power Plants cost more than US versions.)
 It's better to disconnect that transformer and buy 110 volt components instead.


----------



## markl

Great impressions, Jon L.


----------



## Vic

Really excellent review from jonl, a great pleasure to read.

 [QUOTE/toaster]I suspect the power in US is not as clean as the power found in UK/AU(220-240V). I don't know if it has to do with Voltage but I have yet to hear anyone report major improvements by people outside US.[/QUOTE]

 I have the same sort of doubt. Most British audiofiles are very sceptical, to say the least, about power cords or conditioning, while in the US there seem to be a lot of enthusiasm. Personally, so far I have heard some small general improvement with a few power chords, but they are too small to describe what area was improved.
 BTW I have just ordered a pair of Violet, so my previous experienced could be totally proved wrong.

 Certainly the quality of the power plays a role. Maybe also the voltage?
 I would appreciate if someone could shade light on this


----------



## Ross

Quote:


  Originally Posted by *Vic* 
_Really excellent review from jonl, a great pleasure to read.



 I have the same sort of doubt. Most British audiofiles are very sceptical, to say the least, about power cords or conditioning, while in the US there seem to be a lot of enthusiasm. Personally, so far I have heard some small general improvement with a few power chords, but they are too small to describe what area was improved.
 BTW I have just ordered a pair of Violet, so my previous experienced could be totally proved wrong.

 Certainly the quality of the power plays a role. Maybe also the voltage?
 I would appreciate if someone could shade light on this_

 

I have experimented with a few power cables, and have found that they do make a difference, but I live in a 240v country (Australia) and have found the difference to be minimal - about 20-30% of the difference made by interconnects. Perhaps there is something to the idea that the improvement offered by power cables is directly related to voltage. Having said that, I have tried one or two aftermarket power cables (a cheapish Yamamura comes to mind) which made everything sound terrible - stringy and sour. 

 The best power cables I have used - and bear in mind I have only tried a few commercially available cables - are my home made ones using the same solid core wire that is used in house wiring. (I understand BTW that using solid core power cables is illegal and may void your home insurance!) In addition to sounding good, they are also cheap.


----------



## Scrith

I picked up a couple of Black Sands Violet Z1 cables (with Wattgate termination) based on what I read here and elsewhere...here's some feedback:

 I was already using PS Audio Plus cables for my speaker amp and Benchmark DAC1, which were plugged into a PS Audio P500. Through experimentation with the P500 I've found that I like 118V and MWAVE2 settings the most with my old cables, so my comparisons are based on those settings with the new cables. These impressions are based on listening with my speakers (since the speaker amp is one of the devices that is now using a Black Sands Violet cable).

 The Violet cables added an immediate sense of power to the sounds I was hearing. The bass has more oomph and seems a bit clearer (though I suppose that could have been due to the increased volume I am perceiving). Up above the bass, I noticed a slight improvement to clarity in the upper frequencies. In the mid-range it seems very slightly less "warm", but I'm thinking that this is due to slightly improved detail. The main impact is the bass however, and that is when listening to a speaker that doesn't extend down to extreme low frequencies (cuts off at around 50hz).

 There's no question in my mind that changing these power cables change the sound of my system a bit, and that the change is an improvement. As usual, I had my wife give some feedback on the sound before and after my change (she had no idea what I was changing, however), and she reported that she could hear a difference between the two (she commented only on the bass being a bit more pronounced, however).

 I'll be experimenting now with the P500 to see if changing the voltage slightly changes things (perhaps lowering it a bit...I had the impression that the PS Audio Plus cables weren't letting as much power through to my equipment, which is why I had it dialed up a bit above the standard 115V setting), or if another wave setting (e.g. the standard Sine wave at 60hz) makes the sound better or worse.


----------



## markl

Quote:


 I'll be experimenting now with the P500 to see if changing the voltage slightly changes things (perhaps lowering it a bit...I had the impression that the PS Audio Plus cables weren't letting as much power through to my equipment, 
 

 Hi Scrith, that was exactly my feeling about them. The PS Audio cords are sluggish, leaden, and heavy, and sap the energy of your gear. They seem to "choke" the sound-- a complaint I have since read that is common about them, and common to cords with heavy shielding (the PS Audio cords are almost irrationally shielded).

 Yes, the PS Audio cords are "warm", they have a nice euphonic tone like the Virtual Dynamics cables (almost identical actually). The Violet however is dead neutral, and that cuts both ways. Some systems demand dead neutrality, some benefit from the fleshiness and beefiness of the tone of the PS Audio/VD cords. I'm confident that over time, you will notice more and more improvements to your system's performance with the Violets outside of just the bass. Cheers.


----------



## rlmacklin

More re Black Sand Cable Violet Z1 power cords, etc. - 

 I have previously posted comments in this thread on the results of placing two 6-foot Black Sand Cable Violet Z1 power cords on my Denon DVD-3910 source and Modwright SWL 9.0SE (w/ Bendix 6900 tubes) linestage (I received them 6/21) and I subsequently ordered a 12-foot Violet Z1 for my power amp. 
 All 2-channel signal path ICs were Grover UR-7.

 I received the 12-foot Violet on Monday 7/3 and placed it on Odyssey Stratos HT-3 (w/ capacitance upgrades). When I powered the amp back up there was initial brightness/brittleness in the highs but it settled down completely in a few hours, so I think it was the amp having had the power off. John at Black Sand had "cooked" this 12-foot Violet for at least 40 hours after making it, so it was somewhat burned-in to start with. The Violet replaced an Element Cable ElementCord (10 gauge) and the Violet is 12 gauge.

 I listened to a lot of 2-channel music over the 4th of July holiday and rest of that week, and found I like my 2-channel system sonics even better with 3 Violet power cords on the source, preamp, and power amp. 
 The 12-foot Violet seemed all the way burned-in at about 150-200 hours.

 The upper end of the dynamic range may not have increased that much over the previous 10-gauge ElementCord (at the same volume setting), but the highest impacts are cleaner and clearer. The 12-foot Violet did "expand" the "dynamic range" in the sense that lower level details are heard and microdynamics are cleaner/clearer with the further lowered noise floor (again at the same volume setting). 

 With the additional Violet on the power amp, the definition of the tone and timbre for each note, instrument, and voice was noticeably improved, and the soundstage was deeper.

 Received Grover UR-8 ICs on 7/8 and placed these on all signal paths of 2-channel system, and burned-in over weekend.
 Grover UR-8 is even more detailed/lower noise floor and 
 larger soundstage compared to broken-in UR-7 and carries more of the emotion/feeling in the music to my ears.

 I tried my usual first test - Bob Marley "Songs of Freedom" set
 CDs 3 and 4 and found more previously unheard musical detail/lower noise floor and "huge" 3-D soundstage.

 What really hooked me re using the UR-8s with the Violets was listening to the DG re-master CD of the mature Nathan Milstein doing J.S. Bach Partita 2 for Solo Violin - the Grover UR-8s (in combination with the Violet power cords) capture not just a "fuller" sound, but the instrument/music now sounds "complete" in some sense in carrying the feeling and emotion in the music better than UR-7 and Violets. 

 The immediacy/presence is stunning 
	

	
	
		
		

		
		
	


	




 .

 I find the Violet power cords "dead neutral," very clear/transparent, and musical on all components on which I have placed them. 

 Violet power cords/Grover UR-8 ICs combo is "synergistic" in my 2-channel system, where I now have Violet power cords on all components and 
 UR-8 ICs on all signal paths.
 I ordered more UR-8s to cover all additional signal paths for the center and surround channels. 
 I will order more Violet Z1 power cords for the center and surround channels preamps and amp.

 My ears are very happy!


----------



## Jon L

Quote:


  Originally Posted by *rlmacklin* 
_What really hooked me re using the UR-8s with the Violets was listening to the DG re-master CD of the mature Nathan Milstein doing J.S. Bach Partita 2 for Solo Violin - the Grover UR-8s (in combination with the Violet power cords) capture not just a "fuller" sound, but the instrument/music now sounds "complete" in some sense in carrying the feeling and emotion in the music better than UR-7 and Violets. _

 

I LOVE Bach Partitas, but that DG Milstein is a bit too dry for my tastes, both sonic-wise and interpretation-wise. Have you tried the versions by Lara St. John?

 Her albums "Bach Concerto album" and Bach "Sonatas and Partitas" have audiophile-quality fresh sonics, but the performance is even better. Highly recommended!

 P.S. Black Sand Violet (non Wattgate Ag) is one of the rare cords that I can use in multiples in the same system without just compounding the signature/colorations to intolerability. Even the superb Omega Mikro cable cannot be used more than once due to this problem..


----------



## Patrick82

Quote:


  Originally Posted by *Scrith* 
_I was already using PS Audio Plus cables for my speaker amp and Benchmark DAC1, which were plugged into a PS Audio P500. Through experimentation with the P500 I've found that I like 118V and MWAVE2 settings the most with my old cables, so my comparisons are based on those settings with the new cables. These impressions are based on listening with my speakers (since the speaker amp is one of the devices that is now using a Black Sands Violet cable)._

 

With my DAC1 and GCC-100 I use MWAVE4, it gives fast and solid bass, perhaps too much mid-bass, but I like it.

 MWAVE1 is for the highest resolution for sources but sounds a little brighter and more revealing.
 MWAVE2 is a great setting for sources to make it smooth and fast.
 MWAVE4 is THE setting for amps, it makes music sound real fast with loads of detail.
 TubeWave for both source and amp is SLOOOW.


*Mixed settings* (two Power Plants needed)

 MWAVE2 for source and TubeWave for amp gives the biggest bass of all settings, it sounds warm and fast, I liked it better than tubes. 
 MWAVE1 for source and MWAVE4 for amp gives the highest resolution, I use it with Cary 303/300 + GCC-100.


  Quote:


  Originally Posted by *markl* 
_The PS Audio cords are sluggish, leaden, and heavy, and sap the energy of your gear. They seem to "choke" the sound-- a complaint I have since read that is common about them, and common to cords with heavy shielding (the PS Audio cords are almost irrationally shielded)._

 

I heard that too. They sound unbearably slow to me. But in some cases it adds detail because of a black background. With my Krell amp (100-120 watts, MWAVE4), deep bass of Statement was little better than Valhalla, but that's all. I think the gauge size was the reason for that though.


----------



## Snake

Thanks for the review! 
	

	
	
		
		

		
		
	


	




 I think it might end up proving Ed's view - that the more expensive, more complex cables end up doing more harm than good, overall and for the price. That Volex didn't do badly in your comparo, especially considering how inexpensive it is, versus the far more expensive stuff.


----------



## Snake

Quote:


  Originally Posted by *Ross* 
_I have experimented with a few power cables, and have found that they do make a difference, but I live in a 240v country (Australia) and have found the difference to be minimal - about 20-30% of the difference made by interconnects. Perhaps there is something to the idea that the improvement offered by power cables is directly related to voltage. Having said that, I have tried one or two aftermarket power cables (a cheapish Yamamura comes to mind) which made everything sound terrible - stringy and sour. 

 The best power cables I have used - and bear in mind I have only tried a few commercially available cables - are my home made ones using the same solid core wire that is used in house wiring. (I understand BTW that using solid core power cables is illegal and may void your home insurance!) In addition to sounding good, they are also cheap._

 

I am beginning to think the same thing - that the "double voltage" countries have less power problems than the 110V countries due to that voltage 'pressure' behind them. 

 I came to this conclusion just yesterday after I have been experimenting with AC wiring, where things in my system are plugged into. I found out something - that in my home not only does it matter _where_ some of the more sensitive components are plugged into, but when I am doing the listening! 

 During the day, Saturday, my Stax amp lost a bit of the high frequency extension and bottom end slam that I heard from it Friday late night...and I suspect it was due to a slight voltage drop across the system due to daytime use of air conditioning throughout the region. 
	

	
	
		
		

		
		
	


	




 Usually I am not home during the weekend daytimes to do critical listening but I had a bit of time yesterday to play around with AC hookups...and for the first time I noticed this.

 This was an incredibly *depressing* realization, to say the least!

 About 2 hours later I was taking a shower and still thinking about what I had heard. And I said to myself - "I bet 220V users have less of this!" So much so as I was heading out for the evening I said to my roomie "You know - I'm thinking, even though it isn't my place (I live in a brownstone apartment), of having seperate circuits run just for the stereo wall" (I think it just might be possible - expensive and a pain, but possible)

 I am beginning to think that, in America, it is the only way to reduce or eliminate the major differences that we hear - have many, multiple direct-wired circuits back to the distribution panel, so that voltage drop across the components is reduced.

 110V is turning into a sonic pain.


----------



## J-Pak

Thanks for the review markl. Thinking of trying either the Virtual Dynamics Basic Power or Power Three in my system.


----------



## markl

J-Pak, I don't know if they even make those anymore. Maybe you can find one on the used market (i.e. audiogon). This review is roughly 5 years in the making. VD has changed their line-up and changed their distribution network.


----------



## Vic

I have received two Violet Z1 last week and the first impression is excellent, although I prefer to live with a new piece of equipment for at least a couple of weeks before posting impressions. Also I had just fried the woofer of one of my beloved Totem Arro. There is definetely a very, very noticeable difference, in spite of the 220v theory
 So I will report in a few days.

 BTW, I received them with EU plug which is great news for people living in Europe, but unfortunately not in my case. I live in the UK where of course there is a special plug (no surprise, they still use inches, feet, stones, gallons, Farenheit and all sort of funny things).

 So I was left with the following choices:
 1 - Relocate to some European country. Rather expensive, as I should have found a new job, house, girlfriend and so on, but probably sonically the most correct choice
 2 - Use a UE/UK adapter, which is what I have been doing, I believe it should not make too much difference in sound, otherwise I will have to go back to choice one


----------



## Jon L

Quote:


  Originally Posted by *Vic* 
_2 - Use a UE/UK adapter, which is what I have been doing, I believe it should not make too much difference in sound, otherwise I will have to go back to choice one_

 

Hate to tell you this, but that adapter is probably contributing its fair share of sonic signature. Good news is that it's possible its signature may (or may not) be "better" depending on your taste. 

 For example, I had a certain famous cord once, which I thought was a wee bit too bright, and using a "cheater plug" nicely rolled off the treble 
	

	
	
		
		

		
		
	


	




 It wasn't due to lifting the ground b/c ground was lifted already on the cord. 

 So, there is always the third option. Why can't you get some nice UK plugs and reterminate the Violet with them? There really shouldn't be any problems as long as you follow how the shield was connected (or floated) to ground pin, etc.


----------



## Vic

Quote:


  Originally Posted by *Jon L* 
_Why can't you get some nice UK plugs and reterminate the Violet with them? There really shouldn't be any problems as long as you follow how the shield was connected (or floated) to ground pin, etc._

 

My biggest achievement in DIY so far has been changing the battery in my remote control and even that was really painful (but I am very proud of).
 More seriously, John from Black Sand Cables suggested strongly against reterminating the cables, while he said that the converter should be totally neutral sonically.
 I must say that John has been extremely helpful and he even asked me to send him the references of the adapter, so that he will get one to check if there is any sonic discrepancy. 
 So I will soon know if I can keep these adapters or if I need to emigrate to some other country


----------



## beachbum

hello mark i am a nube and really glad to be in this forum, do to your shoot out i will be getting three Violet z1s, for my nuforce ref 9 SE amps and p 8 preamp, they will be replacing your least favorite ps audio extreme and plus cords, john was a real pleasure to deal with, should be here tomorrow, thanks for the wonderful review, mike


----------



## Czilla9000

Wow....this thread brings back memories.


----------



## ezside

“--Power cords are even more component-dependent than interconnects. A power cord that does not show good compatibility with one component, may really shine with another.” 

 How true: I had much the same experience as you describe with the Audio Metallurgy cord with my Graham Slee Solo -- sweetness & light 
	

	
	
		
		

		
		
	


	




 but feeding my BPT Jr. power conditioner the effects were very different. Certainly there was a little added sweetness but also increased detail, better bass definition & depth and a significant increase in soundstage depth. The BPT feeds my digital sources/processors via a pair of Furutech e-TP60 power strips, so maybe the all digital nature of the devices does something (or maybe the balanced power or...). In any case, I couldn't be much happier,


----------



## sbulack

I don't usually make purchase announcement posts, preferring to actually GET the item and to post observations about it. But, I was finally able to save my shekels and, just this evening, I placed my order on the Blacksand Cable website for a 2m Violet Z1!!! Based on the improvements I've already achieved going from stock PC's to the Volex 17604 or Iron Lung Jellyfish, and based on the VERY positive impressions and reviews that the Violet Z1 has received, I'm quite excited to be waiting for the arrival of this PC which I will first use on my source. The Happy Day of my being able to make this purchase has finally arrived!!! Thanks again to markl for all of himself that went into his reviews of the many PC's covered in this thread, and to all of the others who contributed helpfully substantive and informative posts.


----------



## markl

Very cool, let us know how it does. It needs around 150 hours of burn in (you can just leave your component on 24/7, does not have to be playing music). Don't worry about the top end, it will normalize after break-in.


----------



## Black Stuart

Vic,
 let us know what differences you hear. I live in Spain and by choice not on the Costas, where they have a really crap supply - it's supposed to be 220V but can go as low as 189V (I kid you not).

 If there is a difference I might think of a couple of Violets for my Kenwood TT in particular which has a noise floor of -90dB and for my two h/amps - a WAD Mk1 SET (ECL83s) and my Bada PH12 (6SN7s).

 BTW I decided to change from my UK distribution block (LAT international) (£150/$270 bought 6 years ago) for the really cheap Schuko/EU bought from Lidls/Euro 7.99($10) (Lidls is an international supermarket chain that specialises in rock bottom prices but real quality electrical and other tools etc.) All English plugs have a fuse in the plugs but the Schuko/EU ones don't.

 Can I tell the difference - if anything the noise floor is a little lower, this dirt cheap dis/block has built in power surge protection, which I had to put into the LAT myself.

 As others have posted the higher voltage could mean that the difference with quality PCs is negated - so all the Euros need to know Vic.

 BTW - thanks for a great time consuming review MarkL.

 Stuart


----------



## Black Stuart

I come from a DIY forum and made a few homebrew power cords.

 Having read this thread right through and not wanting to wait for Vic's answer I decided to change the stock PC that came with the Bada PH12 h/amp.

 I liked the Bada right from first play BUT it lacked real guts. I agreed with drarthurwells that there was great seperation bla bla bla.

 There is nothing special about the bog standard components that I made the PC with BUT - Bloody Norah - it brought the Bada to life and I mean to LIFE.

 No the sound is too bright but it is RIGHT (I hope everyone knows what I mean). This h/amp has suddenly come alive.

 I have to admit that until recently I did'nt believe that cables made much difference - now I do. I recently aquired an i/c that had changed my mind the homebrew PC has now confirmed it - two revelations in so short a time - WOW.

 I listened through a first class source a Kenwood KD990 TT. I now think I have to put in an order for the Violets from Black Sands but it would be nice (careful) to have this confirmed by Vic here in Europe.

 Stuart


----------



## JMcMasterJ

I got my Black Sand Violet Z1 this week, which I bought to do some cable comparisons in my setup. I also bought a pair of Grover UR-8 IC's to compare to my SAEC SL-3030 IC's, but I preferred the latter in my setup. I was a little skeptical at first about the power cord and how much difference it would actually make, but I was really amazed at the result. I was using Volex cords on both my amp and source and I switched between the Volex and Violet on my source. I really like the Volex cord and my wallet wanted it to sound better, but the more I listened the more I found the Violet to be the better cable. As Jon L said, the bigggest strength and difference is control. Everything sounds much more controlled and tighter with the Violet. Complex notes sound a little blurred on the Volex compared to the Violet. The Violet just seems to have everything in control, while still being fun and musical to listen to. While the difference to me isn't as apparent as between my two IC's, it is noticable and definitely a change for the better. Yesterday I ordered a second Black Sand Violet for my amp.


----------



## markl

Thanks for the report. I think over time, in addition to better control, you'll also start to notice increased bandwidth/dynamics, improved clarity and sharpness of focus with the Violet. 

 Enjoy!


----------



## yo2tup2

markl,

 any updates on the power cords you're using now?


----------



## markl

Funny, you should mention that... 
	

	
	
		
		

		
		
	


	





 I need to update my findings with the Virtual Dynamics Nite II power cord ($1200). I'm using the Nite II on my new source and the Violet on my amp. I like the VD cord better there in that position than I did the Violet. Here's a brief summary for now...

 I haven't owned any VD cords since several years and iterations ago (as reported on here in this thread). They have since come a long way in terms of design and sonics (I have also purchased another updated VD cable as my IC now-- very very nice!). The Nite II has similar advantages as you always get with the VD stuff, but it's more neutral, less warm and romantic than the earlier version of the cord. The new version is also more resolving, with better extension up top (after burn-in, which is prolonged).

 The VD house sound is robust, full and dynamic and powerful. It adds weight and meat to musical bones without making the music sluggish or slow (a la the PS Audio cords). It's an extremely substantial sound that is anything but "thin". But the key is the eerie realness and naturalness (organic sound) to the tone of the VD cords. They are extremely life-like.

 So there's a conundrum that has crystallized for me lately. Seems to me, at the high-end of audio, when most restrictions/limitations are removed and you're purely into the realm of goodness, you still are presented with a choice to make between two different kinds of sound, each equally seductive:

 1. There's a realistic, natural and organic sound that sounds eerily like life; you get a "presentation" of the master tape (a "show") where you can suspend your disbelief and accept you are witnessing an event instead of a recording or a mere recreation of an event. So, you get a presentation of the *illusion* that the makers of the music were trying to create in the first place.

 2. Then, there's the other side of the coin-- hyper-real, super-detailed, "hi-fi" sound, where you are examining the contents of the master tape under a microscope. Gear like this doesn't take you out of reality or try to throw a show or create an illusion of life; instead it allows you to penetrate every nook and cranny of the master tape so nothing is left to the imagination.

 Both of these approaches are exciting and appealing in their own way. Depending on my mood and the recording, I could go either way. The difference is in the macro vs. the micro presentation. 

 The Black Sand Violet falls firmly under #2 above, where the Virtual Dynamics falls under #1. Because my new source (RAM modified Sony XA9000ES) is itself so resolving and clear and operating at such a high level of resolution, the combination with the Violet was too much. The addition of the VD cord complimented what the RAM XA9000Es was doing so well, it's no comparison here in this set-up. 

 The Black Sand Violet imparts a tiny sheen of artificiality, and a slightly aluminum/metallic twinge that's missing on the VD Nite II. You aren't aware of that until you hear a cable that doesn't have it like the Nite II. In addition to tone, the basic advantage for me of the VD Nite II over the Black Sand Violet is in terms of foundation. The Nite II can't be beat for shear weight and heft of the bass, and overall solidity to the sound which is needed with my Sony R10 headphones. Actually, that solidity is a boon to any headphone, as that's one area where they tend to lag far behind speakers. You do lose a smidge of the focus and ability to absolutely pin-point each sound in space you get with the Violet, but for me in my system, that's an easy trade-off. The blackness of the background is comparable on both (blacker than 3AM on a starless night). 

 Problem is that VD has a Nite III on the way. I am toying with whether to buy it or not before fully reporting on and ranking a product that is now discontinued.

 FWIW, I would NEVER buy a VD Nite II at full cost when you compare that to the value of the Violet. But, generally, you can pick up a VD Nite II power cord for ~$300-$400 on audiogon, and then it becomes much more attractive.

 I would say, if your system is more lo-fi, then the hi-rez Violet is the way to go. But if your system is very high-end and revealing, the Nite II is it.


----------



## markl

Forgot to mention...


 The VD cords are unbelievably thick and inflexible, they use extremely HEAVY copper, solid-core. If you normally need a 6-foot cord, buy 7 feet, you'll need it to get it into proper shape. You will need extra space behind your component in order to get a 90 degree bend. The cords can also tug on your IECs and outlets. Behind my IECs on my gear, I use a little suspension platform made of ad-hoc stuff that sits under the connector to keep the cord balanced and not pulling down on the IEC and becoming somewhat detached.


----------



## JMcMasterJ

Quote:


  Originally Posted by *markl* 
_Thanks for the report. I think over time, in addition to better control, you'll also start to notice increased bandwidth/dynamics, improved clarity and sharpness of focus with the Violet. 

 Enjoy!_

 

Yes, I notice the latter two already, but hopefully the increased bandwidth/dynamics will become more apparent.


----------



## Jon L

Quote:


  Originally Posted by *markl* 
_Forgot to mention...


 The VD cords are unbelievably thick and inflexible, they use extremely HEAVY copper, solid-core. If you normally need a 6-foot cord, but 7 feet, you'll need it to get it into proper shape. You will need extra space behind your component in order to get a 90 degree bend. The cords can also tug on your IECs and outlets. Behind my IECs on my gear, I use a little suspension platform made of ad-hoc stuff that sits under the connector to keep the cord balanced and not pulling down on the IEC and becoming somewhat detached._

 

This is why I can never use VD cords... It will lift my Ori Zhaolu or Almarro A205a MkII amp clear off the table. 

 Mark, if you see a used Omega Mikro power cord on Agon, you might want to check it out. You don't need the expensive "active" version; the passive version sounds better anyway IME. After all these years, this cord STILL defines neutrality for me, especially on small DAC's, preamps, etc.


----------



## Iron_Dreamer

Quote:


  Originally Posted by *Jon L* 
_This is why I can never use VD cords... It will lift my Ori Zhaolu or Almarro A205a MkII amp clear off the table._

 

LOL, I had some of that kind of fun with a VD Nite PC I borrowed. Lifted my DAC1 right of the table for truly vibration isolated listening


----------



## neilvg

You guys are funny... complaining about a little Nite II inflexibility! TRY USING REVELATION SERIES MASTER CORDS AND IC'S!!!!!

 They make the masters series seem petite and flexible. Seriously.

 Neil


----------



## jrosenth

I'm looking for a power cord for a Panisonic XR-55 that has a C7 connection.

 I've heard that the ps audio doesn't fit (there are binding posts next to the ac plug that preclude a fat piece of plastic from pushing up next to the casing); outside of the audioquest is there anything else (can't seem to find the jellyfish or mark II with that plug) 
	

	
	
		
		

		
			





 Would it be worth looking at a Quail and if so will they send one directly to me?


----------



## neilvg

Personally, and honestly, I have lots of expensive power cords, and up until recently I used a quail on my HEV90. I thought it sounded great. Of course, now, I have found something better, but it took a while.

 Neil


----------



## Iron_Dreamer

Quote:


  Originally Posted by *neilvg* 
_You guys are funny... complaining about a little Nite II inflexibility! TRY USING REVELATION SERIES MASTER CORDS AND IC'S!!!!!

 They make the masters series seem petite and flexible. Seriously.

 Neil_

 

Indeed, those truly embody the "fire hose" approach to cables


----------



## Jon L

Quote:


  Originally Posted by *jrosenth* 
_I'm looking for a power cord for a Panisonic XR-55 that has a C7 connection.

 I've heard that the ps audio doesn't fit (there are binding posts next to the ac plug that preclude a fat piece of plastic from pushing up next to the casing); outside of the audioquest is there anything else (can't seem to find the jellyfish or mark II with that plug) 
	

	
	
		
		

		
		
	


	




 Would it be worth looking at a Quail and if so will they send one directly to me?_

 

Just get the $5 C14-C7 adapter like this. Works great for any power cord.
http://www.stayonline.com/detail.aspx?ID=6626


----------



## sbulack

The Violet arrived 48 hours ago, and has been plugged into my source with power running through it ever since. I've been doing my normal listening using this source, and here's what I've noticed so far:
 1) Grain that was present in the sound (especially noticeable in the upper register of female voice) is now gone. All of the detail (and more) is there, but without the pseudo-texture of grain quantizing the experience of the detail. The resulting increased clarity and focus of the sonic image allows the beauty of the music to be appreciated in new ways.
 2) A very substantial increase in the depth of the soundstage. Sonic images have so much more solidity, weight and presence. Voices which seemed to be less present in volume previously now are clearly so because of their further distance into the depth of the soundstage.
 3) I hear just as much of all frequencies as before with the Volex 17604, but there is noticeably greater integration of all regions of the frequency spectrum. Nothing is missing (in fact, more can be made out if focused on), but particular things don't call attention to themselves as much - all voices in all parts of the spectrum comprise a more coherent whole.
 4) An enhanced appreciation of the silence and space between sounds and the appearance and decay of sounds from and into the space and silence. The negative space of the silences in music become more important as a part of the listening experience relative to the positive space of sounds. But, as noted before, no music-in-a-black-hole experience here. The ambient space around and between the sounds is there, and important to the structure of the overall soundscape.

 I'm definitely not thinking of a Violet as a "Power Cord" at this point. I'm thinking of it as a substantive source upgrade. I'm getting a set of improvements on par with the kinds and amounts of improvements I noticed (years ago) when I upgraded my SR60's to SR225's. At the current state of my rig, that is just a very unexpected quality and quantity of improvement to achieve for the cost of a Violet Z1.


----------



## markl

Nice impressions, I agree with your findings!


----------



## Hirsch

Quote:


  Originally Posted by *neilvg* 
_You guys are funny... complaining about a little Nite II inflexibility! TRY USING REVELATION SERIES MASTER CORDS AND IC'S!!!!!

 They make the masters series seem petite and flexible. Seriously.

 Neil_

 

I got a look (and listen) at the Genesis series cables at the Rocky Mountain Audio Fest. If you think the Revelations are stiff, they've already been outdone in that department...


----------



## neilvg

Yeah I heard about those things. I'll be damned if we can't use them as table supports or something as well. How did they sound?

 Neil


----------



## BrianS

those vd cables are tempting but seems the violet is the better VALUE


----------



## sbulack

I've got 170 hours of use on the Violet Z1 at this point, and I have not noticed any new development in the sound of my rig for the last few days. I've noticed a few additional effects of the Violet on my source:

 The character of the sound from my rig is less of a dry sound and has more of a quick liquidity capable of displaying rapid and subtle transients, which is an improvement to my ears. This subjective experience is likely the combination of a lower noise floor (enabling the appearance and disappearance of sounds to be more continuous than quantized at a previously more audible noise floor), and the audibly finer grain to the sound (enabling the resolution of detail to be finer - being quantized at the resolution of the now finer grain).

 Listening to many of my favorite artists' tracks, I have the subjective sense that the pace is more relaxed - which I think has to do with the more natural longevity and decay of the sounds. It's really fascinating to me that I'm hearing and appreciating more of the temporal detail and structure of the sound than ever, AND (with all of that extra temporal traffic flowing past my ears) I am experiencing a more relaxed (rather than a more busy) pace to the flow of things. It certainly has increased my enjoyment of those pieces of music. One of those interesting-to-observe paradoxes.

 The ability to hear subtler (and still fully formed) sonic events has resulted in my listening at lower volumes and enjoying more of the fullness and dynamic structure of the sound. Human voices and acoustic instruments sound more real and present than ever. Electronic sounds are more otherwordly and transporting as well. Everything sounds more like a "life size" image than ever before - less like either a miniature in my head, or a larger-than-life close-up magnification.

 Given all of these improvements in the sounds I'm hearing from my rig, the Black Sand Violet Z1 is giving me a fantastic measure of benefit for its cost.
 Most important to me, with the Black Sand Violet Z1 in my rig, my enjoyment of the music I love has grown along an unexpected dimension. My rig is presenting to me the more living sounds of live people presenting musical statements in recordings. I find myself noticing, and being moved more by, the distinctively creative and human elements of the music and the performance of it. Listening to the music that I love is more than ever like receiving a living communication from the people who created and performed it. That enhancement of my listening experience is worth more to me than all of the improvements that I could describe in more detail from the full list of sound quality scorecard line items.


----------



## neilvg

Very well stated. Your findings are similar to mine, only I use VD cables. Especially the fact that you now listen to music at lower volumes. Previously (and not _entirely_ because of my switch to using VD PC and IC cables), I would listen to music on the rather loud (what I would term 'realistic') side. However, what I was trying to induce is what you mention, the "life size image". 

 W/ the new PC and IC cables (I've had them for several months), I notice I listen at a much lower volume, but the sound is full and with all the punch and subtletly that I need. In fact, at lower volumes I now hear much more clearly than before. I cannot imagine turning the volume up to levels as before now, it would almost be 'crude' by comparison. My opinion is that instead of the sound "coming to my ear's" and having my ears just accept it, and listen passively, the lower volume (w/ the corresponding sound now being below the threshold of my ear's tendency to saturate the music due to volume) now allows my ears to perk up and actively (if desired) listen into the music more. Or I can just choose to relax and passively let the music flow. It is all very dynamic.

 Neil


----------



## sbulack

In many areas of my interest (audio being one of my more passionately pursued ones), I always find it SO interesting to observe the (often unlooked-for) ways in which having tools better-suited to carrying out and achieving the goals of a pursuit affects one's path along that pursuit. It's often not just a matter of making the activities of a pursuit easier, but how a better-suited tool (and the results and satisfactions of using it) changes one's perception of what the "real" goals of the pursuit are and, consequently, the very list of activities and experiences of them which comprise the substance of the pursuit itself.

 When a listening tool presents music as BOTH a more integrated and coherent whole, AND simultaneously allows the easier, more intuitive following of any of its constituent voices at will (by providing a richer presentation of the sonic properties by which each voice can be distinguished), I find it really fascinating to observe how I choose to experience the music that I love over time - going through holistic phases, analysis and synthesis phases, and phases where I enjoy playing with cognitive shifts as I listen, perceiving the music as a whole, then "exploding" it into its constituent voices, and back again to the whole. And then to observe how all of that study of and mentally playing with the sounds used to construct the music results (for me) in being more deeply involved with and moved by the creativity and ideas/perceptions/moods conveyed in the music. I'm quite excited about, and am looking forward to see, how the better-suited listening tool provided by the inclusion of the Violet Z1 in my rig will, over time, affect my approach to and pursuit of connecting with the creative expressions of other people in their music.


----------



## Asr

I recently got a Violet Z1 too and last night I started putting it through a critical listening test. When I first got it I didn't notice a difference, but that was primarily because I wasn't really paying much attention to the listening and just wanted to see if it was going to be a "hit me I'm obvious!" kind of change. (Needless to say, that initial listen did not give an obvious difference and had me second-guessing myself with trying to upgrade the power cord.) 
	

	
	
		
		

		
		
	


	




 Well after last night's listening, all I can say is that I'm a believer in this power cord! Now I'm not going to say it's "awesome" or "night and day" or any of those superlatives, because it's not, it didn't take the existing sound and make it something it's not, nor did it have me thinking "damn this power cord rocks!" I was thinking more "damn my _Arcam_ rocks! And so does my K701!"

 I'm not a cable believer per se as I have a lot more doubt than belief when it comes to the subject (I tend to second-guess my brain when listening), but I have to grudgingly admit that the Violet is a definite upgrade on my Arcam. I've always been impressed by the Arcam's soundstaging and spatials, it simply gives a great sense of space around instruments. With the Violet, the soundstaging became more exact and featured a greater sense of depth, giving a sense of peering into the music and slicing out air between the listener and the performers. The spatials are clearer, that sense of sound entering and leaving the air is much more noticeable. And the soundstage is an improvement too - without the Violet, it felt narrow and focused, but with it, it feels like the sound field is more expansive, with a greater sense of distance between the performers. Positioning is more exact and precise - for the first time, I felt like I could say "ok, this performer is here, and the singer is over there, with that performer behind her."

 IMO the good news is that I still don't feel like I need to upgrade the GS-1, which is a testament to the quality of the other components. 
	

	
	
		
		

		
		
	


	




 I could say the Violet is awesome but I'd just be lying - nothing about the experience last night impressed me by it specifically, it just made me love the Arcam and K701 more (I like the GS-1 a lot too but I never get the impression I'm listening through an amp from it). Might be another way of praising the Violet but don't get me wrong here - I'm enjoying the truer sound of the Arcam CD73 coming through more than the thought of a power cord upgrade.


----------



## markl

Hi Asr, well, that's exactly how power cords work-- they enhance the performance of the gear they are attached to. I think you have the exact right attitude/approach toward the change. 

 Let the Violet burn in for 150 hours, then swap your old cord back a few times. Then come back and report. I'll bet the difference will be even clearer to you then. 

 Anyway, enjoy the Violet!

 __________________________________________


 As for me, the "adventure" (more like taxing tedium 
	

	
	
		
		

		
		
	


	




 ) goes on. Because of my new source and my new amp, I'm on the hunt again for just the right cords to match them (although I may already have them, but you know about that nagging little audiophile voice in the back of your head...). I have a couple teensy tiny issues that I want to see if they are cord-related, so I have to introduce something new. I have another cable coming soon to audition. I'll report back when it have it and have some thoughts.

 But still, with the Virtual Dynamics Nite II and the Black Sand Violet, my system truly sings. Need to see if it can sing just that much little bit better though. Stay tuned....


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## tourmaline

ASR;

 that's just what a powercable has to do, make the component it's attached to perform better. It doesn't suppose to add something, then it's out of balance and also a bad powercable...the best components are thsoe that don't add but give you more of the good things.


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## neilvg

Oh man, tell me about it. After I added the VD Masters PC from my wall to my PsAudio P600 (replacing the PSAudio Plus cable)... HOLY SMOKES! 

 It's not like the world changed, but it did feel a whole lot like the feeling I get after I've been wearing a tie all day and I finally get to loosen my collar.

 It sounds MUCH more natural and open.

 Neil


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## spraggih

Quote:


  Originally Posted by *Asr* /img/forum/go_quote.gif 
_...

 Well after last night's listening, all I can say is that I'm a believer in this power cord! Now I'm not going to say it's "awesome" or "night and day" or any of those superlatives, because it's not, it didn't take the existing sound and make it something it's not, nor did it have me thinking "damn this power cord rocks!" I was thinking more "damn my Arcam rocks! And so does my K701!"
 ...
 IMO the good news is that I still don't feel like I need to upgrade the GS-1, which is a testament to the quality of the other components. 
	

	
	
		
		

		
			





 I could say the Violet is awesome but I'd just be lying - nothing about the experience last night impressed me by it specifically, it just made me love the Arcam and K701 more (I like the GS-1 a lot too but I never get the impression I'm listening through an amp from it). Might be another way of praising the Violet but don't get me wrong here - I'm enjoying the truer sound of the Arcam CD73 coming through more than the thought of a power cord upgrade._

 


 ASR - glad to hear it!


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## markl

[size=small]*Michael Wolff's Latest Power Cord....*[/size]
 OK, so I just received Michael's latest and greatest power cord. It's so new it doesn't even have a real name yet. It has all his latest technology in the cable itself, but instead of the absurdly expensive Acrolink carbon Oyaide connectors, it has the next level down Oyaide's with aluminum barrels. These connectors look SWEET, and clamp down very well at the same time. This cable is so new, Michael hasn't even been able to listen to it yet (all my best to him and his at this time), so I'm a real guinnea pig. I hope my feedback helps...

 This cord contains all of Michael's latest thinking on power cord design for sources (and headphone amps); it's an all-out assault on the high-end, except with this version, it has very upscale connectors but not the absurd Acrolinks that you can get as an option if you are extremely well-heeled. The cables are super-pure flat silver conductors combined with carbon, plus, I am informed, there is also a flat copper conductor in there as well to further bring out the bottom octave. This cord is designed for components that draw less than 350 watts from the wall, which is everything but the biggest power amps, for which Michael has another cord. I'm currently using this latest Wolff cord on my headamp, the Rudistor RPX-33 mark II. On my source is the $1300 Virtual Dynamics Nite II power cord.

 Sonically, this new Wolff cord is a real WINNER. It's so typically Michael Wolff-- super smooooooth and CLEAN and CLEAR, and Hi-Rez. NOTHING sounds like a Wolff cable and that's down to his innovative use of carbon. It removes a layer of grit and grain you didn't even know was there. It has an EASE to the sound that's enchanting. Yet it leaves nothing to the imagination, it's as full-rez as you could hope for.

 More to follow as it burns in....


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## Jon L

That's interesting. After break-in, please do report comparison vs. Nite II, especially regarding macrodynamics and low-midrange to upper bass area, which tends to have less definition in most (all?) ribbon cords..


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## markl

Hi Jon L,
 I was just informed by Michael that this new cable also incorporates a flat copper conductor as well to help bring out the bottom octave. I will keep my eye on the bass, but so far, I certainly haven't noticed any issues.


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## markl

*More Thoughts on the New Wolff Cord*
 I now have close to 150 hours of burn-in on the latest Wolff power cord. Probably needs another 100 hours or so to reach full maturity, but it's already over any rough spots and DAMN does it sound GREAT!

 This is definitely one of the most unique sounding cables I've heard (although typical in some ways of the oddball designs of Michael Wolff), and I have to chalk that up to its totally unique design/build. With all those different conductors (copper, silver, carbon), you'd think this cable could be an incoherent mess, but it is anything but. Typical of Wolff's design, it speaks totally and completely with it's own voice, one that is utterly unlike anything you've heard before. There's no other place to get this sound, so if you like it, he's the MAN for you.

 I can verify my earlier initial impression that this cord is simply fantastic, at the top the class of what I've reviewed so far. If you read my earlier review of the previous model, you will recall I went through a lot of testing with my Rat Shack level meter to inspect bass response on that cord. To my surprise, the tests showed absolutely zero drop-off in actual bass response even though subjectively, I could never shake the impression it was *slightly* bass light.

 Well, this new cord has no such issues; it has sumptous, full bass. And it retains all the goodies I've come to expect from Michael Wolff-- namely smoother than smooth, cleaner than immacualte, sound. 16-bit cymbal crashes that normally sound jagged, crispy, grainy, harsh or frayed on other cords are simply complete and fully-rendered through the Wolff cable. Is that because all other cables are false or inadequate, or because the Wolff is adding or subtracting something that's not there? That is the question, I guess, to be answered by each listener.

 The Wolff cord handles high frequencies in a totally unique way, and that's something I expect listeners to react to most strongly and immediately. Depending on your ears and biases, the Wolff cord is either artificially smooth and grainless in the extreme (although I'm not sure how you'd fake that), or it's actually rendering lo-rez 16-bit digital in a completely novel and natural way that you haven't heard before-- i.e. immaculately clean and well-rounded, not spitty and harsh. So, it definitely sounds "different" from what you are used to. It's certainly not rolling the highs, but it finds a way of cleaning them up along with the rest of the frequency spectrum, and that I suspect may sound slightly "weird" at first blush.

 If this cable rolled the highs or created a foggy or muddy or blurred un-detailed sound that obscured the audio signal, I could see how some might label it "artificial" or "colored", but this cable is as un-veiled and hi-rez as it gets, and as black of background as possible. It's not withholding anything I can detect.

 I could see some folks feeling this presentation of the highs is a bit lacking in "bite", "sharpness" or "crispness". Maybe so, but that's where personal preference and system synergy comes in. This could just as easily be labelled "harshness" or "hardness" or "grating". Is that extra edge real and "supposed" to be there, or is that the limitations of other more conventionally-designed cables revealing itself? Which presentation is more natural and real? I don't know the answer for you. But I do suspect the absolute grainlessness of this cord can be disconcerting, especially for ears raised on and trained on digital that naturally expect spittiness or harshness to extreme highs. Wolff-y don't play that game. 
	

	
	
		
		

		
		
	


	





*An Embarassment of Riches* 
 OK, so the new Wolff cord (wish it had a proper name I could call it), along with the Virtual Dynamics Nite II currently sit perched at the absolute top of the heap for all these cables for me, anyway, in my system. 
	

	
	
		
		

		
		
	


	




 But I've got a new ringer coming in. 
	

	
	
		
		

		
		
	


	




 Namely the Black Sand Cable Violet cord with very expensive Oyaide connectors. The earlier Violet I rated so highly had pretty pedestrian connectors on it. This cord is pretty well maxed-out in terms of the Oyaide connectors used.


 So stay tuned for further results!


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## markl

[size=small]*Black Sand Violet DELUXE First Impressions*[/size]
 From the sublime (Wolff) to the ridiculous (Violet Deluxe).

 Today I got my package from Canada with my Premium Deluxe model Violet. This cord has the standard Violet cable but with very expensive ($200 per pair) Oyaide 046 series connectors. These are palladium over gold. It's not called the "Deluxe", but for my purposes, that's what I'll call it to distinguish it from the base model.

 They are orange in color, so in combination with the pale violet color of the cord, let's just say, it's not the prettiest cord on the block, but it will spend it's life behind your rack out of site, so who cares? 
	

	
	
		
		

		
		
	


	















 The first CD I fired up was Porcupine Tree's Deadwing, an album I don't know that well except that it's well recorded. The first track starts out low and has lots of little electronic sounds happening when suddenly it bursts in at full volume with drums and guitars. Well, the top of my head must have hit the ceiling when that happened. 
	

	
	
		
		

		
		
	


	




 I almost jumped out of my skin!

 The sheer dynamics on this cable are borderline *outrageous*, almost overwhelming. Sounds leap out and sock you in the jaw. Drums have amazing pop and thump. Low bass is a subatomic explosive rumble. Dynamic range at both ends of the spectrum are extended 100 yards beyond the range of human hearing. Soundstage is colossal in scale, swarming around you and enveloping you.

 My impression of the original Violet was that it was already a hyper-conductive cord; adding these Oyaide connectors takes that 3 or 4 steps further. I swear this cord makes everything sound 3-4 db louder, it lets so much through you'll need to turn your gear down a couple notches to compensate.

 I think this Deluxe version is perfect for the active listener who likes to participate in the music, whether that's boogieing naked in your living room, playing air drums and guitar, or simply nodding your head or tapping your foot. If you love electric guitars with lots of balls and crunch, look no further. If you value CLARITY and ruthlessly REVEALING gear, look no further. This is your Mecca.

 With 6 hours of burn-in the cord is still a bit toppy for my taste, but this was true of the original Violet which normalized at around the 150 hour mark. Still, this cord is so completely absurdly extreme, it boggles my mind. No one (who is honest) who listens to this cord can credibly say that aftermarket power cords do nothing. If you can't hear this difference, you are deaf as a post.


 If you liked the original Violet (and I know there are now many many happy owners), the Deluxe model is all that but on steroids-- not just squared performance, but cubed. It's super-intense and alive. 

 In short, this cord KICKS ASS. Yes, it's "off the hook", but it may even be off the *charts*.

 But is it too much? Depends on the listener and the system and the kind of music you favor. The question for me is, will everything else sound too tame and reserved after I switch back?

 In any case, right now I'm pretty sure for me there's not going to be any one clear "winner". I've discovered 3 top-notch cords (VD, Wolff, Black Sand) that all do what they do supremely well, and satisfy every audio desire, yet sound quite different. 

 It's going to be a real hassle figuring out which to keep, and will require much A/B-ing (oh joy 
	

	
	
		
		

		
		
	


	




 ). Well, that's certainly a much better dilemma to be in than I was when I started years ago sorting through so many unsatisfactory cords.


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## DeeJayBump

Mark-

 Any idea what the difference in price will be between the standard Violet versus a Violet with these premium connectors? I can't find any mention on Black Sand's site.


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## markl

The price is around $395 for a 6ft. cord but you need to contact Black Sand to be sure.

 Mark


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## braillediver

I’ve been using the Black Sand Violet terminated with the Oyaide 046 series connectors since early October and really like the way it compliments my system. What markl said.







 “But is it too much?” Could be in some systems.

 I’m using the E.A.R. HP4 and Grado PS-1’s. I can manipulate the HP4 sound by tube rolling. With my initial tube set- Sylvania VT-229 and Philips 6SL7GT the new power cord seemed to be too much. But interestingly I put in what I’d consider a darker set of tubes and the new power cord really complements the sound nicely.


 What sucks is I bought the original Violet to try and return since power cords can’t make a difference. Something was happening to the sound with the new power cord so out of curiosity I picked up the Oyaide terminated one to try and like it better than the original- which I returned.


 Mitch


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## Konig

Quote:


  Originally Posted by *braillediver* /img/forum/go_quote.gif 
_I’ve been using the Black Sand Violet terminated with the Oyaide 046 series connectors since early October and really like the way it compliments my system. What markl said.







 “But is it too much?” Could be in some systems.

 I’m using the E.A.R. HP4 and Grado PS-1’s. I can manipulate the HP4 sound by tube rolling. With my initial tube set- Sylvania VT-229 and Philips 6SL7GT the new power cord seemed to be too much. But interestingly I put in what I’d consider a darker set of tubes and the new power cord really complements the sound nicely.


 What sucks is I bought the original Violet to try and return since power cords can’t make a difference. Something was happening to the sound with the new power cord so out of curiosity I picked up the Oyaide terminated one to try and like it better than the original- which I returned.


 Mitch_

 

try the p-079.... thats the lessloss choice.

 Btw have u tried revelation audio precept before?


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## Jon L

Quote:


  Originally Posted by *Konig* /img/forum/go_quote.gif 
_try the p-079.... thats the lessloss choice.

 Btw have u tried revelation audio precept before?_

 

Which is the reason I didn't jump to buy the Oyaide 046 Violet. From my previous experiences with Palldium, gold, and various double-plating, I believe the gold 079 will be a more synergistic match with the Violet than 046 in most systems. The 079 version 'should' sound a bit less ruthless on top, richer in mids/bass than the 046 version, which likely will sound more obviously detailed/faster. 

 Wish I 'could' just spring for the 079/Violet, but Christmas shopping got me first...


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## markl

Although I did end up selling the Violet Deluxe with 046 ends, I have to say, as a footnote, that after 4 days of use/burn-in, it did mellow out quite a bit on top. I'm sure once it settles in completely it will not be an issue.


 I only have two components to use aftermarket cords on right now, my source (Sony XA9000ES with RAM mods) and amp (Rudistor RPX-33 II), and I had 3 great cords, so one would have to go. I had to give the Violet Deluxe the bum's rush because I over-spent at Christmas and needed the cash-flow, and the VD Nite II isn't going to budge from my source, and the Michael Wolff cord over time has just won me over completely, so I'll be buying that one instead (once I get the funds together). I want to say more about the Wolff cord, but I don't have time right now. Suffice to say, it's really special.

 Also, I may have yet another absurdly expensive cord (by far the most expensive I've surveyed so far) coming from another member who wants to get my thoughts on it as well. If/when it arrives, I'll share thoughts on that, too.


 Finally, one of the reasons I ran out of money was that Virtual Dynamics played a really rotten trick on me by having a very quiet 60% off sale for 3 days, and I ended up with Master 3.0 interconnects, that I CAN'T WAIT to get my hands on... 
	

	
	
		
		

		
		
	


	




 You don't even want to know what the regular price is on those puppies... Ouch!


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## Jon L

Quote:


  Originally Posted by *markl* /img/forum/go_quote.gif 
_Virtual Dynamics played a really rotten trick on me by having a very quiet 60% off sale for 3 days, and I ended up with Master 3.0 interconnects, that I CAN'T WAIT to get my hands on... 
	

	
	
		
		

		
		
	


	


_

 

Damn, that's some REALLY quiet sale VD must have had!! I wouldn't have minded getting a Revelation IC and Genesis power cord to try (just kidding). 

 Anyway, when the Master IC arrives, be sure to post pic's of your Sony CDP levitating in air, supported by VD IC and PC


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## markl

LOL, will do.


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## Hirsch

Quote:


  Originally Posted by *markl* /img/forum/go_quote.gif 
_Finally, one of the reasons I ran out of money was that Virtual Dynamics played a really rotten trick on me by having a very quiet 60% off sale for 3 days, and I ended up with Master 3.0 interconnects, that I CAN'T WAIT to get my hands on... 
	

	
	
		
		

		
		
	


	




 You don't even want to know what the regular price is on those puppies... Ouch! 
	

	
	
		
		

		
		
	


	


_

 

I DO know the price on those puppies, although I'm still at the previous version. OUCH indeed! Also, congratulations! You're in for a real treat!


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## neilvg

I too didn't know there was a VD 60% sale. Whoa.

 Neil


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## markl

Neil, the sale was on the Rev. 2.0 product to make way for the new 3.0. I had purchased a version 2.0 Master, last one they had, and when they were preparing for shipment, they discovered an issue with that cable, so they substituted a new 3.0 instead. Lucky me!


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## JahJahBinks

I wish markl could get his hands on a Nordost Valhalla, then it will be interesting, really interesting.


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## gilfish

Markl have you had a chance to hear the Purist Audio Design P/Cs? They seem to get good reviews at other forums.


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## markl

I've actually been very curious about the PAD cables, but I'm quite happy with what I have right now.


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## sbulack

About six days ago, I was able to pick up a second Black Sand Violet Z1, which I've been using to power the STEPS PS that I use to power all of my amps. The first Violet has been providing AC to my source DAC for awhile now. Another layer of grain was removed, and the background became even quieter. As each of my amps has been permitted to settle in with the new PC in its power path, the lifelikeness of the sound from each has taken a noticeable step up. Going from a Volex 17604 to a Violet on the STEPS took a different settling in path than making the same PC change on the source. On the source, the high end energy started out a little too much, and that receded - leaving a final balance which sounded gorgeous. On the amps, the high end started out too little (a noticeably darker sound) and over the week of use, it came back to where I just LOVE it - only cleaner, with noticeably lower glare or artificial sheen. Across the acoustic spectrum, the sound is tighter and the details are more easily there for the taking - but not demanding attention, which, for me, is the Violet's characteristic contribution - imparting a distinctness to each musical voice and simultaneously a coherency and organic wholeness to all of the voices comprising the music.

 Adding a second Violet to my audio path was an experiment for me. I was not sure whether it would be "too much of the same good thing". In my audio path, it was not. For me, with a second Violet in my rig powering the amp, the resulting sonic changes have moved my listening experience even closer to the people behind the music and their human expression in the music.


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## Snacks

Quote:


  Originally Posted by *Konig* /img/forum/go_quote.gif 
_try the p-079.... thats the lessloss choice.

 Btw have u tried revelation audio precept before?_

 

I've been eying the P-079 6ft for a few weeks; seems like the direction that I'm headed, glad to see that Lessloss concurs.


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## mlhm5

You can buy all this stuff from one place and make your own "Pro Audio" cable for 1/10 the price.

 Here are a couple of ways.

http://www.takefiveaudio.com/HTML/how_to_star_quad.html

http://www.takefiveaudio.com/HTML/ho..._powercord.htm


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## Welly Wu

Never mind!


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## chesebert

shameless self plug


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## Asr

Mark, you need to review Signal Cable's Magic Power Digital Reference sometime. I just got one last night and it knocked my socks off. I wouldn't say it trumps the Violet Z1 necessarily (no longer have it, sold it before I got the new one, would've liked to have done an ABX test, but too late now), but it's definitely near competitive. Right off the bat, I noticed increased depth of bass - it was simply deeper, and extension was more audible. Imaging was also more holographic and for the first time, I felt like I was truly hearing the Arcam's exceptional soundstage. It freaked me out a little bit.


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## LowBeat91

What is a good low budget power chord in 2022?


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## alvin sawdust

Excellent necro posting!

I find Audio Envy power cords hit well above their price.


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## jonathan c (Sep 7, 2022)

LowBeat91 said:


> What is a good low budget power chord in 2022?


….the album _OutsideInside_ by Blue Cheer…🤣


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## alvin sawdust

jonathan c said:


> ….the album _OutsideInside_ by Blue Cheer…🤣


Oh dear...


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