Ansuz Cables & Accessories
- Thread starter kiwi_1282001
- Start date
the professor
Active member
Looking forward to your results. 
kiwi_1282001
Active member
- Thread Author
- #23
.
The Empire of the Rising Power Cord
PART ONE
Fifteen years ago, if you’d said to me that a single power cord can make a difference to the sound of an entire audio system – I would have laughed at your face and called you a “mug”(1). Nowadays I blankly stare at that “mug” in the bathroom mirror each morning….
Looking back, my fall from Sanity and my “comfortably numb” attitude to US$10,000+ power cords were fertilised some ten years back while attending a Nordost demonstration at a local trade show. I sat transfixed as Nordost frontman Lars Kristensen played his much favoured dynamic music with first, a motley mixture of decent-to-very-good high-end cables of the day; second, a suite of Nordost’s Blue Heaven cables; third, a suite of Nordost’s Red Dawn cables; and, finally, a full loom of Nordost’s then-top-of-the-line SPM cables. I watched him like a hawk, and he never touched, much less changed anything but the cables. I even rose out of my chair at one point during the demonstration and invited myself to join Lars at the back of the equipment rack as he was changing cables – just to make sure his fingers didn’t leave his hands.
So impactful was that demonstration that in the years that ensued I keenly followed Nordosts every move – and so when Nordost started espousing their “Foundation Theory” several years back – I digested it like milk and cookies.
Today, my system foundation looks like a Nordost brochure; dedicated AC spur with good quality sockets; star earthed distribution block (Quantum QBase QB8); a clean earth feed from the QBase to a copper rod garden earth; high quality first cable from the wall socket (Nordost Odin 2.5m); same power cords feeding all key components; same interconnect leads (Nordost Valhalla) feeding all key components; effective mechanical earth for all components achieved via 30 units of Nordost Sort TC kone and a special lightweight equipment rack with Nordost Pulsar point floor coupling. Further, tipping my hat to Quantum Mechanics we have three Quantum QRT devices (Nordost QX2 & QX4) in the AC chain to reduce EMF noise and RFI interference effects as well as improve the consistency and regularity of the AC mains waveform; further aided by Nordost Qv2 line harmonizers which introduce a carefully calculated range of pulsed frequencies, clocked from the original 50 or 60Hz waveform to result in a drop in overall systems noise floor.
Sounds expensive…. And trust me it is – but the point of the foundation theory is to make the most of what audio components you have already got, rather than replace them en masse in a regular fashion searching for that ever elusive satisfaction. In my experience, an entry level integrated amplifier used in conjunction with the above foundation can outperform a stunningly expensive separate pre and power amplifier – sans the foundation.
This rather lengthy introduction positions me for the purpose of this particular update which is to share my initial findings on a new entrant to the foundation theory field – Ansuz Acoustics. While the company name is new; the people behind it are not; with key stakeholders actually having a hand in the design of some Nordost products and therefore having an intimate understanding of what is needed to get the best performance from your audio system, irrespective of make.
Ansuz Acoustics has already launched a range of products to market. These products include DARKZ decouplers; SPARKZ scalar field sound enhances and a range of power cords, interconnect and speaker cables. In earlier investigations I found the Ansuz SPARKZ to be complimentary to the Nordost Qv2 (i.e. they have somewhat different effects and having both in the system is good) whereas I was disappointed with the Ansuz DARKZ D footers – not being an advance in my opinion over the Nordost Sort TC Kone.
As legend goes, the most important single cable in any audio system is the one coming out of the wall. Why that is the case is beyond the scope of this update – but to be succinct, when we listen to music through a hi-fi system what we are actually hearing is the power supplies that drive the system. My reference for the past few years has been Nordost Odin, but there is a growing buzz out there that Odin no longer reins supreme and that even Ansuz’s entry level power cords can perform better.
In PART TWO, the method for investigating the claim will be outlined; and in PART THREE, if I can find the energy, my system related results will be shared.
(1) British slang for a fool
The Empire of the Rising Power Cord
PART ONE
Fifteen years ago, if you’d said to me that a single power cord can make a difference to the sound of an entire audio system – I would have laughed at your face and called you a “mug”(1). Nowadays I blankly stare at that “mug” in the bathroom mirror each morning….
Looking back, my fall from Sanity and my “comfortably numb” attitude to US$10,000+ power cords were fertilised some ten years back while attending a Nordost demonstration at a local trade show. I sat transfixed as Nordost frontman Lars Kristensen played his much favoured dynamic music with first, a motley mixture of decent-to-very-good high-end cables of the day; second, a suite of Nordost’s Blue Heaven cables; third, a suite of Nordost’s Red Dawn cables; and, finally, a full loom of Nordost’s then-top-of-the-line SPM cables. I watched him like a hawk, and he never touched, much less changed anything but the cables. I even rose out of my chair at one point during the demonstration and invited myself to join Lars at the back of the equipment rack as he was changing cables – just to make sure his fingers didn’t leave his hands.
So impactful was that demonstration that in the years that ensued I keenly followed Nordosts every move – and so when Nordost started espousing their “Foundation Theory” several years back – I digested it like milk and cookies.
Today, my system foundation looks like a Nordost brochure; dedicated AC spur with good quality sockets; star earthed distribution block (Quantum QBase QB8); a clean earth feed from the QBase to a copper rod garden earth; high quality first cable from the wall socket (Nordost Odin 2.5m); same power cords feeding all key components; same interconnect leads (Nordost Valhalla) feeding all key components; effective mechanical earth for all components achieved via 30 units of Nordost Sort TC kone and a special lightweight equipment rack with Nordost Pulsar point floor coupling. Further, tipping my hat to Quantum Mechanics we have three Quantum QRT devices (Nordost QX2 & QX4) in the AC chain to reduce EMF noise and RFI interference effects as well as improve the consistency and regularity of the AC mains waveform; further aided by Nordost Qv2 line harmonizers which introduce a carefully calculated range of pulsed frequencies, clocked from the original 50 or 60Hz waveform to result in a drop in overall systems noise floor.
Sounds expensive…. And trust me it is – but the point of the foundation theory is to make the most of what audio components you have already got, rather than replace them en masse in a regular fashion searching for that ever elusive satisfaction. In my experience, an entry level integrated amplifier used in conjunction with the above foundation can outperform a stunningly expensive separate pre and power amplifier – sans the foundation.
This rather lengthy introduction positions me for the purpose of this particular update which is to share my initial findings on a new entrant to the foundation theory field – Ansuz Acoustics. While the company name is new; the people behind it are not; with key stakeholders actually having a hand in the design of some Nordost products and therefore having an intimate understanding of what is needed to get the best performance from your audio system, irrespective of make.
Ansuz Acoustics has already launched a range of products to market. These products include DARKZ decouplers; SPARKZ scalar field sound enhances and a range of power cords, interconnect and speaker cables. In earlier investigations I found the Ansuz SPARKZ to be complimentary to the Nordost Qv2 (i.e. they have somewhat different effects and having both in the system is good) whereas I was disappointed with the Ansuz DARKZ D footers – not being an advance in my opinion over the Nordost Sort TC Kone.
As legend goes, the most important single cable in any audio system is the one coming out of the wall. Why that is the case is beyond the scope of this update – but to be succinct, when we listen to music through a hi-fi system what we are actually hearing is the power supplies that drive the system. My reference for the past few years has been Nordost Odin, but there is a growing buzz out there that Odin no longer reins supreme and that even Ansuz’s entry level power cords can perform better.
In PART TWO, the method for investigating the claim will be outlined; and in PART THREE, if I can find the energy, my system related results will be shared.
(1) British slang for a fool
mdkim
New member
Wow! Consider me teased and waiting with bated breath!
MDP
Behavior Moderator (be nice police!)
Very well written Kiwi ! I'll be waiting for your next report.
Thanks kiwi. Looking forward to the next sections. Very well written.
iamhifi
New member
Wow Kiwi, this is exackly how you do a shoot out, Thank you
Hello to all!! First timer here and I wanted to tell you that I just purchased a pair of the Ansuz POM speaker cables. They will be replacing a pair of Naim cables that were hooked up to my new Raidho D1 speakers. I have a small living room where the speakers are placed. The speakers do tend to sound a bit "room boomy" even though I have run them in at 250+ hours but I was told that these new cables and with a new set of suspension stands this may alleviate some or hopefully all of the problem. I will also try a slight difference in toe in positions and see if that helps. Any other suggestions/advice would be greatly appreciated by this neophyte too!!! p.s , any idea how long I need to break in the POM cables? Thanks again, Ken.
the professor
Active member
Welcome to AS.
Not sure how long ansuz cables take to breakin. I'm getting a pair to try Monday. So over the next week or two we will find out together.
Which Naim gear do you have?
Not sure how long ansuz cables take to breakin. I'm getting a pair to try Monday. So over the next week or two we will find out together.
Which Naim gear do you have?
I have the Naim SuperNait w/ HiCap2 DR. I've been very happy with this combo and it seems to have more than enough power to handle the D1's.
the professor
Active member
It's a great sounding combo and I love the D1s.
kiwi_1282001
Active member
- Thread Author
- #33
The Empire of the Rising Power Cord
PART TWO
It has been said many times before but it is worth repeating: when you listen to a hi-fi system, what you are actually listening to is the AC power that comes from the wall. There is no escaping the fact that the better the quality of the incoming power the better the outgoing (music) results will be. In PART ONE I briefly discussed the lengths I have gone to – following Nordost’s Foundation Theory [See Nordost whitepaper on-line] – to hear what my electronics are really capable of and the role that power cables play in that. In PART TWO, I will discuss the methodology I intend to use to compare four power cables; two from Nordost (Odin & Valhalla) and two from Ansuz (POM & Ceramic, thereafter called P & C) in the context of my audio system.
To be clear from the outset, the term “method” is used very liberally above because nothing that follows could be considered as scientific. While I can outline the technique I use to compare the cables, the inquiry is neither empirical nor measurable. Moreover the inquiry is purely subjective, in that I will listen, observe and note down that which I hear in full acknowledgement that variables and biases exist that are outside of my control. This issue of controlling the variables in a test lies at the heart of all testing. Audiophiles generally understand this and make efforts to control the variables so that they can do accurate listening tests that produce reliable results.
What is a "variable?" A variable is any factor that can affect the result of a test. An "uncontrolled" variable is the one variable in a test that is allowed to vary because we are trying to evaluate its effect. It is absolutely essential that any and all other variables in a test be "controlled" so that they do not influence the results. If there is more than one uncontrolled variable in a test, then you will not be able to determine which variable caused what you heard. Therefore, having multiple uncontrolled variables makes it impossible to draw any cause/effect relationships and conclusions from the test. Since my listening tests are trying to find cause/effect relationships, a test done with multiple, uncontrolled variables can't answer the question, so it is useless and invalid.
Therefore, for the purposes of my investigation the only change that will occur in my system is the first power cable from the wall socket to the distributor. Unfortunately, other uncontrolled variables remain and these include time delay; psychological bias and limitations surrounding unknown interactions or symbiotic relationships between the various cables and components in the system. Time delay is unavoidable. All components in my system are connected to a distributor which in turn is connected to the cable under evaluation. Systems take time to power off and power back on again. Many believe we can’t remember audio differences for more than a few seconds – let alone the minute or so it takes to change out a power cable. Moreover, the test will not be a blind one and this introduces the prospect of bias and no-one is immune to that.
Having understood and openly stated the limitations of the undertaking you can now rest easy that what follows in PART THREE will amount to nothing less than audio-salon voodoo!
Before we get to the playtime for grown-ups and after we have had a chance to complete the mandatory preparatory vacuum clean underneath the speaker cables some other brief details about the method:
1. Three recordings will be used for the evaluation. These are “On fire” by Edward Val [Incredible Recordings Vol. 1, STS 611115]; “The Power of Goodbye” by Madonna [GHV2, Warner 93624800002] and “The Last of the Privateers” by Allan Taylor [Leaving at Dawn, Stockfisch SFR 357.4057.2]. Selected for purely selfish reasons i.e. I love the music and intimately familiar with them all – the recordings have also been selected due to their emphasis on differing parts of the audio spectrum. The Edward Val recording focuses on the treble with vast amounts of ambient and reverberant detail captured in the recording allowing easy analysis of selected micro-detail and spatial comparison. The Madonna recording focuses on the bass. The Orbit inspired masterpiece invokes a massive layered soundscape which is challenging for any audio system to reconstruct and delineate with complex texture and minutiae detail even whilst the underlying beat propels the tracks momentum with solid energy. Spectral analysis shows enormous energy in the sub 32Hz and the 63-160Hz parts of the audio spectrum requiring speaker woofers to draw sufficient current to cleanly reproduce. Past experience has shown me that power cables have a significant impact on the audio systems ability to demystify complexity in this track and allow the listener to see into the recording as a representation of the event. Finally, Allan Taylor, a high resolution SACD recording by the highly competent Stockfisch Records team. This masterpiece requires both ends of the audio spectrum to be fully operational and in spectral balance. It further features a wide range of percussion instruments including interesting use of a metallic drum early in the track – the reproduction of which I regularly use to assess overall audio system performance.
2. Two different audio systems/rooms are used for the evaluation. This is intentional to see whether observations made in one system carry or share any consistency in a completely different acoustical setting. Considerable detail on my audio system and room can be found in my blog [see “my virtual system” link at base of post]. The second system [photo below] consists of Raidho D2 speakers connected to a Devialet 240 amplifier via Ansuz C speaker cable which in turn is connected to the mains distributor via Ansuz P power cable. Further, while my audio system employs the use of passive room acoustic controls; the second system uses a state of the art Trinnov Audio active acoustic controller to compensate for room resonance modes and smooth reverberation. While both systems / rooms go about acoustic correction in a different fashion – both produce results in broad compliance to or better than “Acoustical Measurement Standards for Stereo Listening Rooms” (Mellor & Hedback, 2011). This among other things means a measured mid-range frequency response with +/- 3dB at 1/3rd Octave and a low frequency response within +/- 10dB at 1/24th Octave. While some may view the standard to be fairly relaxed the intent is simply to provide some modest insurance that the sonic benefit of HiFi equipment, not to mention the expensive cables under test, is not masked by poor room acoustics. The famous J. Gordon Holt once opined that “It is probably safe to say that 95% of the systems in audiophile homes are being degraded by a bad listening environment. Sound waves reflect from walls, floors, and ceilings, reaching our ears milliseconds after the direct sounds from the speakers and smearing those sounds. Echoes reverberate back and forth between parallel reflective surfaces, adding more smear and coloring the sound with spurious brightness or resonating bass hangovers. And reflections from side walls are heard as false stereo direction cues, impairing the accuracy with which a system reproduces instrumental locations.” [Holt, J. Gordon (1983) Stereophile, The Listening Room: The Forgotten Factor, March 3rd Ed.]
3. One Hundred! Recent wisdom has it that power cords require more break in than interconnects. While not wishing to open a debate on such wisdom [break in after all is not a measurable phenomenon] let me simply say that all cords had in excess of 100 hours of use prior to the evaluation.
4. Undertake & Reverse. Many years back I learned that reversing a tweak can provide more insight into perceived beneficial (or otherwise) change that the tweak was initially thought to have made. I consider an audible change definite only if my observations in constructing and deconstructing change align. The rationale is that first impressions when the placebo effect is the strongest can easily be biased by expectation which in itself can be fuelled from multiple avenues, none the least of which is product cost and emotive marketing materials!
So there you have it. Next up PART THREE – the results. Stay tuned.
PART TWO
It has been said many times before but it is worth repeating: when you listen to a hi-fi system, what you are actually listening to is the AC power that comes from the wall. There is no escaping the fact that the better the quality of the incoming power the better the outgoing (music) results will be. In PART ONE I briefly discussed the lengths I have gone to – following Nordost’s Foundation Theory [See Nordost whitepaper on-line] – to hear what my electronics are really capable of and the role that power cables play in that. In PART TWO, I will discuss the methodology I intend to use to compare four power cables; two from Nordost (Odin & Valhalla) and two from Ansuz (POM & Ceramic, thereafter called P & C) in the context of my audio system.
To be clear from the outset, the term “method” is used very liberally above because nothing that follows could be considered as scientific. While I can outline the technique I use to compare the cables, the inquiry is neither empirical nor measurable. Moreover the inquiry is purely subjective, in that I will listen, observe and note down that which I hear in full acknowledgement that variables and biases exist that are outside of my control. This issue of controlling the variables in a test lies at the heart of all testing. Audiophiles generally understand this and make efforts to control the variables so that they can do accurate listening tests that produce reliable results.
What is a "variable?" A variable is any factor that can affect the result of a test. An "uncontrolled" variable is the one variable in a test that is allowed to vary because we are trying to evaluate its effect. It is absolutely essential that any and all other variables in a test be "controlled" so that they do not influence the results. If there is more than one uncontrolled variable in a test, then you will not be able to determine which variable caused what you heard. Therefore, having multiple uncontrolled variables makes it impossible to draw any cause/effect relationships and conclusions from the test. Since my listening tests are trying to find cause/effect relationships, a test done with multiple, uncontrolled variables can't answer the question, so it is useless and invalid.
Therefore, for the purposes of my investigation the only change that will occur in my system is the first power cable from the wall socket to the distributor. Unfortunately, other uncontrolled variables remain and these include time delay; psychological bias and limitations surrounding unknown interactions or symbiotic relationships between the various cables and components in the system. Time delay is unavoidable. All components in my system are connected to a distributor which in turn is connected to the cable under evaluation. Systems take time to power off and power back on again. Many believe we can’t remember audio differences for more than a few seconds – let alone the minute or so it takes to change out a power cable. Moreover, the test will not be a blind one and this introduces the prospect of bias and no-one is immune to that.
Having understood and openly stated the limitations of the undertaking you can now rest easy that what follows in PART THREE will amount to nothing less than audio-salon voodoo!
Before we get to the playtime for grown-ups and after we have had a chance to complete the mandatory preparatory vacuum clean underneath the speaker cables some other brief details about the method:1. Three recordings will be used for the evaluation. These are “On fire” by Edward Val [Incredible Recordings Vol. 1, STS 611115]; “The Power of Goodbye” by Madonna [GHV2, Warner 93624800002] and “The Last of the Privateers” by Allan Taylor [Leaving at Dawn, Stockfisch SFR 357.4057.2]. Selected for purely selfish reasons i.e. I love the music and intimately familiar with them all – the recordings have also been selected due to their emphasis on differing parts of the audio spectrum. The Edward Val recording focuses on the treble with vast amounts of ambient and reverberant detail captured in the recording allowing easy analysis of selected micro-detail and spatial comparison. The Madonna recording focuses on the bass. The Orbit inspired masterpiece invokes a massive layered soundscape which is challenging for any audio system to reconstruct and delineate with complex texture and minutiae detail even whilst the underlying beat propels the tracks momentum with solid energy. Spectral analysis shows enormous energy in the sub 32Hz and the 63-160Hz parts of the audio spectrum requiring speaker woofers to draw sufficient current to cleanly reproduce. Past experience has shown me that power cables have a significant impact on the audio systems ability to demystify complexity in this track and allow the listener to see into the recording as a representation of the event. Finally, Allan Taylor, a high resolution SACD recording by the highly competent Stockfisch Records team. This masterpiece requires both ends of the audio spectrum to be fully operational and in spectral balance. It further features a wide range of percussion instruments including interesting use of a metallic drum early in the track – the reproduction of which I regularly use to assess overall audio system performance.
2. Two different audio systems/rooms are used for the evaluation. This is intentional to see whether observations made in one system carry or share any consistency in a completely different acoustical setting. Considerable detail on my audio system and room can be found in my blog [see “my virtual system” link at base of post]. The second system [photo below] consists of Raidho D2 speakers connected to a Devialet 240 amplifier via Ansuz C speaker cable which in turn is connected to the mains distributor via Ansuz P power cable. Further, while my audio system employs the use of passive room acoustic controls; the second system uses a state of the art Trinnov Audio active acoustic controller to compensate for room resonance modes and smooth reverberation. While both systems / rooms go about acoustic correction in a different fashion – both produce results in broad compliance to or better than “Acoustical Measurement Standards for Stereo Listening Rooms” (Mellor & Hedback, 2011). This among other things means a measured mid-range frequency response with +/- 3dB at 1/3rd Octave and a low frequency response within +/- 10dB at 1/24th Octave. While some may view the standard to be fairly relaxed the intent is simply to provide some modest insurance that the sonic benefit of HiFi equipment, not to mention the expensive cables under test, is not masked by poor room acoustics. The famous J. Gordon Holt once opined that “It is probably safe to say that 95% of the systems in audiophile homes are being degraded by a bad listening environment. Sound waves reflect from walls, floors, and ceilings, reaching our ears milliseconds after the direct sounds from the speakers and smearing those sounds. Echoes reverberate back and forth between parallel reflective surfaces, adding more smear and coloring the sound with spurious brightness or resonating bass hangovers. And reflections from side walls are heard as false stereo direction cues, impairing the accuracy with which a system reproduces instrumental locations.” [Holt, J. Gordon (1983) Stereophile, The Listening Room: The Forgotten Factor, March 3rd Ed.]
Photo 1: System Two - Raidho D-2 and Estelon XB speakers shown
3. One Hundred! Recent wisdom has it that power cords require more break in than interconnects. While not wishing to open a debate on such wisdom [break in after all is not a measurable phenomenon] let me simply say that all cords had in excess of 100 hours of use prior to the evaluation.
4. Undertake & Reverse. Many years back I learned that reversing a tweak can provide more insight into perceived beneficial (or otherwise) change that the tweak was initially thought to have made. I consider an audible change definite only if my observations in constructing and deconstructing change align. The rationale is that first impressions when the placebo effect is the strongest can easily be biased by expectation which in itself can be fuelled from multiple avenues, none the least of which is product cost and emotive marketing materials!
So there you have it. Next up PART THREE – the results. Stay tuned.
I have my first full set of Ansuz PC's, Speaker cables and IC's along with Darkz and Sparkz on their way. If anyone would like to try them in their system let me know. I will break them in first and then schedule in home auditions in your own system.
I have the "A" level coming initially, which is the third down from the top of line and second up from the least expensive. The prices are:
Mainz - $2000 1M, $3000 2M
Signalz - Ic's - $2800 1M , $4200 2M
Speakerz- Sp. cables, 2M $4000
DarkZ - resonance control devices - $260 each
SparkZ- Sound enhancer - $480 each
I have the "A" level coming initially, which is the third down from the top of line and second up from the least expensive. The prices are:
Mainz - $2000 1M, $3000 2M
Signalz - Ic's - $2800 1M , $4200 2M
Speakerz- Sp. cables, 2M $4000
DarkZ - resonance control devices - $260 each
SparkZ- Sound enhancer - $480 each
Rtan
Member
They are pricey. But I'm interested to try them out.
Not sure where the closest dealer to you is in LA. Ask Lars at the Ansuz email and I am sure he would arrange for you to hear them.
Design Audio Video
New member
- Joined
- Jul 6, 2013
- Messages
- 303
Ansuz Cables & Accessories
I have the D speaker cables. And have listened to the C power cords. I will have the D power cords next week. If anyone wants to hear my opinions feel free to PM me. I don't want to get in the way of this review, so I will not post my thoughts just yet.
I have the D speaker cables. And have listened to the C power cords. I will have the D power cords next week. If anyone wants to hear my opinions feel free to PM me. I don't want to get in the way of this review, so I will not post my thoughts just yet.
kiwi_1282001
Active member
- Thread Author
- #40
The Empire of the Rising Power Cord
PART THREE
So, we have finally arrived at the third and final part of this series – the results. In PART ONE I outlined my fascination with the audio systems foundation and in particular, the most important single cable in any audio system – the one from the electricity supply to your distributor block. In PART TWO I described the method by which four different power cables; two from Nordost and two from Ansuz Acoustics would be evaluated in the context of two different audio systems.
And so to PART THREE the results; but before we get there a warning and an important message.
First, the warning! To those of you who struggle with the concept of US$16,000 power cables and still believe that all cables sound the same – for your own peace of mind please read no further. Please <CLICK HERE> to take you back to the forum index – where far more rational, sane and stress free topics can be found.
Second, the important message; what follows are observations and not conclusions. Arriving at conclusions based on one set of ears and two audio systems is not sensible. The sample size is simply too small and the limitations of the undertaking described in PART TWO too severe to allow firm conclusions to be made. What we are therefore left with is observation and initial opinion and is ever the case in all things audio; interested parties are strongly advised to listen to these products with their own ears and systems.
ROUND ONE – VAHALLA vs. ANSUZ P [also known as POM ANSUZ]
With test track one [Edward Val] the positive attributes of the Valhalla cable were its ability to generate more open air with ringing clarity than the Ansuz. Further, the Valhalla retrieved more ambient information from the track giving the impression of a larger and better defined overall soundstage.
The positive attributes of the Ansuz were very different. The Ansuz seemingly produced a quieter blacker backdrop for the track with an overall presentation that seemed smoother and more velvety than the Valhalla. Comparatively the presentation was less forward and less edgy giving the impression of a more natural, humane and organic sound.
With test track two [Madonna] the Valhalla clearly demonstrated more heft in the bass. The Valhalla has thump and bite giving the impression that it digs deeper and with more bass energy in the low frequency arena.
Here again the attributes of the Ansuz were very different. The Ansuz produced a deeper soundstage (Valhalla comparatively was a more forward presentation) and perhaps due to the blacker backdrop, localisation of sound seemed superior with all the tracks special effects such a distant chimes and vocal chants all more noticeable and painted in sharper relief in this complex track.
Comment: As you will have perhaps gathered from the above observations I find certain elements of the character of these two cables different and as such do not consider one superior to the other. The Valhalla certainly is more instantly impressive because it tends to point out the frequency extremes in a more spot-lit fashion than the Ansuz. The Valhalla also comes across as being more immediate with greater bite, more energy and more bass heft. Used sensibly these attributes can be a revelation in some systems but in others could be a little over-bearing. Using an analogy, the Valhalla very much reminds of a modern jet-fighter. Many modern jets have a purpose build degree of instability to them as this enables them to react faster to directional change. Valhalla is fast, lightning fast even and this works beautifully as a counter-balance to warm electronics, which sometimes need a good kick up the backside to get moving. If however the electronics possess a cooler tonality Valhalla can quickly come across as edgy, jagged and twitchy.
In contrast, the Ansuz P whilst not as resolving at the Valhalla appears to be a more balanced cable. The strength of the Ansuz is the quiet and effortless nature in which it encourages the reproduction of music. Unlike the Valhalla which has the system dependant potential to sound hollow, tin like and artificial the Ansuz P is more even handed, real and musical and as such the beauty of the Ansuz P is its ability to make poorer recordings more accessible. Soundstage depth and instrumental localisation are superb with this cable.
Both cables appear neutral, fast and dynamic.
Photo 1: The Nordost Valhalla Power Cord
Photo 2: The Ansuz Acoustics P [POM] Power Cord
ROUND TWO – VALHALLA vs. ANSUZ C [also known as CERAMIC ANSUZ]
Perhaps the easiest way to describe the Ansuz C power cable is that it manages to combine all the best features of the Valhalla [vibrancy, immediacy, soundstage, ambient detail / air and bass weight] and the Ansuz P [blacker background, smoother, organic and effortless] together without any immediately noticeable weaknesses.
Versus the Ansuz P, the C brings deeper bass, better air and greater overall detail. This was very noticeable when comparing both cables on both test tracks [Val, Madonna] and switching to the higher resolution SACD [Taylor] it became very clear that the P sounded muted in comparison to the C with the C possessing superior ambient recovery and bass heft.
Versus the Valhalla, the C offered a much deeper soundstage, more detail and also introduced a calmness to the proceedings; a calmness and effortlessness that seems to elude the excitable Valhalla.
Comment: In my humble opinion the Ansuz C appears to be a superior power cable to the Nordost Valhalla and the Anzus P. After extensive swopping between all three cables I could not identify any feature of the Valhalla that from sonic perspective seemed better. The Ansuz C enjoys the balanced, grounded and effortlessness nature of the Ansuz P [no particular part of the audio band spotlit] combined with the punchier, weightier and vibrant presentation of the Valhalla. Bravo!
Photo 3: The Ansuz Acoustics C [Ceramic] Power Cord
ROUND THREE – ANSUZ C vs. ODIN
With test track one [Edward Val] the Odin produced a larger soundstage with superior ambient recovery to the Ansuz C. With test track two [Madonna] the Odin possessed greater bass authority (viscerally punchier) particularly in the mid-bass arena and seemed comparatively more “fleet of foot” and alive.
For its part the Ansuz C had its own strengths. On both test tracks the Ansuz C demonstrated a deeper soundstage; an effortless musicality and a blacker background. This was particularly noticeable with the Val track where the vocal rests slightly further back in the soundstage and the blacker backdrop aids the vocal image. While the Odin sparkles in the top end of the audio spectrum, the Ansuz shines in the mid-range imbedding vocals (in particular) with a wonderful humanity.
Versus the Valhalla, the Odin is more balanced and seamless in its delivery of music. The twitchiness that is sometimes witnessed with the Valhalla is gone. Further, the bass is deeper, weightier and better defined than the Valhalla and the treble is cleaner still with superior tonal colour
Comment: In my humble opinion both are great cables with the Odin gaining my personal preference due to its slightly higher levels of transparency, vibrancy, immediacy and resolution. Odin is quick, uncluttered and seamless in its delivery – but the real clincher for me is the incredible aliveness and presence combined with rich harmonic information which this cable seems to infuse in the music.
The Ansuz C is by no means disgraced. It runs the Odin incredibly close and this points to the possibility that the Ansuz D [not tested here] might equal or outperform Odin.
Photo 4: The Nordost ODIN Power Cord
TESTS ON SYSTEM TWO
I was not sure what to expect when I loaded the first test disc into system two. I did expect to hear some change as the audio systems and acoustic environments are very different. Whereas my home system is rather large and complex and outfitted in Nordost from tip to toe; system two features all Ansuz cabling and is much simpler in construct relying on the latest integrated Devialet amplification (model 240). Tonally the Devialet is a little cooler than my home system and I wondered whether that would also influence the results?
In the finish I need not to have worried because after a three hour audition with the same demo test tracks the results read the same as system one. The only slight observational change recorded was that the Devialet responded to the Ansuz C in a highly favourable way – allowing the Devialet to produce a slightly richer mid; a change that was not observed in my own system. Otherwise the performance of the Ansuz P&C and Nordost was unchanged.
Two possible take-aways from the exercise are that first; with relatively neutral systems we can expect the attributes and contribution of the power cables to be close to constant. Second; Nordost and Ansuz cabling solutions are synergistic and may be used in together in the same audio system.
CLOSING THOUGHTS
Struggling to bring all of the above in for a safe landing I am tempted to say that Nordost cables where more esoteric and Ansuz more grounded. That however would be an oversimplification and would tend to over accentuate differences which weren’t actually there. Closer to truth I suspect is that the above Nordost and Ansuz cables actually share the same broad character quadrant of the PC universe – a quadrant that is light years from the likes of most Cardas, ASI, Shunyata and Kubala Sosna cables. The Ansuz and Nordost cables were more alike [neutral, fast, dynamic] than they were different and this at times posed challenges in identifying and categorising differences.
The above shoot out has very much focused on sonic attributes but recognising that other determinants are frequently also considered when buying cables at this level of expense allow me to close on some other considerations.
First, cosmetics; picking up and closely examining Ansuz and Nordost cables reveals differences in appearance and perceived build quality. There is no doubt about it, Nordost with its solid core oxygen free conductors, spiral wound insulators and extruded outer wrap looks the business and gives the perception of high quality. The same unfortunately cannot be said for the Ansuz, where seemingly inexpensive and not particularly dense weave outer sleeves combined with lightweight plugs, not the mention the absence of any form of serial number on the P version and the rather tacky “quality level” stickers stuck to the main plug barrel – all scream cheap. Looking at a typical Ansuz cable it is hard to imagine what makes it so expensive – though admittedly the answer to that may well be hidden and not particularly relevant? Perceptions are not helped with packaging where Ansuz is delivered in a no frills package reminiscent of a pizza box whilst Nordost reference products come ensconced in a nicely lined wooden case complete with lock and key. Moreover, while I have some Nordost products which are over ten years old and still look like they were purchased recently – a testament for sure to build quality – we don’t know and won’t know for years to come how Ansuz products stand the test of wear and tear and time.
Second, cable dressing. While the Ansuz products may be unremarkable to look at – at least they are very easy to work with. The Ansuz cables are lightweight, highly flexible and if called upon can work can turn in a tight radius. Great! The same unfortunately can’t be said for the Nordost cables which are rigid and stiff and need fairly large bend radiuses. This makes the Nordost cables painfully difficult to layout in such a fashion so as to ensure neat installation whereby audio and power cables don’t cross one another and if they do, it is at 90 degree angles. Resistance strain with Nordost is perfectly capable of twisting a lightweight electronic component mounted on Sort Kones and may mean you can’t site the component exactly where you want on the rack.
In sum and on balance, Ansuz Acoustics is a very welcome addition to the audiophile power cord market. My experience with Ansuz PC’s – a small sample of which has made up this update – is sufficient to demonstrate to me that they offer extraordinary value on a sound quality per dollar spend basis. I recommend that audiophiles actively searching for high end power cords include Ansuz Acoustics products in their evaluations in order to reach their own opinion of them.
OPPORTUNITIES FOR FURTHER RESEARCH
Many interesting questions remain – some of which I have already started exploring – such as what happens when you combine an Odin with a Ceramic; or an Odin with POM or Ceramic with POM? Is powering your source with an Ansuz Ceramic PC more worthwhile than using the same product to feed the distributor? The initial answers are fascinating but warrant further research before being reported.
PART THREE
So, we have finally arrived at the third and final part of this series – the results. In PART ONE I outlined my fascination with the audio systems foundation and in particular, the most important single cable in any audio system – the one from the electricity supply to your distributor block. In PART TWO I described the method by which four different power cables; two from Nordost and two from Ansuz Acoustics would be evaluated in the context of two different audio systems.
And so to PART THREE the results; but before we get there a warning and an important message.
First, the warning! To those of you who struggle with the concept of US$16,000 power cables and still believe that all cables sound the same – for your own peace of mind please read no further. Please <CLICK HERE> to take you back to the forum index – where far more rational, sane and stress free topics can be found.
Second, the important message; what follows are observations and not conclusions. Arriving at conclusions based on one set of ears and two audio systems is not sensible. The sample size is simply too small and the limitations of the undertaking described in PART TWO too severe to allow firm conclusions to be made. What we are therefore left with is observation and initial opinion and is ever the case in all things audio; interested parties are strongly advised to listen to these products with their own ears and systems.
ROUND ONE – VAHALLA vs. ANSUZ P [also known as POM ANSUZ]
With test track one [Edward Val] the positive attributes of the Valhalla cable were its ability to generate more open air with ringing clarity than the Ansuz. Further, the Valhalla retrieved more ambient information from the track giving the impression of a larger and better defined overall soundstage.
The positive attributes of the Ansuz were very different. The Ansuz seemingly produced a quieter blacker backdrop for the track with an overall presentation that seemed smoother and more velvety than the Valhalla. Comparatively the presentation was less forward and less edgy giving the impression of a more natural, humane and organic sound.
With test track two [Madonna] the Valhalla clearly demonstrated more heft in the bass. The Valhalla has thump and bite giving the impression that it digs deeper and with more bass energy in the low frequency arena.
Here again the attributes of the Ansuz were very different. The Ansuz produced a deeper soundstage (Valhalla comparatively was a more forward presentation) and perhaps due to the blacker backdrop, localisation of sound seemed superior with all the tracks special effects such a distant chimes and vocal chants all more noticeable and painted in sharper relief in this complex track.
Comment: As you will have perhaps gathered from the above observations I find certain elements of the character of these two cables different and as such do not consider one superior to the other. The Valhalla certainly is more instantly impressive because it tends to point out the frequency extremes in a more spot-lit fashion than the Ansuz. The Valhalla also comes across as being more immediate with greater bite, more energy and more bass heft. Used sensibly these attributes can be a revelation in some systems but in others could be a little over-bearing. Using an analogy, the Valhalla very much reminds of a modern jet-fighter. Many modern jets have a purpose build degree of instability to them as this enables them to react faster to directional change. Valhalla is fast, lightning fast even and this works beautifully as a counter-balance to warm electronics, which sometimes need a good kick up the backside to get moving. If however the electronics possess a cooler tonality Valhalla can quickly come across as edgy, jagged and twitchy.
In contrast, the Ansuz P whilst not as resolving at the Valhalla appears to be a more balanced cable. The strength of the Ansuz is the quiet and effortless nature in which it encourages the reproduction of music. Unlike the Valhalla which has the system dependant potential to sound hollow, tin like and artificial the Ansuz P is more even handed, real and musical and as such the beauty of the Ansuz P is its ability to make poorer recordings more accessible. Soundstage depth and instrumental localisation are superb with this cable.
Both cables appear neutral, fast and dynamic.
Photo 1: The Nordost Valhalla Power Cord
Photo 2: The Ansuz Acoustics P [POM] Power Cord
ROUND TWO – VALHALLA vs. ANSUZ C [also known as CERAMIC ANSUZ]
Perhaps the easiest way to describe the Ansuz C power cable is that it manages to combine all the best features of the Valhalla [vibrancy, immediacy, soundstage, ambient detail / air and bass weight] and the Ansuz P [blacker background, smoother, organic and effortless] together without any immediately noticeable weaknesses.
Versus the Ansuz P, the C brings deeper bass, better air and greater overall detail. This was very noticeable when comparing both cables on both test tracks [Val, Madonna] and switching to the higher resolution SACD [Taylor] it became very clear that the P sounded muted in comparison to the C with the C possessing superior ambient recovery and bass heft.
Versus the Valhalla, the C offered a much deeper soundstage, more detail and also introduced a calmness to the proceedings; a calmness and effortlessness that seems to elude the excitable Valhalla.
Comment: In my humble opinion the Ansuz C appears to be a superior power cable to the Nordost Valhalla and the Anzus P. After extensive swopping between all three cables I could not identify any feature of the Valhalla that from sonic perspective seemed better. The Ansuz C enjoys the balanced, grounded and effortlessness nature of the Ansuz P [no particular part of the audio band spotlit] combined with the punchier, weightier and vibrant presentation of the Valhalla. Bravo!
Photo 3: The Ansuz Acoustics C [Ceramic] Power Cord
ROUND THREE – ANSUZ C vs. ODIN
With test track one [Edward Val] the Odin produced a larger soundstage with superior ambient recovery to the Ansuz C. With test track two [Madonna] the Odin possessed greater bass authority (viscerally punchier) particularly in the mid-bass arena and seemed comparatively more “fleet of foot” and alive.
For its part the Ansuz C had its own strengths. On both test tracks the Ansuz C demonstrated a deeper soundstage; an effortless musicality and a blacker background. This was particularly noticeable with the Val track where the vocal rests slightly further back in the soundstage and the blacker backdrop aids the vocal image. While the Odin sparkles in the top end of the audio spectrum, the Ansuz shines in the mid-range imbedding vocals (in particular) with a wonderful humanity.
Versus the Valhalla, the Odin is more balanced and seamless in its delivery of music. The twitchiness that is sometimes witnessed with the Valhalla is gone. Further, the bass is deeper, weightier and better defined than the Valhalla and the treble is cleaner still with superior tonal colour
Comment: In my humble opinion both are great cables with the Odin gaining my personal preference due to its slightly higher levels of transparency, vibrancy, immediacy and resolution. Odin is quick, uncluttered and seamless in its delivery – but the real clincher for me is the incredible aliveness and presence combined with rich harmonic information which this cable seems to infuse in the music.
The Ansuz C is by no means disgraced. It runs the Odin incredibly close and this points to the possibility that the Ansuz D [not tested here] might equal or outperform Odin.
Photo 4: The Nordost ODIN Power Cord
TESTS ON SYSTEM TWO
I was not sure what to expect when I loaded the first test disc into system two. I did expect to hear some change as the audio systems and acoustic environments are very different. Whereas my home system is rather large and complex and outfitted in Nordost from tip to toe; system two features all Ansuz cabling and is much simpler in construct relying on the latest integrated Devialet amplification (model 240). Tonally the Devialet is a little cooler than my home system and I wondered whether that would also influence the results?
In the finish I need not to have worried because after a three hour audition with the same demo test tracks the results read the same as system one. The only slight observational change recorded was that the Devialet responded to the Ansuz C in a highly favourable way – allowing the Devialet to produce a slightly richer mid; a change that was not observed in my own system. Otherwise the performance of the Ansuz P&C and Nordost was unchanged.
Two possible take-aways from the exercise are that first; with relatively neutral systems we can expect the attributes and contribution of the power cables to be close to constant. Second; Nordost and Ansuz cabling solutions are synergistic and may be used in together in the same audio system.
CLOSING THOUGHTS
Struggling to bring all of the above in for a safe landing I am tempted to say that Nordost cables where more esoteric and Ansuz more grounded. That however would be an oversimplification and would tend to over accentuate differences which weren’t actually there. Closer to truth I suspect is that the above Nordost and Ansuz cables actually share the same broad character quadrant of the PC universe – a quadrant that is light years from the likes of most Cardas, ASI, Shunyata and Kubala Sosna cables. The Ansuz and Nordost cables were more alike [neutral, fast, dynamic] than they were different and this at times posed challenges in identifying and categorising differences.
The above shoot out has very much focused on sonic attributes but recognising that other determinants are frequently also considered when buying cables at this level of expense allow me to close on some other considerations.
First, cosmetics; picking up and closely examining Ansuz and Nordost cables reveals differences in appearance and perceived build quality. There is no doubt about it, Nordost with its solid core oxygen free conductors, spiral wound insulators and extruded outer wrap looks the business and gives the perception of high quality. The same unfortunately cannot be said for the Ansuz, where seemingly inexpensive and not particularly dense weave outer sleeves combined with lightweight plugs, not the mention the absence of any form of serial number on the P version and the rather tacky “quality level” stickers stuck to the main plug barrel – all scream cheap. Looking at a typical Ansuz cable it is hard to imagine what makes it so expensive – though admittedly the answer to that may well be hidden and not particularly relevant? Perceptions are not helped with packaging where Ansuz is delivered in a no frills package reminiscent of a pizza box whilst Nordost reference products come ensconced in a nicely lined wooden case complete with lock and key. Moreover, while I have some Nordost products which are over ten years old and still look like they were purchased recently – a testament for sure to build quality – we don’t know and won’t know for years to come how Ansuz products stand the test of wear and tear and time.
Second, cable dressing. While the Ansuz products may be unremarkable to look at – at least they are very easy to work with. The Ansuz cables are lightweight, highly flexible and if called upon can work can turn in a tight radius. Great! The same unfortunately can’t be said for the Nordost cables which are rigid and stiff and need fairly large bend radiuses. This makes the Nordost cables painfully difficult to layout in such a fashion so as to ensure neat installation whereby audio and power cables don’t cross one another and if they do, it is at 90 degree angles. Resistance strain with Nordost is perfectly capable of twisting a lightweight electronic component mounted on Sort Kones and may mean you can’t site the component exactly where you want on the rack.
In sum and on balance, Ansuz Acoustics is a very welcome addition to the audiophile power cord market. My experience with Ansuz PC’s – a small sample of which has made up this update – is sufficient to demonstrate to me that they offer extraordinary value on a sound quality per dollar spend basis. I recommend that audiophiles actively searching for high end power cords include Ansuz Acoustics products in their evaluations in order to reach their own opinion of them.
OPPORTUNITIES FOR FURTHER RESEARCH
Many interesting questions remain – some of which I have already started exploring – such as what happens when you combine an Odin with a Ceramic; or an Odin with POM or Ceramic with POM? Is powering your source with an Ansuz Ceramic PC more worthwhile than using the same product to feed the distributor? The initial answers are fascinating but warrant further research before being reported.