Recommended Components Fall 2023 Edition Powerline Accessories

Powerline Accessories:

AC Nexus Advanced Power Distribution & Ground Enhancement System: $20,000
Steve McCormack, once the proprietor of The Mod Squad, is the man who introduced the concept of accessory isolation feet—his Tiptoes were aluminum cones with flat tops and sharply pointed feet. Now he's brought to market this passive AC-power filter, whose Panzerholz enclosure contains two fist-sized silver-conductor capacitors from Duelund. The IEC AC inlet is a Bocchino Audio Marriner10 and the AC outlets are four Furutech Nano Crystal Formula duplexes. Four Cardas ground posts of solid copper are also provided; not provided is an incoming AC cord, though the AC Nexus's distributor will bundle it with a 6' EinKlein David cord for a total of $28,000. Thus equipped and used in MF's reference system, atop a Harmonic Resolution Systems isolation platform (SMc Audio suggests that the AC Nexus is sensitive to vibrations), the AC Nexus coaxed from MF's gear a welcome degree of serenity, "Along with a butter-textured sweetness of sound." But, as Mikey wrote, "overall, it was too smoothed-over for me, too romanticized." Replacing the EinKlein David cord with an AudioQuest Dragon resulted in a more "open" sound. (Vol.41 No.6)

Audience Adept Response aR12-T4: $11,400
The Adept Response provides power-factor correction, RF noise filtering, transient suppression, and 12 Hubbell high-conductivity power outlets. Each outlet is isolated from its input by one filter, and further isolated from the other outlets by a combination of two additional filters, allowing an entire audio system to be plugged into a single AR. BD noted a profound overall improvement in his system's performance, characterized by enhanced clarity, precision, low-level detail, image definition, soundstage size and depth, and tonal density. "A thoroughly thought out, well-designed, nicely executed manifestation of all that's currently known about power conditioning," said BD. "TS" changes from the earlier aR12 include: a new, larger ground with connections welded rather than bolted; Teflon capacitors throughout; and the use of monocrystal copper wire on the Teflon caps. With the aR12-TS in BD's system, dynamic transients expanded, resolution of low-level detail significantly improved, soundstages opened up, images became more dimensional, and voices took on additional harmonic richness. "The Audience aR12-TS is the best power conditioner I've heard," said BD. Current version is an update of the TS BD reviewed, but JCA judges that the changes, at a minimum, should not reduce performance. (Vol.30 No.4, Vol.34 No.10, Vol.35 No.1 WWW)

AudioQuest Dragon Source AC cord:$4500/1m, $3400/additional meter
High-current version: $5500/1m, $4400/additional meter
The top models of AudioQuest's power-cord lineup, the Dragons are available in two types: Dragon Source ($4500/1m), intended for source components, and Dragon High-Current ($5500/1m), intended for use with power amps, AC-power regenerators, and other products that draw higher-than-average current. All Dragon models are made with a combination of solid silver and solid copper conductors, and feature AudioQuest's battery-powered dielectric bias system (DBS). After fitting his system with Dragons of both sorts, MF reported "a major improvement in the overall sound" and decided to buy them: "In the context of my audio system, based on what I hear every day, it's well worth it." MF later wrote, when comparing the Dragon AC cables with another brand that what he heard "was another leapfrog forward producing more transparency (in the sense of the ability to see into the sonic space), more air, and more rhythmic authority...Nothing else I've tried...matches the Dragon AC cord's transparency, quiet, and taut musical grip." (Vol.41 No.5, Vol.45 No.9 WWW)

AudioQuest Niagara 3000 Low-Z Power Noise- Dissipation System: $3900
The Niagara 3000 is an AC power conditioner with two high-current receptacles for amplifiers, five source-component receptacles, AQ's Transient Power Correction (which provides a current reservoir specified to provide more than 55 amps of "instantaneous" peak current), and AQ's Ground-Noise Dissipation System. TG found that with his twin subwoofers powered by the Niagara 3000, "it was obvious that there was less distortion in the signal, and the bass was deeper, more dynamic, and more musical than before." He added that with his system powered by the AudioQuest, the conditioner extracted a "previously unheard level of tangibility" from streamed recordings. FK agreed, finding that the Niagara 3000 added to his system's sound a "closer approximation to in-the-flesh music, heard whole—from top to bottom (low notes to high notes and everything in between), side to side (left channel to right), and front to back (the pinch-me illusion of soundstage depth)." He commented that with the Niagara 3000 there was "a seamless absence of noise—across the frequency spectrum." (Vol.43 No.12, Vol.44 No.8 WWW)

AudioQuest Niagara 5000: $5900
KR, who admits to many years of skepticism about the audible advantages claimed for power conditioners, has had a change of heart, evinced by his use of the words love and Niagara in the same sentence: "I love what the Niagaras 5000 and 1000...have done for the sound of my system." At half the price and less than half the weight of AudioQuest's flagship Niagara 7000, the Niagara 5000 differs from it primarily in lacking the Dielectric-Biased AC isolation transformers on its eight noise-dissipation outlets. (See entries for the Niagara 1000 and 7000 elsewhere in this edition of "Recommended Components.") Bolstered with some of AudioQuest's NRG Edison AC outlets ($149 each), the Niagara 5000 compelled Kal to write that "the noise from [my] tweeters was reduced, and the noise from [my] woofers was now completely inaudible." And there you have it. (Vol.40 No.9 WWW)

AudioQuest Niagara 7000: $11,000
Billed as "a complete rethinking" of AC distribution, the AudioQuest Niagara 7000 is a power-conditioning accessory that provides a total of 12 AC outlets: four hard-grounded high-current outlets, plus eight others divided into two groups of four, each said to be 100% isolated from the other and from the four high-current outlets. Inside this attractive 81lb box are circuits comprising AudioQuest's Ultra-Linear Noise-Dissipation technology, six banks of direction-controlled ground-noise dissipation, and AC isolation transformers to which AQ's trademark Dielectric-Bias System (DBS) has been applied. Although MF described the Niagara 7000's outlets as "the most difficult to use I've ever encountered," owing to their sheer grip, he was impressed with the Niagara's effectiveness, which he regarded as being on a par with that of his Shunyata Research Hydra Triton v2 and Hydra Typhon distributors. Each had its strengths, MF said, noting that "the Niagara 7000 better resolved fine detail and threw a deeper, more expansive soundstage." (Vol.39 No.2)

AudioQuest NRG-X3 AC cord: $99.95/6ft 6in (2m)
The NRG-X3 three-pole AC cord uses strands of long-grain copper for its semisolid, concentric-packed conductors. SM connected the NRG-X3 to the Emotiva ERC-2 CD player and heard a cleaner, brighter top end; faster, more assertive attacks; and longer, lovelier decays. "The AudioQuest NRG-X3 delivered more music, made more sense of the music, managed to more fully convey the artists' intentions, and made me a happy guy," he said. (Vol.35 No.1 WWW)

AudioQuest Tornado AC cord, High-Current Version: $1545/1m; +$350/additional meter
Source Version: $1095/1m
When HR replaced his Pass amp's standard power cord with the High-Current version of AudioQuest's stiff, three-conductor Storm Tornado, he noticed "a change in the fundamental shape and tone character of the music coming out of my speakers. Instruments and voices seemed stronger, more three-dimensional. A sleeping dog would have been startled by these differences." Inversely, when Herb replaced the Tornado with a $1 generic cord, he described the results as "like putting on scratched sunglasses and a wool coat on a hot day." That said, HR reported that, with the cheap cord, one of his favorite recording artists endured in having "a naturalness of tone and temper...I didn't need a Tornado to enjoy his music." (Vol.41 No.8 WWW)

Brick Wall PW8R15AUD surge protector: $309
This small, solid, black block is a series-mode surge protector rated for 15A loads and comes equipped with eight outlets in four filtered banks and a captive 14-gauge AC cord. Gave KR the sense that his equipment was safe from catastrophic insult without changing his system's performance whatsoever. (Vol.28 No.5 WWW)

CAD Ground Control GC1.1: $2250
CAD Ground Control GC3.1: $5500
These passive systems are intended to reduce a broad range of high-frequency noise picked up by and created by electronics, as well as RF noise that gets into connecting cables and components from the AC mains. MF tried the two-socket GC1 and the six-socket GC3 along with CAD cables ($350 each) that connect on one end to the Ground Control units with 4mm banana plugs and are terminated on the other end with USB, RCA, XLR, spade, and 4mm banana plugs. He found with one of his favorite LPs that the Ground Control system resulted in "more delicate" sound but with still well-articulated attack. The background was blacker, recorded strings had more luster, female voices were smoother, and sibilants were more cleanly expressed so that the LP sounded "more 'there' and less recorded." He subsequently wrote that "Now that I've lived with it for another couple of months, I can render my verdict: I can't live without it." (Vol.43 Nos.7 & 9)

Clarus CPB-2 Duet Power Block: $1250
This "well-engineered," two-outlet, high-current power conditioner features a noise-reducing low-pass filter (up to —49dB, 100kHz—6MHz) rated at 30A and utilizes a proprietary technology that Clarus calls "C-Core." Thermal Metal Oxide varistors protect against surges. MF auditioned the Duet with the matching Clarus Aqua AC cable ($549 for 3', $1849 for 12'). With the Clarus in the system, MF found that it produced quieter backgrounds and a somewhat reduced a layer of "haze," this probably caused by high-frequency hash. It also didn't limit dynamics, he found. (Vol.44 No.2 WWW)

Ferrum HYPSOS Hybrid Power System: $1195
This internally complex, programmable power supply accepts 110–240V AC in and can output a user-selectable DC voltage from 5V to 30V at up to 6A. A linear supply feeds a low-ripple switching supply (SMPS) through a single-stage filter, there is a two-stage filter on the output of the switching supply, and the SMPS is followed by a low-noise linear regulator. HR used the HYPSOS with Ferrum's OOR preamp/headphone amplifier—see Headphones & Headphone Accessories—and decided that the HYPSOS "brought new glow, space, and atmospheric vibrancy to everything I played. These enhancements were most recognizable from the upper bass through the top of the female vocal range." (Vol.45 No.2 WWW)

Kimber Kable PK10 BASE PowerKord: $350 1.5m (5'); longer lengths available at $140/m
ST used Kimber Kords throughout his system, and noted tremendous differences with a Jadis Defy-7. But try before you buy, he warns. (NR)

Kubala-Sosna Elation AC cable: $2350/m, $600 each additional meter
A JA favorite. See "Interconnects." (NR)

Kubala-Sosna Emotion AC cable: $1500/m; $350/additional meter
A KR favorite. See "Loudspeaker Cables." Add $300 for each additional meter. (Vol.29 No.7 WWW)

Luna Mauve AC Cord: $1890/2m
Luna Orange AC Cord: $1260/2m
A new company from Quebec, Luna Cables designs and manufactures four lines of cables: in order of ascending cost, Luna Orange, Luna Mauve, Luna Red, and Luna Black. In all Luna cables, the conductors are old-style tinned copper—in some, the conductors are actual new-old stock tinned copper from decades ago—and Luna eschews polymers in favor of natural materials, such as the hand-dyed cotton used as an outer sheath on all of their models. Designer Danny Labrecque is a tube-and-vinyl aficionado and a longtime Shindo Laboratory dealer, and Luna's résumé suggests that, while not specifically intended as such, their interconnects, speaker cables, and AC cords will jell with systems influenced by vintage-audio values. That's what attracted the attention of AD, who was impressed by what he heard. In particular, AD flipped over Luna's humblest power cord—remarkable, since he seldom has much use for aftermarket AC cords, period. From the Luna Orange series, it sells for $900 CAD for a 2m cord. When he tried the Luna Orange AC cord on his Shindo Haut-Brion power amplifier, it was, he said, "as if I'd found, somewhere in my system, a theretofore undiscovered knob labeled Vividness, and had goosed it up a couple of clicks." (Vol.39 No.8 WWW)

Nordost Qbase QB8 Mark II: $1849.99
Of this AC strip's eight outlet sockets, only the one at the center of the strip goes straight to ground. For the remaining seven, resistors are inserted between the sockets and the ground in an attempt to reduce the noisy currents that can come from having multiple ground points of differing potentials within the system. (Vol.32 No.12 WWW)

Nordost QKore grounding units: $2999.99 (QKORE1); $4099.99 (QKORE3); $5749.99 (QKORE6)
Intended to serve as a manufactured ground reference, Nordost's QKore Ground Units contain a "low-voltage attractor plate" made of a patented inorganic alloy, intended to avoid the variables—temperature, humidity, soil composition, phases of the moon—that can compromise the electrical grounds of most households. QKore Ground Units are equipped with QBase Ground gold-plated binding posts and supplied with silver-plated copper QKore Wires. Three versions are available: QKore1 ($2499), which has one QBase Ground terminal and one 2m-long QKore Wire, and is meant to ground the user's primary distribution block/AC power conditioner/etc; QKore3 ($3499), which has three QBase Ground terminals and one 2m-long QKore Wire, and is meant for grounding audio components; and QKore6 ($4999), which combines in one box the QKores 1 and 3, and comes with two 2m-long QKore Wires and extra grounding terminals. After living with all three, JVS declared that he couldn't imagine the serious enthusiast who would choose to be without the "markedly 'blacker' backgrounds, increased transparency and detail, more vivid colors, and greater overall veracity" they brought to his system. (Vol.42 No.1 WWW)

Nordost Qsource Power Supply: $2749.99
JVS was impressed by the improvement this supply made to the performance of Nordost's QNet network switch. (See Miscellaneous Accessories.) The QSOurce has four DC outputs fixed at 5V and two that are adjustable—one can be set to 9V, 12V, or 19V, the other to 12V, 19V, or 24V. The 9V output can be used for the QNet; 19V is appropriate for Roon Nucleus and Nucleus+ music servers. (Vol.45 No.10 WWW).

Nordost Valhalla 2 AC power cord: $6599.99/1m
See Interconnects.

PS Audio DirectStream Power Plant 20: $9999
PS Audio DirectStream Power Plant 12: $5999
The largest of PS Audio's Power Plant AC regenerators, the 96lb P20 provides 16 outlets and has a peak load capability of 3600VA. Like previous Power Plants, the P20 can output a pure sinewave, with adjustable amplitude, or it can alter the waveform in ways that PS Audio says can improve the sound of the system connected thereto—a palette of adjustability the manufacturer refers to as MultiWave. JCA found that MultiWave adjustments had less audible effect than the introduction to his system of the P20 itself; of the latter, he wrote that going from a Wiremold power strip to the P20 was "one of the biggest changes I've heard when switching out components (loudspeakers excepted), and easily larger than the differences I heard the last time I compared two preamps." In a Follow-Up, JVS praised the P20 for helping get the most out of the Verity Audio Monsalvat Amp-60. "As good as the system had sounded with the [PS Audio PowerPlant] P5," wrote Robert Deutsch, "with the P12 there was a major step forward in overall realism. With no change in volume setting, the sound was more dynamic." With his McIntosh MC275LE, the midbass-to-low-bass region was clearer, with bass drums and timpani seemingly having a more solid foundation, and transients generally having crisper onsets and more rapid decays. The MC275 LE seemed to lose some of its "tubey characteristics—it sounded more neutral, more like the real thing." Following issues with his AC power, MF found that a Power Plant 20 restored the sound quality of his system. (Vol.41 No.11, Vol.42 Nos.4 & 5, Vol.44 Nos.4 & 5 WWW)

Shindo Mr. T. isolation transformer: $2795
Just as Seth Brundle, the protagonist of David Cronenberg's The Fly, set out to purify his body by sending it from one teleportation pod to another, so are certain types of transformers designed to purify AC line voltage by sending it from one coil to another via electromagnetic induction: The desired 60Hz AC makes the trip, but the higher frequencies, which our playback gear regards as noise, get left behind. The Shindo Mr. T is one such isolation transformer: a massive Haruna Denki transformer mounted inside a steel enclosure 9" wide by 6" high by 6.25" deep, painted in Shindo's trademark shade of metallic green and fitted with one IEC input and six ceramic AC outlets. A Shindo power cord—these are intentionally slim and bereft of a ground plug—is included. The Mr. T brought a number of refinements—including greater melodic ease and a lessening of artificial texture—to AD's system, which includes a Shindo preamp, amp, and interconnects (and, at times, a Shindo-modified Ortofon SPU pickup head). It also worked wonders with AD's Garrard 301 turntable, revealing in music a better sense of momentum and allowing "tempos [to seem] quicker—although pitches were unchanged." (Vol.41 No.7 WWW)

Shunyata Everest 8000: $9900
The Everest is intended to bleed off noise on the powerlines. This is done primarily by Shunyata's "CCI Filter," which is described by Shunyata as using "modules that consist of proprietary multi-stage filters that reduce power-supply–generated noise without the use of heavy transformers, coils, or large capacitors." BD used this power conditioner with a Shunyata Sigma v2 XC ($3250) power cord to connect it to the wall and Shunyata Alpha v2 NR power cords ($2000) between the Everest and his front-end components. (He also used the latter cords for his VTL power amplifiers.) "Casual listening was more than enough to hear the difference: My system sounded significantly better," he wrote. Carefully comparing the sound of the system with and without the Everest 8000, he found that without the Shunyata, "it was as if a slab of smoke or haze was now encasing the performers, who were themselves flat and perhaps even a tiny bit out of focus." With the Shunyata, he "became aware of fine details that simply weren't there before; neither the clarity nor precision required to define them had been present." Summing up, BD wrote "The changes the Shunyata system made to my system...weren't subtle. The magnitude of noise reduction was startling. The additional spatial and temporal details revealed when the noise was eliminated made performances richer and more involving and returned a lifelike energy that I hadn't realized was missing." (Vol.44 No.5 WWW)

Signal HiFi SignalCable 20A MagicPower AC cord: $109/3'
KR came right out and said it: "Of all possible system cables, the one that I believe has the least potential to influence a system's sound is the AC power cord." He also spoke of chafing at the idea of premium-price cables that are too inflexible to use behind his equipment rack. Enter the SignalCable 20A MagicPower cord, based on 10 AWG stranded, high-purity copper, with hospital-grade Marinco terminations. (The 20A connectors are optional at no extra cost.) As of this writing, KR was considering buying more of them. (Vol.41 No.3 WWW)

Stromtank S-1000 (battery power source): $15,975
The German-made Stromtank uses a lithium-iron-phosphate battery array with a storage capacity of 1000Wh that can power front-end components for 5–8 hours before recharging. (Its 450VA continuous output power at 77°F is not sufficient for high-power amplifiers.) JVS tried the S 1000 with his source components and experienced greater color saturation and transparency, better integration of orchestral instruments in different ranges, and a less gray background compared with the components powered directly from the AC line. Without the Stromtank, the highs were slightly noisier, lows were shallower, and there was a relative lack of clarity on bass lines. "I'd expected the Stromtank S 1000 to improve the sound of my system, but I never thought it would serve as the missing link to component greatness," he concluded. (Vol.45 No.7 WWW)

Torus Power RM20 AC power isolation unit: $3999
Torus Power's Power Isolation Units (PIUs) combine surge suppression with massive toroidal transformers to provide AC power conditioning and protection from voltage surges. The RM20 uses a single 2400VA toroidal transformer to supply 120V and 20 amperes to the 10 AC outlets on its rear panel. It has a 20A circuit breaker for its On/Off switch and uses a 14AWG detachable AC cord rated at 15A/125V. "The PIU greatly enhanced subtle details of tone, timbre, and imaging when dynamics were extreme or volume was loud," said LG. CS20 version has 17" faceplate (silver or black); also costs $3295. (Vol.31 No.1 WWW)

Triode Wire Labs American Digital AC cord: $499 up to 5'
The High Power Digital American power cord was reportedly designed for power amps, power regenerators, power conditioners, and power bars: a theme emerges. Nevertheless, HR began his time with Triode Wire's cord by using it with digital source components, including his Schiit Audio Yggdrasil D/A processor, and was impressed: "I was surprised to hear more even more vigor, more distinctly drawn images, and a lot more physicality." A few days later he reinstated the Schiit's own stock cord, but after playing only two CDs "became impatient" and went back to the Triode Wire Labs. That said, when he tried the Digital American with his Pass Labs solid state amp, he found the improvement less remarkable than with the more expensive AudioQuest Storm Tornado cord. (Vol.41 No.8 WWW)

Wireworld Platinum Electra power cord: $2200/1m
Compared to the more expensive Shunyata Research ZiTron Anaconda, the Platinum Electra sounded less vivid and less natural, said MF. (Vol.36 No.11)

COMMENTS
creativepart's picture

Does Stereophile ever question the validity of this twice a year list? Perhaps it really helps with newsstand sales, but I've come to dread it's release twice a year. First, there are the stupidly priced A+ turntables all reviewed by one staffer that's been gone for quite some time. The entire A+ section will go away with "not tested in a long time" and rightly so.

Some items are ranked by full reviews with testing and others are just columnists saying - highly recommended - at the end of their monthly column. And those items are many times totally out of the mainstream of the product marketplace.

And, while price doesn't indicate quality, it is so jarring to see $500 products achieve the exact same ranking (A or B usually) along side $15,000 products.

I'd love to see you folks test more of the items people are buying in fairly large numbers everyday... even though they don't have the same 5 popular distribution partners or those that advertise in the magazine. No, I'm not saying it's pay to play. But MoFi Distributing buys a lot of ads, it's friends with staffers and routinely gets their products reviewed. It's not payola, but it is a symbiotic relationship.

I'd recommend you scrap the listing and retool the whole thing - and put some thought into how and why you test the products you test.

tenorman's picture

Very objective , well written and fair . You’ve made some great suggestions . Thank you

HeadScratcher's picture

I too recommend scrapping the current format for a complete retooling of a listing that isn't so time lapse convoluted...

Glotz's picture

Creativepart is mincing words to that they fail to commit to... They are saying it's pay to play in no uncertain terms and views their listings with mistrust. To imply MoFi has a friendly relationship is complete conjecture and Stereophile does not make nor position themselves as a symbiotic relationship with any manufacturer or distributor. If they get their product reviewed, it's because a reviewer saw or heard their product at a show, and anything else is implied BS. Rather, they hate MoFi for their lack of transparency about their debacle on digital masters, and want to see any association of Stereophile's behalf as condemnation of their own lack of transparency and veracity. That implication stinks like jaded political pundits grasping for correlated facts.

What CP is also implying directly is that he or she would like validation of their mainstream products purchased to be favorably reviewed (so they can feel good about their purchases of gear). It's generally opposed to what Stereophile does and any long term reader or subscriber would know that as gospel and the very reason the magazine exists on one level- to provide a review of one person's experience with a hard to find or less-investigated piece of gear. It is easy to find, learn and buy any mainstream piece of gear. I do think that should change a bit.

What is important is for Stereophile to review these mainstream audio products and compare against their audiophile offerings and EXPLAIN why they are different and (if) superior. That would be bring in more readers if the descriptions of well known products (vs. audiophile products) could be compared and contrasted well enough. This acts to bring real-world reference points to levels of sound quality that more non-audio dudes would understand.

I do not think this magazine is as good at comparisons (though understandable) as they used to be in the 80's and 90's (less HR and JA). Manufacturers don't like comparisons to their products because often the context is misunderstood by readers. Yes, almost all products in any category are vastly improved and the 80's performance points were much more obvious to hear and report about as negative or positive. Technology marching forward has changed that and leveled the playing field drastically. The fundamental design approaches of audiophile companies still focus on sound rather than ergonomics or functionality.

What should happen is to NOT name the product under comparison in the review but only use price as an indicator of quality vs. price in any comparison. That way readers can understand the product from a price perspective and not feel they have a field day crapping on the product that they 'KNEW was audiophile garbage'.

Side note- Other than subscribers, no reader should be allowed to make comments on this or the other sister websites. By way of omission of the subscribed investment, we will be able to separate the dross from water. I'm pretty sure there are a lot of other websites that do this outright, but I get that Stereophile wants to increase it's readership. Perhaps, this is actually a better way to do it. Require subscriptions for posting comments here and there (AP).

Jazzlistener's picture

high when you wrote this? Talk about verbal diarrhea. Creativepart made some good points. Although I do personally enjoy the Recommended Components feature, I too find it questionable (e.g. the Rega P3 makes it into Class C but none of their higher end tables can crack Class A? Pluh-ease. What I would really love to see is more system recommendations in Stereophile like in some of the British Hi-Fi mags, and at different price points.

Glotz's picture

But I was pissed a bit. Implied collusion ruffles my s***.

Great recommend on the system point you bring up. That should be a regular feature if they can create very different systems for each 'type' of listener. From there they could build on hybrids of system types involving tubes and solid-state, etc.

These rankings are just one reviewer judging a component in relation to their system. The Benchmark reviews come to mind- Certain people loved them, others not. There's massive nuance there and goes to the heart of preference thing- accuracy to source vs. myfi, vs. 'the absolute sound'.

They all need to fit somewhere into the classes here. It may be a hodge-podge like it is, but whatever. It just is.

The Belles vs. McCormack amp comparison from Sam Tellig (2000) comes to mind as well. The pursuit of accuracy vs. warmth and obscuration of detail lent the McCormack the nod and the higher rating for ST in Class A and the Belles to Class B. Same realm of performance and price (in my listening as well) but they don't share a rating. In more ways and in my lighter balanced system (at the time), I preferred the Belles.

I think dollar amounts do have play a part here as sometimes there are positives that 'overweigh' the subtractions to placement a certain class and could serve one particular group of listeners as a justification for a higher cost or greater perceived value.

Expensive modern tube power amps are a great examples. To get to a greater level of measurement and subjective performance to that of solid state one has to spend sometimes thousands more. The classes do need adjustments for a positive listening value like 'superb depth', even though there may be subtractions for other weaknesses.

I look at the classes as just a rough guide. I doubt that the Project DAC reviewed as Class A a few years back could compete with the top dollar DAC's like dCS, but I haven't heard the Project. I would think there is enough areas of merit to make Class A, but probably not as many facets of performance as the dCS or other pricey DACs.

Anton's picture

One of those turntable must surely be A++, no?

And some of that 'A' gear must really be 'A-.'

I think we should switch to the Moody's rating system...

Or, perhaps the Robert Parker 100 point scale.

Glotz's picture

lol.

RobertSlavin's picture

First let me say I heard the Raidho D2-1 speakers several years ago and was very impressed.

However, given how uneven the measured frequency response of the Raidho TD3.8 was in the Stereophile measurements, I question whether it should have even qualified for Class E if it were sold for $700. Instead, we find it recommended at Class A+ for $117,000.

It is generally acknowledged that there is a strong correlation between even measured frequency response and generally perceived speaker quality.

I realize that to get in A+ just one reviewer has to think that way. But it does raise my eyebrow.

Robert

Scintilla's picture

Despite my recent foaming-of-the-mouth and throwings-under-the-bus here, I do think there is value in the list each year. I have used Stereophile reviews and the list to both narrow my choices and to purchase goods based on a long-standing relationship with a reviewers words. Fremer might think me a random hater but I used his reviews to pick both a phono preamp, and a tonearm. I trusted my own ears to pick other parts of my system before glowing reviews appeared here. Assembling a modern, high-quality audio system is made much more difficult by the sheer number of products available, companies and general noise on the Internets. In the 80's we could go to a hifi salon and listen to products like the Robertson 4010 with some Soundlab A1's (made my neck hair stand up) and find Celestions with omni subs paired with Bedini or BEL amps. In this age, having a curated list to help people at least find products to seek is more valuable than ever. What it comes down to is whether you trust the ears that made the choices. And I do not trust all the new reviewers and neither should you. They haven't earned it yet.

Glotz's picture

Haven't you given a reason why you can't trust them?

Specifically why.

Scintilla's picture

Because they can't actually hear differences. I only trust Kal, JA1 and nobody else; maybe Herb; maybe but he's one of those I just write for pleasure guys. So why trust them? Because the rest of the new writers, including JA2 have not proved themselves over time. It's one thing to have a good review when many people agree. Why is JVS reveiwing the highest-end equipment like J10 did? WTAF does he really know about that gear other than his association with the magazine? Not much, actually. He's an amateur listener no more skilled than me. At least Fremer proved himself as a real arbiter of sound quality. I may not agree with his choices for equipment, but the man proved his prowess as a listener. Not so with the rest of these newbies. They can be indignant all they want to be but until they have a record of salient, quality reviews, they are nobodies... And this is Stereophile's big fail.

Glotz's picture

I wasn't trolling you- You didn't give reasons until now.

I thought these reviewers had enough experience at shows, with their own multi-thousand dollar systems and constantly refining their own craft by interviewing and working with manufacturers.

It would seem strange that a manufacturer or distributor installed-system would be anything less than successful playback, as they don't leave until they are satisfied. They certainly have the respect of manufacturers, dealers and distributors when I see them talk together at shows. (And if collusion ruled those relationships, we would see a different dynamic here.)

MF's system is real close in many ways to JVS' so what is the culprit?

Is it your perception of measurements don't match JVS' experiences? Or is that HR has a more observable scientific method by way of comparisons of gear that seems more transparent? Or the way either communicates their observations?

It just may be about the type of subjective tests that reviewers are performing that fails to bring one type of measurement to be audible. Classical music omits a ton of performance areas for review parameters. The component review may be really for classical lovers. I certainly don't read anymore into it if he isn't remarking on other music.

Yet I do see JA defending JVS' experiences in his measurements section in last month's Infigo review. No one seems to ever acknowledge or comment on those reasonable defenses- ever.

Thank you for your explanation no matter what.

ChrisS's picture

...from mine?

No problem!

creativepart's picture

I went to pains to explain I wasn't claiming payola. And, I'm still not. I'm saying that products with distributors are granted more reviews due to attendance at shows, relationships with editors, and just increased personal contact. Companies expect their distributors to represent their brand for them and to advertise their brand for them. And, that's what they do.

Reviewed products end up on the Stereophile Recommended Products list because of this greater exposure to Stereophile writers and editors.

When someone from a small equipment company calls an editor their call will not be answered as readily as a call from that nice rep you met at the Munich show and shared a beer with last year. It's how the business works.

And, everyone should know when a product is getting a review in a future issue the Ad Dept is made aware and sales people call to suggest an ad be placed in that same issue. It's not pay to play because the ad sale has nothing to do with the product review being printed. But companies recognize synergy when they see it.

Add to this that most reviewers seem to be in Urban areas that have the traditional HiFi Shop. Where the rest of the country only has internet forums and online reviews to audition various products.

My entire point is... the list is tilted, skewed toward bigger budget, higher priced gear that is professionally represented and that is not necessarily representative of the broader equipment marketplace, and what mainstream audiophiles are buying.

Jazzlistener's picture

“My entire point is... the list is tilted, skewed toward bigger budget, higher priced gear that is professionally represented and that is not necessarily representative of the broader equipment marketplace, and what mainstream audiophiles are buying.”

I do not begrudge any company that does a good job marketing itself, attending shows, building a presence in the industry, etc. That’s a lot of hard work and investment. There is a boutique speaker company in my home town that makes outstanding speakers, but the owner has steadfastly refused to show them off at shows, market them properly, or work with dealers. The result has been failure to grow his company or draw attention to his speakers. That’s on him. Stereophile is only one of myriad sources on the Internet where audio enthusiasts can find reviews on gear. Many other reviewers cover mainstream products. In fact, if you’re interested in a product you’d be hard pressed not to find a reasonably to excellent credible review on it.

ChrisS's picture

...shopping.

Does no one know how to do that anymore?

Yeesh!

Jean-Benoit's picture

It seems like an obvious thing to include, or else the reader is left to "manually" go looking for reviews of every component that piques his/her curiosity. Seems like a wholly unnecessary hassle for what is otherwise a really useful list.

CG's picture

Good suggestion!

I tried to search for the review of the Ayre VX-8. No luck, link or no.

John Atkinson's picture
CG wrote:
I tried to search for the review of the Ayre VX-8. No luck, link or no.

This review will be posted to the website on Friday. The other reviews in the new (October) issue will be posted over the next 10 days. (Stereophile gives priority to print subscribers.)

John Atkinson
Technical Editor/part-time web monkey

CG's picture

Ahh! Coming attractions, as they say. Fair enough, all around.

ChrisS's picture

The review for the EX is online...The new one should come up soon!

ednazarko's picture

Always stunned by how many people are compelled to tell the world at length how outraged they are about something online they don't like. Maybe insufficient joy in their lives? A lack of purpose? Afflicted with oppositional defiant disorder? I don't know. But if you think online comparison rankings of audio gear are a fruitless exercise, why read them? If you didn't read them, how can you have much of a useful opinion? Expressing outrage about something you refuse to read is mostly chest pounding and declaring superiority over the fools filling the world.

Don't like the comparison reviews? Really, just move on. Less rage hormones in your blood will extend your life span. Or raise money, buy the company, and show us your better ideas in action.

I enjoy reading through these comparison ratings. Don't agree with some, do agree with others. I've found over time that there are reviewers whose ears and preferences seem to match up with mine and others who don't. (In these twice yearly ratings, and in the ongoing reviews published.) These cyclical ratings and the ongoing reviews have been quite useful for me in trying and buying gear when living in a location that limits my ability to hear a lot of gear for myself.

Right now massively enjoying listening to Kingfish Live in London on my Okto stereo DAC, which I'd never have heard of without the review here, and would have never bought other than the reviewers were ones who's opinions and ears have matched with mine in the past, along with the wildly excellent measured performance. Through an old Anthem integrated that was well reviewed way long ago... and through B&W 702 speakers that got mixed reviews, but in the mix there were specifics that told me that they'd work well with my other components and in the large studio listening space I had. (And that I definitely needed the smattering of sound panels on the walls behind and to the side.)

Just because something pleases you not, or strikes you as ignorant and wasteful consumption of bits on the internet, doesn't mean that others don't find value and useful insights. Save your time and your cortisol and ignore the stuff you think it dumb. Life is short. Spend it well.

Glotz's picture

N/T

creativepart's picture

No anger, no stress on this end. Simply making suggestions in hopes of improving this twice a year feature (of the printed magazine). If you read anger and vitriol in phrases in my post like "I'd love to see you folks..." then it's not me that's overreacting.

If you like the listings as they are, then great. No one is stopping you. Me, I think they could be more meaningful than they are currently. But that's just me.

pinkfloyd4ever's picture

It would be really helpful if you posted a link to the full review of each of these products in this list

Jau's picture

Hi,
In delections from their latest Recommended Components they relate to the Devialet Expert 140 Pro and say that it has been replaced by a new model which has not been tested. However, the Expert 140 Pro continues to appear on the Devialet website and there is no new model to replace it. (?)

Firemike's picture

Maybe a quick visit to Funk & Wagnall's might be in order to refresh ourselves of what a review and recommendation is. If a consumer wants to spend $10 or $20,000 on a widget, consider a review as gospel, or only an opinion, isn't that their prerogative? If a person prefers the sound of pink colored audio equipment made from crystals and walnuts from "Big HI FI" that has no scientific or measurable reasoning behind it, who are we to judge? Akin to politics and religion, each person votes with their ears and ultimately, wallet. Not every opposing view is a conspiracy which require's a need to question other's intentions. A review is nothing more than one person's opinion. Aren't we in this hobby to listen and enjoy music - not hyper analyze equipment, materials, and the evil empires that provide it? Somehow fellow hobbyist's have survived all of these years in life - many of them very successfully - without our subjective criticism. Yes, I get it. As a subscriber you have input into how you would prefer to see things done. Maybe a letter to the editor could be a consideration.

moukie's picture

Really surprised NOT to see Bryston 4B3 14B3 or 28B3 in the recommended amps and that is like every year

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