|
| GRANITE AUDIO #560 AC CORD by Constantine Soo February 4, 2002 |
Specifications
10awg copper power cord
Hubbell 8215C Hospital Grade Plug
WattaGate IEC plug
Non-inline toroidal type EMI& RFI filtration at both ends from DC to
1MHz
Price: $600 (5 Feet), $850 (8 Feet), Custom Length: $90/foot +
$200 ($650 minimum)
Address:
Granite Audio
824 South Mill Avenue, Suite 88
Tempe, AZ 85821
Phone: 480-829-8374
Website: www.graniteaudio.com
Email: info@graniteaudio.com
10awg copper power cord
Hubbell 8215C Hospital Grade Plug
WattaGate IEC plug
Non-inline toroidal type EMI& RFI filtration at both ends from DC to
1MHz
Price: $600 (5 Feet), $850 (8 Feet), Custom Length: $90/foot +
$200 ($650 minimum)
Address:
Granite Audio
824 South Mill Avenue, Suite 88
Tempe, AZ 85821
Phone: 480-829-8374
Website: www.graniteaudio.com
Email: info@graniteaudio.com
FOREWORD
The one most deplorable sight for an audiophile upon unboxing new
equipment is probably that of a generic power cord. In fact, of all the
equipment I have purchased, common emphasis was placed on power
supplies and regulations. Not one manufacturer had addressed the
importance of the power cord.
This is a predicament for both the manufacturer and the audiophile. Most
equipment manufacturers entrust the crucial task of power supply and
regulation to the likes of C-core transformers and other premium parts inside
the equipment, and the issue is easily dismissed as they see the power cord
as just a connection between the equipment and the wall outlet. While the
importance of a high-end AC Main is well recognized by the audiophile
community, no manufacturer would readily concede that the excellence of their
products was dependent on a specialized power cord. It is also doubtful that
most audiophiles would be willing to pay the additional mark-up that an
equipment manufacturer would necessarily have to impose with the addition of
such a premium AC cord. Yet the difference they can contribute is substantial.
THE AC CABLE
Being the thickest cable in my system, the #560 is made up of 312 individual
30 AWG strands of copper conductors tightly crimped into vises on both ends
that are then connected to Hubbell and WattaGate IEC plugs. Using
substantial metal parts and clamping bolts, this pressurized connection helps
maximize contact and keep air out in an attempt to assure long-term reliability.
ProGold, the contact enhancer from Caig, is applied to the finished vise
before being secured and shrink sealed into the Hubbell and WattaGate IEC
plugs. Non-inline toroidal filters on both ends of the power cord are included to
prevent EMI & RFI from contaminating the power supply without choking off
any necessary current. Requiring four to six hours to hand-make each cord,
they are finally covered with a flame-retardant and abrasion-resistant braid.
The finished #570 looks and feels first class in overall construction.
A gold-plated version, the #560G (gold), retails for $750 and $990 for
respective lengths of 5 and 8 feet. A lower model that utilizes 123 30AWG
strands, the #555, is also available. In an email reply to me, Granite Audio's
Don Hoglund claimed that in the making of the his AC cables, the application
of his continuous-cast single-crystal 99.9999% copper did not sound any
better than regular-cast 99.9999% copper, so regular copper was used.
Granite Audio does recommends a one-month break-in period.
Don provided two #560 AC cords for review purposes when I was auditioning
the Audio Note M3 Preamplifier. Since both of the #560's were put to use
powering the Audio Note Quest Monoblocks, which in turn drove the Genesis
VI speakers, a system-wide application in my 5-piece system was impossible
at this time. When the opportunity arises to do so, I shall present a follow-up
audition. Interconnects were two pairs of Granite Audio #470 's, with Cardas
Quadlink 5C speaker cables. Since the auditioning of the #560 began at the
time of the AN M3 review and continued to this day, I shall make use of the
findings captured in the AN review and expand on the characteristics of the
various systems using the #560.
ON AMPLIFIERS
In the same passage from the soundtrack to Conan The Barbarian [Varese
Sarabande VSD-5390] as examined in the M3 review, microdynamics
presented by triangles and instruments that are rich in higher frequencies
came through clearer with more definition and reverberation. Consequently,
the performance sounded livelier as onstage activities appeared more
numerous and orchestrated.
Playing another remarkable soundtrack, Alien3 [MCAD-10629] also revealed
improvements in ambience retrieval and microdynamics. With its intrinsically
superior dynamic contrasts and detailed resolution compared to that of the
Conan soundtrack, Alien3 sounded even more shocking at times, while the
condoning string and brass in the track "Lento" came through sounding
markedly more resolute and harmonious in a beautiful fusion. Composer Elliot
Goldenthal is one talent to watch.
Sounding slightly less hyper-detailed than the Alien3, the early-digital
Deutsche Grammophon recording of Vivaldi's The Four Seasons [Duetsche
Grammophon 415 301-2] did not experience refinement of the same
magnitude. With no brass or percussion, the primary areas of improvement
were in the rhythm and pace of the strings, sounding more energetic and
focused with the #560 AC cord, which in return diminished the relatively
unmusical dryness so typical of early digital recordings.
The one voice to behold in the CD, Astrud Gilberto's singing in the 1964 jazz
masterpiece Getz/Gilberto [Verve 810 048], became airier and thereby more
transcending than before. Stan Getz's mastery of the saxophone also became
more profound in his very liberal and lyrical iterations, as swings in dynamics
and the resultant air turbulence from the instrument came through very
distinctively.
Classical piano playing of Evgeny Kissin in his 1999 reading of Chopin's
Polonaise, Op. 53 from the CD Chopin's 24 Preludes, Sonata No. 2,
Polonaise, Op. 53 [RCA Victor Red Seal 09026-63535], carried increased
insights as calmness and outbursts were given heightened contrasts. Putting
the stock power cord back into the chain not only diminished the drama, it also
reduced considerable punctuality from the playing of Kissin and the glamorous
sheen of the piano.
In a different setup, I used the McCormack DNA-1 Deluxe power amplifier to
drive the 3.2 ohm, 85 dB full-ribbon Apogee Duetta Signatures. The DNA-1,
the most powerful amplifier in my possession that delivers 360 Wpc into 4
ohms, consistently drove the Apogees to very high levels without distortion.
With the M3 preamplifier and DNA-1 Deluxe each drawing power via the
#560's, the Apogees produced improved dynamic contrasts. The very
delicate top end of the DNA-1 Deluxe became slightly airier, giving more body
and definition to background instruments, such as triangles and cymbals.
However, there was no apparent increase in the low frequency quality and
resolution.
Supplying power to the diminutive Decware SE84C (review to follow), the
#560 strengthened the amplifier's bottom-end resolution when driving the 104
dB Klipschorn. Granted that the K-horns are very easy to push to thunderous
dynamics and loudness, their 15-inch bass drivers nevertheless generated
more music in terms of both quality and quantity from the little amplifier. In my
subjective assessment, I am certain that the SE84C's small SV83 output
tubes and transformer probably were the limiting factors in preventing the
amplifier from benefiting more profoundly from enhanced power management.
ON DIGITAL FRONT END
The #560 AC cord prompted a subtle improvement in extending frequency
extremes from the CEC TL1 CD transport. Most noticeable was the upper
treble where triangles and cymbals sounded slightly clearer, with the bass
notes more prominent on the noted recordings. Sub-optimal recordings did
not receive appreciable improvements.
Using the #560 on the Wadia 27 Decoding Computer realized similar
improvements, with the midrange benefiting the most. Instruments' midrange
carried higher refinements, rendering each note more natural and discernible.
There was no significant improvement on soundstaging, however. Perhaps
the drastically substantial power supply incorporated into the Wadia 27 was
already providing clean and sufficient power to the sensitive circuits, ushering
the signals with ease and finesse.
Another digital front end, the Sony SCD-777ES SACD Player, also exhibited
similar behavior changes as with the Wadia 27. These minute increases in
performance are better appreciated in a very high-resolution system with short
cabling. Otherwise, too many variables downstream can easily suffocate the
advantages obtained.
IN ANOTHER SYSTEM
During the course of this review, I visited the residence of another reviewer for
the purpose of furthering the comparison. There were two other power cords
being reviewed by this gentleman that were less expensive than the Granite
Audio #560.
During the approximately 2-hour session, the Granite Audio's superiority was
appreciable and undisputed. I noted more microdynamics brought into the
foreground with better tonality, while my colleague noted better imaging and
more precise timbral rendition and instrument imaging. Therefore, while we
might not have agreed on the specifics, improvement was apparent to us
both, and we agreed that the improvements it wrought more than justified the
asking price.
CONCLUSION
The Granite Audio #560 pushed the performance envelope of my system to
newer heights. Improvements as accorded by the #560 AC cord were more
significant when applied to tube power amplifiers than to other equipment,
allowing the amplifiers to sound noticeably more refined and giving improved
micro- and macrodynamic contrasts. The only occasional drawback is that
inferior recordings, previously masked from less potent power, are now more
exposed.
Replacing the Quest monoblocks' stock power cords, the Granite Audio #560
induced more vivid tonal differentiation and spatiality from the Quest-driven
Genesis VI. This validated the potency and quality of each watt generated by
the Quest, rendering the visualized onstage activities as a vastly enjoyable
experience.
While it is impossible for an amplifier to exceed its power rating, I believe
most are not receiving electricity from a power cord capable of delivering
current immune from RFI and EMI noise. Under such conditions, their
potentials cannot be maximized. The construction of the #560, and the aptly
applied materials, might have ensured a less polluted stream of current and
voltage to be delivered from the wall outlet to the equipment, thus allowing the
powered equipment to better meet its specifications.
Therefore, in garnering superior speaker-driving capabilities from expensive
triode amplifiers like the $4,000 pair of Audio Note Quest, the #560 is
especially recommended. However, with more affordable tube gear, like my
$495 Decware SE84C, I do not recommend the #560 prior to investing in
higher-end models first, like Decware's own SE84C Select, which will
definitely present improvements more cost effectively.
Since I plug all amplification equipment directly into the outlets, readers using
premium power conditioners are encouraged to experiment to find out
whether equipment powered simultaneously by both the conditioner and the
#560 will sound even better. It is noteworthy that while conditioners clean up
incoming power, the AC cable bears the crucial task of sending the
conditioned power intact to the transformer inside the equipment. For the
transformer and power supply inside to function at maximum, I have come to
realize that a quality AC cord is essential for harnessing potent power from the
outlet. I dream of re-wiring the power line from my fuse-box to the audio outlets
with the #560. I may never find out, but it's possible that my refrigerator would
run much colder with same amount of power and my TV with more vibrant
colors.
Ironically, audiophiles willing to invest in accessories like power cords usually
already have top-notch systems and thus may look at the #560 as an amusing
experiment. But I believe that audiophiles who consider their equipment to be
inadequate, especially on tube power amplifiers, should consider the #560
seriously, especially when minimum spending is desired. Because unless you
are bent on getting a new machine, the #560 may be able to breathe new life
into your gear, thus saving you the unnecessary grief of having to sacrifice
your precious equipment at half price and then shelling out possibly thousands
of dollars to purchase something better sounding.
My aforementioned visit to the other reviewers home proved the more
expensive #560 as noticeably superior to lower-priced models. While
spending even more on super-expensive power cords will certainly reward you
with better sound from your system, the law of diminishing returns will be most
uncomfortably felt, as margins of improvement are likely to come
disproportionately. Therefore, I see the 5-foot $600 #560 with its 30-day trial
period as a very wise investment.
The one most deplorable sight for an audiophile upon unboxing new
equipment is probably that of a generic power cord. In fact, of all the
equipment I have purchased, common emphasis was placed on power
supplies and regulations. Not one manufacturer had addressed the
importance of the power cord.
This is a predicament for both the manufacturer and the audiophile. Most
equipment manufacturers entrust the crucial task of power supply and
regulation to the likes of C-core transformers and other premium parts inside
the equipment, and the issue is easily dismissed as they see the power cord
as just a connection between the equipment and the wall outlet. While the
importance of a high-end AC Main is well recognized by the audiophile
community, no manufacturer would readily concede that the excellence of their
products was dependent on a specialized power cord. It is also doubtful that
most audiophiles would be willing to pay the additional mark-up that an
equipment manufacturer would necessarily have to impose with the addition of
such a premium AC cord. Yet the difference they can contribute is substantial.
THE AC CABLE
Being the thickest cable in my system, the #560 is made up of 312 individual
30 AWG strands of copper conductors tightly crimped into vises on both ends
that are then connected to Hubbell and WattaGate IEC plugs. Using
substantial metal parts and clamping bolts, this pressurized connection helps
maximize contact and keep air out in an attempt to assure long-term reliability.
ProGold, the contact enhancer from Caig, is applied to the finished vise
before being secured and shrink sealed into the Hubbell and WattaGate IEC
plugs. Non-inline toroidal filters on both ends of the power cord are included to
prevent EMI & RFI from contaminating the power supply without choking off
any necessary current. Requiring four to six hours to hand-make each cord,
they are finally covered with a flame-retardant and abrasion-resistant braid.
The finished #570 looks and feels first class in overall construction.
A gold-plated version, the #560G (gold), retails for $750 and $990 for
respective lengths of 5 and 8 feet. A lower model that utilizes 123 30AWG
strands, the #555, is also available. In an email reply to me, Granite Audio's
Don Hoglund claimed that in the making of the his AC cables, the application
of his continuous-cast single-crystal 99.9999% copper did not sound any
better than regular-cast 99.9999% copper, so regular copper was used.
Granite Audio does recommends a one-month break-in period.
Don provided two #560 AC cords for review purposes when I was auditioning
the Audio Note M3 Preamplifier. Since both of the #560's were put to use
powering the Audio Note Quest Monoblocks, which in turn drove the Genesis
VI speakers, a system-wide application in my 5-piece system was impossible
at this time. When the opportunity arises to do so, I shall present a follow-up
audition. Interconnects were two pairs of Granite Audio #470 's, with Cardas
Quadlink 5C speaker cables. Since the auditioning of the #560 began at the
time of the AN M3 review and continued to this day, I shall make use of the
findings captured in the AN review and expand on the characteristics of the
various systems using the #560.
ON AMPLIFIERS
In the same passage from the soundtrack to Conan The Barbarian [Varese
Sarabande VSD-5390] as examined in the M3 review, microdynamics
presented by triangles and instruments that are rich in higher frequencies
came through clearer with more definition and reverberation. Consequently,
the performance sounded livelier as onstage activities appeared more
numerous and orchestrated.
Playing another remarkable soundtrack, Alien3 [MCAD-10629] also revealed
improvements in ambience retrieval and microdynamics. With its intrinsically
superior dynamic contrasts and detailed resolution compared to that of the
Conan soundtrack, Alien3 sounded even more shocking at times, while the
condoning string and brass in the track "Lento" came through sounding
markedly more resolute and harmonious in a beautiful fusion. Composer Elliot
Goldenthal is one talent to watch.
Sounding slightly less hyper-detailed than the Alien3, the early-digital
Deutsche Grammophon recording of Vivaldi's The Four Seasons [Duetsche
Grammophon 415 301-2] did not experience refinement of the same
magnitude. With no brass or percussion, the primary areas of improvement
were in the rhythm and pace of the strings, sounding more energetic and
focused with the #560 AC cord, which in return diminished the relatively
unmusical dryness so typical of early digital recordings.
The one voice to behold in the CD, Astrud Gilberto's singing in the 1964 jazz
masterpiece Getz/Gilberto [Verve 810 048], became airier and thereby more
transcending than before. Stan Getz's mastery of the saxophone also became
more profound in his very liberal and lyrical iterations, as swings in dynamics
and the resultant air turbulence from the instrument came through very
distinctively.
Classical piano playing of Evgeny Kissin in his 1999 reading of Chopin's
Polonaise, Op. 53 from the CD Chopin's 24 Preludes, Sonata No. 2,
Polonaise, Op. 53 [RCA Victor Red Seal 09026-63535], carried increased
insights as calmness and outbursts were given heightened contrasts. Putting
the stock power cord back into the chain not only diminished the drama, it also
reduced considerable punctuality from the playing of Kissin and the glamorous
sheen of the piano.
In a different setup, I used the McCormack DNA-1 Deluxe power amplifier to
drive the 3.2 ohm, 85 dB full-ribbon Apogee Duetta Signatures. The DNA-1,
the most powerful amplifier in my possession that delivers 360 Wpc into 4
ohms, consistently drove the Apogees to very high levels without distortion.
With the M3 preamplifier and DNA-1 Deluxe each drawing power via the
#560's, the Apogees produced improved dynamic contrasts. The very
delicate top end of the DNA-1 Deluxe became slightly airier, giving more body
and definition to background instruments, such as triangles and cymbals.
However, there was no apparent increase in the low frequency quality and
resolution.
Supplying power to the diminutive Decware SE84C (review to follow), the
#560 strengthened the amplifier's bottom-end resolution when driving the 104
dB Klipschorn. Granted that the K-horns are very easy to push to thunderous
dynamics and loudness, their 15-inch bass drivers nevertheless generated
more music in terms of both quality and quantity from the little amplifier. In my
subjective assessment, I am certain that the SE84C's small SV83 output
tubes and transformer probably were the limiting factors in preventing the
amplifier from benefiting more profoundly from enhanced power management.
ON DIGITAL FRONT END
The #560 AC cord prompted a subtle improvement in extending frequency
extremes from the CEC TL1 CD transport. Most noticeable was the upper
treble where triangles and cymbals sounded slightly clearer, with the bass
notes more prominent on the noted recordings. Sub-optimal recordings did
not receive appreciable improvements.
Using the #560 on the Wadia 27 Decoding Computer realized similar
improvements, with the midrange benefiting the most. Instruments' midrange
carried higher refinements, rendering each note more natural and discernible.
There was no significant improvement on soundstaging, however. Perhaps
the drastically substantial power supply incorporated into the Wadia 27 was
already providing clean and sufficient power to the sensitive circuits, ushering
the signals with ease and finesse.
Another digital front end, the Sony SCD-777ES SACD Player, also exhibited
similar behavior changes as with the Wadia 27. These minute increases in
performance are better appreciated in a very high-resolution system with short
cabling. Otherwise, too many variables downstream can easily suffocate the
advantages obtained.
IN ANOTHER SYSTEM
During the course of this review, I visited the residence of another reviewer for
the purpose of furthering the comparison. There were two other power cords
being reviewed by this gentleman that were less expensive than the Granite
Audio #560.
During the approximately 2-hour session, the Granite Audio's superiority was
appreciable and undisputed. I noted more microdynamics brought into the
foreground with better tonality, while my colleague noted better imaging and
more precise timbral rendition and instrument imaging. Therefore, while we
might not have agreed on the specifics, improvement was apparent to us
both, and we agreed that the improvements it wrought more than justified the
asking price.
CONCLUSION
The Granite Audio #560 pushed the performance envelope of my system to
newer heights. Improvements as accorded by the #560 AC cord were more
significant when applied to tube power amplifiers than to other equipment,
allowing the amplifiers to sound noticeably more refined and giving improved
micro- and macrodynamic contrasts. The only occasional drawback is that
inferior recordings, previously masked from less potent power, are now more
exposed.
Replacing the Quest monoblocks' stock power cords, the Granite Audio #560
induced more vivid tonal differentiation and spatiality from the Quest-driven
Genesis VI. This validated the potency and quality of each watt generated by
the Quest, rendering the visualized onstage activities as a vastly enjoyable
experience.
While it is impossible for an amplifier to exceed its power rating, I believe
most are not receiving electricity from a power cord capable of delivering
current immune from RFI and EMI noise. Under such conditions, their
potentials cannot be maximized. The construction of the #560, and the aptly
applied materials, might have ensured a less polluted stream of current and
voltage to be delivered from the wall outlet to the equipment, thus allowing the
powered equipment to better meet its specifications.
Therefore, in garnering superior speaker-driving capabilities from expensive
triode amplifiers like the $4,000 pair of Audio Note Quest, the #560 is
especially recommended. However, with more affordable tube gear, like my
$495 Decware SE84C, I do not recommend the #560 prior to investing in
higher-end models first, like Decware's own SE84C Select, which will
definitely present improvements more cost effectively.
Since I plug all amplification equipment directly into the outlets, readers using
premium power conditioners are encouraged to experiment to find out
whether equipment powered simultaneously by both the conditioner and the
#560 will sound even better. It is noteworthy that while conditioners clean up
incoming power, the AC cable bears the crucial task of sending the
conditioned power intact to the transformer inside the equipment. For the
transformer and power supply inside to function at maximum, I have come to
realize that a quality AC cord is essential for harnessing potent power from the
outlet. I dream of re-wiring the power line from my fuse-box to the audio outlets
with the #560. I may never find out, but it's possible that my refrigerator would
run much colder with same amount of power and my TV with more vibrant
colors.
Ironically, audiophiles willing to invest in accessories like power cords usually
already have top-notch systems and thus may look at the #560 as an amusing
experiment. But I believe that audiophiles who consider their equipment to be
inadequate, especially on tube power amplifiers, should consider the #560
seriously, especially when minimum spending is desired. Because unless you
are bent on getting a new machine, the #560 may be able to breathe new life
into your gear, thus saving you the unnecessary grief of having to sacrifice
your precious equipment at half price and then shelling out possibly thousands
of dollars to purchase something better sounding.
My aforementioned visit to the other reviewers home proved the more
expensive #560 as noticeably superior to lower-priced models. While
spending even more on super-expensive power cords will certainly reward you
with better sound from your system, the law of diminishing returns will be most
uncomfortably felt, as margins of improvement are likely to come
disproportionately. Therefore, I see the 5-foot $600 #560 with its 30-day trial
period as a very wise investment.