|
Recent Additions
Budget Components Audacious Audio J. Gordon Holt
Loudspeakers
Amplification
Digital Sources
Analog Sources
Accessories Listening / Art Dudley The Fifth Element / John Marks Music in the Round / Kal Rubinson Fine Tunes / Jonathan Scull Special Features Reference Interviews Think Pieces Historical Recording of the Month Records 2 Die 4 Music/Recordings Stephen Mejias Robert Baird Fred Kaplan Wes Phillips Audio News Past eNewsletters CES 2010 RMAF 2009 SSI 2009 CES 2009 RMAF 2008 FSI 2008 CES 2008 RMAF 2007 CEDIA 2007 HE 2007 FSI 2007 CES 2007 China 2006 RMAF 2006 HFN 2006 CEDIA 2006 HE 2006 FSI 2006 CES 2006 Forums Galleries Vote Previous Votes AV Links Audiophile Societies Contact Us Customer Service New Subscription Digital Subscription Renew Give a Gift Sub Services Recordings Backissues More . . . Phono Preamp Hi-Fi Phono Cartridge Amplifiers Stereo Speakers |
The Nordost Difference
I am led by the sound of intricate rhythms and interesting textures, and I find myself in the Audio D'Occasion suite, where Radiohead's Amnesiac is ripping into a pair of Thiel CS3.7 floorstanders, sending the speaker's impressive corrugated drivers into a mad dance. I take a seat. Nordost's Bruno de Lorimier catches me and warns: "I just want you to know we've only had the system going for about ten minutes, in case you're listening critically." A crushing blow, this is to me, because the album sounds infinitely better than it ever has in my own home. Bruno then offers a demonstration of the Nordost interconnect family. Associated equipment includes the Simaudio P-7 preamp and Andromeda CD player. Nordost's philosophy, Bruno explains, is that cables are not to be thought of as accessories. Instead, they are very important components, without which, of course, a system could not make music. And, a cable's job is to remove as many filters as possible from the sound, without imparting a sonic signature of its own, thus opening a transparent window onto the recording. We begin by listening to Roxy Music's "Avalon" through the Nordost Blue Heaven interconnect ($230/1m pair). This is followed by the same track played through the Red Dawn interconnect ($400/1m pair). Next, we switch to Haley Sales, a Canadian singer/songwriter/surfer, and we go from the Red Dawn to the $700/1m pair Heimdall. Finally, we listen to a singer/songwriter named Mika, starting with the Heimdall and ending with the Valhalla ($5000/1m pair). The change from Blue Heaven to Red Dawn resulted in subtle differences in volume (increased) and transient response (faster). Moving from Red Dawn to Heimdall, I noted a much more obvious change: Bass impact and quality were improved, percussive speed was again increased, and the sound was more immediate overall. Finally, the change from Heimdall to Valhalla was profound: I noted much more air around all of the instruments, Mika's voice was startlingly present, and there was a heartwarming body and truth to the violins that had been previously neglected altogether. I now, more than ever, believe that cables do make a difference. Great. < Previous Post | Blog Home | Next Post >
Add Comment |
|

