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RSX Technologies MAX Power Cable and the RSX Technologies Power8 Multi-Outlet Power Box

The RSX Technologies MAX Power Cable. All images courtesy of RSX Technologies.

 Disclaimer first:  Roger Skoff, formerly of XLO Cables, has been writing essays for Positive Feedback for a few years now. Back in 2019 he started a new cable company, RSX Technologies. He follows our guidelines for audio professionals writing for PF, among which are that he avoid marketing in his essays, not review any product in the cable domain, not curse us with "white papers," and eschew audiopolemia (very common in high-end audio, unfortunately). Full disclosure equals no conflict of interest in my book.

 Publishing essays and articles from manufacturers/designers/distributors/dealers is nothing new for PF, by the way. We've been doing it since 1992, at least. Check the archives.

 Just for the record.

Back in June of 2020, Roger Skoff of RSX Technologies sent along two review samples from his new designs with RSX. One was his middle-of-the-line MAX Power Cable…

…while the other was his Power8 AC Power Distribution unit.

I knew that Bob Levi had praised the RSX Power8 earlier in the year, along with the Beyond Phono Cable and Beyond Power Cable. (Neither of these were sent to me, and so I cannot comment on them for these Brutus Awards.)

The RSX Power8 provides 8 grounded outlets in a reasonably compact form factor. There's enough space between each receptacle for larger power plugs to be used…a blessed relief. The overall visual impression that the Power8 gives is a clean, trim, and unassuming look.

The MAX Power Cable is the middle of the RSX line. It's is a moderately thick but pleasantly supple design that combines multi-strand AWG 10 capacity…a claimed 5x the metal of other designs…with heavy-duty shielding (including "full Faraday Cage bi-metallic shielding"). Teflon dielectrics are used heavily in its construction. The combination provides both quickness and quietness without losing the ability to handle/route the cable.

Roger Skoff's essential design philosophy is that the best cables do nothing to the signal passing through. As he puts it, "Other than to change location by bringing electricity (signal or electric power) from one place to another, cables have no necessary "change" function at all and, in fact, any change that they might make is always a change for the worse!"

In my months with the MAX Power Cable and Power8, used in our reference office/desktop room (the MAX plugged from the wall AC receptacle to the Power8, and all other components connected via other cables to the Power8), this RSX Technologies combination actually surprised me. I didn't know what to expect, but the RSX provided an extraordinary transparency on the power side of the ledger. I listened, but couldn't hear that the sound of the attached components was anything better than faster, arising out of a quieter noise floor, but with no additional sonic signature. I consider the results to be phenomenal, especially at their price points. The MAX Power Cable that I'm listening to is $1850 MSRP for a six-footer 15A IEC, while the Power8 runs a relatively mere MSRP of $429 for the 15A IEC model. A total of $2279 for some first-rate power distribution that does no audio editorializing.

You can certainly spend tons more than this in high-end audio…but why would you? In my experience, only if you were looking for the last of the curve of the shoulder and the bitter end would you have to look elsewhere. And that is quite an achievement.

No doubt about it:  RSX Technologies takes home a couple of 2020 Brutus Awards here….

iFi Audio Aurora Music System

Images courtesy of iFi Audio, except as noted.

"And now for something completely different!"

The category of "Music Systems"…these all-in-one stereo sets that try to pack as much punch and capability as possible into a single compact space…isn't one that I've spent a lot of time with. Apart from some active wireless speakers from OPPO Digital (the Sonica), Audioengine, and Sony (the SRS-X5), I haven't been using products in this category.

Until 2020.

And then, not one, but two different designs arrived:  one from iFi, and one from Naim (see Naim below).

iFi Aurora in place at PF River City. Photograph by David W. Robinson.

Starting with the iFi Aurora, this is a nearly other-worldly design, extremely eye catching. Bamboo wood…innovative styling…an array of streaming options, with Bluetooth 5.0. iFi states that "All current and future Bluetooth® audio formats are supported including aptX and aptX HD, aptX Low Latency, aptX Adaptive, LDAC and HWA/LHDC, hi-res Bluetooth® codecs created by Sony and Huawei respectively. Also, we have Apple's favoured format, AAC." Spotify and TIDAL are both supported, with resolutions out to 192kHz/32-bit PCM. File formats include the usual streaming PCM stuff. No Qobuz, I noticed…a significant drawback, in the midst of a number of excellent attributes. DLNA and AirPlay are both supported.

The Aurora avoids the use of DSP, and operates most key functions (including room sensing and tuning) in the analog domain. It employs the ESS Sabre32 chipset, and even has a Russian 6N3P driving left and right preamp stages for the Aurora. iFi notes that this is unusual for an all-in-one Music System, and I would agree with them about that.

I/O on the back side is quite generous, and includes left/right RCA inputs, a 3.5mm headphone-style input, RCA-style coax, TOSLINK, Ethernet, USB (device limited to FAT32 formatting and capacity restrictions), and even a micro SDHC slot for music stored on those devices. Or, as iFi lists it:

Inputs

• Given the array of options for input that you have, the Aurora is an extremely flexible audio component. Having both Bluetooth and wired/wireless networking available is pretty remarkable in a device like this.Hi-Res Bluetooth audio with aptxHD/aptX/LDAC/HWA(LHDC)/AAC
• Networked Audio with playback from NAS or server, Airplay, streaming audio (Spotify/Apple Music/Amazon Music/Tidal hifi/Deezer etc.) and USB storage/SD Card 44.1kHz/16-bit – 192kHz/32-bit [Note that DSD files...DFF and DSF…are not specified as being supported by the Aurora]
• Coaxial and optical S/PDIF (Blu-ray Player, Games Console, smart TV etc) 44.1kHz/16-bit – 192kHz/24-bit
• RCA & 3.5mm (for Alexa or analogue audio)

The Aurora version of the very familiar Apple remote control is included, and works very well.

The rest of the cited specs for the Aurora:

Speaker System

• 4 x 4.5" (120mm) coated paper cone wideband driver
• 2 x 1.1" (28mm) silk dome tweeter (8 kHz crossover)
• 2 x 4.5" x 8" (120mm x 200mm) steel passive radiators
• Frequency Response: 27Hz – 40kHz
• Maximum SPL: 115dB / 1m

Amplifier

• Hybrid with tube class A amplification. Power buffers operating at 1.411MHz/1.536MHz clock-locked.
• Frequency Response:  15Hz to 150kHz
• Maximum Power:  320VA (12v input for Marine/Car power supplies)
• Distortion:  < 0.05%

Dimensions

• Device: 59cm(w) x 27cm(h) x 28cm(d) — 15Kg. 24″(w) x 11″(h) x 11″(d) — 33lb
• Shipped: 69cm(w) x 50cm(h) x 40cm(d) — 20Kg. 28″(w) x 20″(h) x 16″(d) – 44lb

Photograph by David W. Robinson.

During the months that the Aurora has been here, I placed it in our dining room. This is the sort of location that would be a natural in many homes, and a perfect application for an all-in-one Music System. I ran it mainly via Bluetooth from my iPhone X, just for convenience sake.

The sound of the Aurora really made a favorable impression on me. Keeping in mind that this is an all-in-one, I wasn't sure what to expect from it, but I must say that the sound of the Aurora struck me as pretty remarkable. The higher frequencies are decently extended; midrange is unmuddied and expressive; and the bass reaches pretty deeply, without being tubby or bloated. The cabinetry is quite heavy and solid…no resonances when I laid on hands for a while to check this. The speaker array provides excellent, wide dispersion of the playback; essentially 180 degrees, making it very fine in nearly all settings that such a component would be placed and utilized.

I don't use Spotify at all, but tried a number of selections from Apple Music and Amazon Music without a problem, and very good responsiveness on the interfaces. The musicality is really quite good…again, for this product category. Once you get the feel of the possibilities of the Aurora, you'll find it to be a surprisingly flexible and delightful audio component in your household.

The price is also pretty reasonable too, for all of these features at an MSRP of $1399.99.

And all of this is more than good enough for one of my 2020 Brutus Awards.

Naim Mu-so Second-Generation Music System

Image courtesy of Focal-Naim.

The second Music System review unit arrived from Focal-Naim. It was the Naim Mu-so Second Generation.

Attractively styled, with a sculpted front end and a brilliant function/volume control, the Mu-So Second Gen definitely caught my eye. It is the culmination of some three years of Naim engineering product development, and features impressive specifications for a Music System:

Naim Mu-so Second-Generation Music System Specifications

• HDMI: ARC in with CEC
• Streaming: Apple AirPlay 2, Chromecast Built-in, UPnPTM, Spotify® Connect, TIDAL, [Qobuz], Roon Ready, Bluetooth, Internet Radio
• Analogue Input: 5mm Jack
• USB: USB2 (Type A connector)
• Digital (S/PDIF): Optical S/PDIF up to 96kHz
• Connectivity: Audio Inputs: 
• Multiroom Sync up to five Naim Streaming products and control via the Naim App. [Note the multiroom capability, of real use in larger settings.]
• Network: Ethernet (10/100Mbps), Wi-Fi (802.11a/b/g/n/ac), BLE v4.2
• Internet Radio Formats: Windows Media-formatted content, MP3, ACC, Ogg Vorbis streams and MMS
• Internet Radio Provider: vTuner Premium 5*
• Audio Formats: WAV, FLAC and AIFF – up to 24-bit/384kHz, ALAC (Apple Lossless) – up to 24-bit/384kHz, MP3 – up to 48kHz, 320k-bit (16-bit), AAC – up to 48kHz, 320k-bit (16bit), OGG and WMA – up to 48kHz (16-bit), DSD64 and DSD128 [also supports DSD256, but note that all DSD is converted to 88.2kHz PCM], Bluetooth - SBC, AAC.

Note: Gapless playback supported on all formats

Other information

• Warranty: Two Years (Details here)

Physical

• Finishes: Burnished and anodised aluminium casework, CNC milled, bead blasted and anodised aluminium heatsinks, Dual tone grey and black fabric grille.
  Grille colour options in Olive, Peacock and Terracotta.
• Weight: 2kg
• Dimensions (HxWxD): 122mm x 628 mm x 264 mm

Power

• Amplifier Output: 450W – (6 x 75W)
• Mains Supply: 100V, 115V or 230V, 50/60Hz
• Power Consumption: Typical use: 17W
  Standby mode: < 2W
  Deep sleep (No-network standby mode): < 0.5W

Speaker

• Speaker System: Stereo 3-way; DSP-optimised vented box acoustic system
• Supplied with Dual tone grey and black grille, remote control, mains cables (market dependent), reset pin-hole tool and information booklets.

User control

• Handheld:  Remote handset included and optional control app for iPad, iPhone, iPod Touch and Android devices
• Product: Touch control user interface with rotary volume control 
• Remote Control: Infra-red (RC5)

As you can see, quite a collection of capabilities and controls for a relatively compact Music System. There are so many that I couldn't get to anywhere near to all of them during the time that I was evaluating the Mu-so Gen 2. But I did check out Qobuz and TIDAL, both of which worked nicely and were very responsive. Note that MQA is not listed as a supported format, though, and I didn't see any indication of an MQA indicator in either the Naim app or on the display of the Mu-so Gen 2, and so I assume that I'm getting 44.1kHz/16-bit with TIDAL.

With Qobuz, playback worked very well at all PCM resolutions that I tried. The clear improvement with Qobuz Studio 96kHz/24-bit PCM albums over any 44.1kHz/16-bit was quite noticeable to me. No surprise there.

I also listened to DSD from USB hard drive and SSD. As usual, the DSD from sources like High Definition Tape Transfers (HDTT), NativeDSD.com, and transfers from SACD and tape to DSD files sounded good with the Mu-so Gen 2. (As I sit here, I'm listening to the HDTT transfer to DSD from tape of Holst's The Planets, as performed by Stokowski and the LA Philharmonic Orchestra.)

There were two real surprises that I had with DSD playback via USB on the Mu-So Second Generation. One was good; one was not good.

The first was the discovery…despite the specs at the Naim Web site for the Mu-So Second Generation, limiting DSD playback to DSD128…that the Mu-so Gen 2 also played DSD256 files without any problem at all. This is rather confusing, but there's no doubt about the results. No problems with Quad DSD at all. (Time to update that Web site, Naim!) Just to be sure, I tried pushing the envelope that playing a DSD512 album would bring, and then the Mu-So Gen 2 started to skip from the very opening track of NativeDSD.com's release of Cantate Domino in DSD512. So, all solid up to DSD256, but no-go at DSD512. That's OK; DSD256 is the sweet spot for resolution and a wide selection of great A&R lives, anyway.

The bad news...and it really is not good...was the fact that, upon my request for further information about how the Mu-so 2nd handles DSD (Native mode? With no conversion to PCM? Or not?), I was told that the Mu-so Second Generation converts all digital to 88.2kHz/24-bit PCM. So it really doesn't support DSD Native mode, which is a real disappointment to all DSD lovers. Given the fact that cost-effective and very powerful chipsets are readily, easily available to handle DSD in Native mode...well, there is simply no excuse to my way of thinking for the conversion of DSD to PCM. It would be best to state on the Web site that "all digital sources are converted to 88.2kHz PCM" rather than claim any support for DSD whatsoever.

Enough said. DSD lovers will have to take this into account when considering the Naim Mu-so Second Generation.

There are enough other audio virtues with the Mu-so Second Generation Music System for me to leave it on my Brutus Award list, but Naim should take note of my observations here, in medias res.

Continuing:

There is a handy…but limited…remote control.

The Naim Mu-so Second Generation Remote Control

There is also a function/volume wheel, plus an icon set on that wheel that will let you directly access certain key operations, like switching inputs. They all work very well, as advertised.

The Naim Mu-so 2 iPhone app interface, showing it playing back DSD256...but it does so by converting DSD to 88.2kHz/24-bit PCM (Robinson screenshot).

It's the Naim app for the Mu-so Gen 2, available from the Apple Store (I'm an iPhone/iPad guy for this sort of thing) that is the real key to easy extended functionality. (An Android version is also available.) Follow the setup instructions, install the Naim app on your iPhone or iPad, make your network connection…which can be either wired or wireless…configure your room setup, and you're pretty much there. I'm running wireless, since we have a very powerful distributed wireless system here, and a gigabit pipeline to the Internet, courtesy of XFinity. Local wireless download bandwidth measures about 70 mbps, which is very decent performance. So far, I haven't heard a single drop-out with the Naim combination.

The left side speaker array on the Mu-so Second Generation.

The Mu-so Gen 2 has solid array of speakers for each side of the player. Naim doesn't provide frequency response specifications for the speaker array, but it does go impressively low for such a tight all-in-one design. Getting the most out it will involve some experimentation with placement, but that's common with all loudspeaker systems…especially all-in-ones. And…much better yet…the Mu-so Second Generation has room compensation capabilities that allow you to choose among "near wall," "near corner," and "no compensation" (which means that you don't have any wall nearby…what Naim calls "free space").

I should note here that Naim makes a point about how much the DSP processing power of the Second Generation Mu-so has improved over its predecessor. The original Mu-so had a single-core processor capable of 150 MIPS (million instructions per second). The Mu-so Second Generation's multi-core array ups that processing power to 2000 MIPS, over 13 times the power of the earlier design. The resulting ease and naturalness of the sonic presentation is the quite obvious fruit of this greatly enhanced DSP muscularity.

After spending months listening to the Naim Mu-so Second Generation, I have to say that it towed my heart away. It has its own sonic signature…very musical, richly warm without losing a sense of spaciousness, and very responsive to its remote functions…that I like quite a lot, despite my notes on its handling of DSD. It's certainly the sort of audio component that will bring great music to more compact settings.

If you are looking for an all-in-one Music System that is definitely audiophile in its DNA, then the Naim Mu-so Second Generation simply must be on your short list of candidates. At an MSRP of $1690, this isn't the least expensive Music Systems that you might buy, but then again, neither is it ruinously priced. And the performance is not to be gainsaid.

Definitely a winner of one of my Brutus Awards for 2020!

iFi micro iDSD Signature Portable Headphone Amp/DAC

Images courtesy of iFi Audio.

A relatively late arrival this year was the new iFi Audio micro iDSD Portable Headphone Amp/DAC. For those who are looking for an ultra-compact DAC with an array of capabilities and options at a reasonable price, this is a potent candidate.

The base of the micro iDSD Signature lists its array of "can do's"…impressive as hell.

In fact, there are so many features, and time is so short, that I'll just point you to the iFi Audio Portables page for the extended list.

A few highlights:

• Resolution of either DSD256 + MQA, or DSD512 minus MQA (firmware version 5.3 for the first; firmware version 5.2 for the second). Note that you can easily flash the firmware for either the first or second options.
• Native mode for DSD
• PCM up to 768kHz
• DXD and Double DXD are both supported
• Serious battery power for a wide range of headphones, up to 4,100 mW
• Setting for various headphone/IEM sensitivities, filters, and power output modes
• I/O includes USB, S/PDIF (electrical and optical), 6.3mm headphone (+3.5mm with adapter), 4.4mm Pentacon balanced headphone, L/R analog output

While I am not traveling during these dark days of COVID-19, the application that would be quite natural, I have been using the micro iDSD with the Grado Hemp Headphones (see below). Our Dell XPS L321X i7 Notebook acted as the server via USB, with JRiver's Media Center 27 as the software.

One thing that I had to work through was the fact that you have to make a choice of preferred formats and resolutions before you choose your firmware version. Version 5.2 supports DSD all the way out to DSD512 in Native mode. I applied 5.2, tested via files from our Wolf Systems Audio QNAP 1273U SAN, and the micro iDSD had no problem handling these files.

What Version 5.2 does not support at the same time as DSD512 is MQA.

To get MQA, you apply the firmware version 5.3. This gives you MQA, but drops DSD support down to DSD256 in Native mode.

Generally speaking, one will either be interested in one or the other set of firmware capabilities, so this is not an irrational division of functions. Higher-end DSD Audiophiles will prefer 5.2; those who are using TIDAL and MQA streaming be able to do so with 5.3, without losing DSD out to DSD256. That's a reasonable compromise, especially since it is easy to apply the firmware back and forth between 5.2 and 5.3 according to your playback needs. I ran for a while in each of the two firmware revisions without a problem.

Keeping that in mind, all went well sonically for the micro iDSD during the months that I have used it. There was plenty of power for the Grado Hemp headphones (38 ohms nominal impedance) that I used with it, and the battery life was in the range mentioned by the documentation. (As a general rule, the higher the resolution, the shorter the battery life.) The sound was detailed, very quick, and very nicely musical, with the Grado Hemp's characteristic warmth being quite obvious. I would rate the overall sound of the micro iDSD Signature as surprisingly fine for its size and price…a real mighty mite.

All of this, and highly portable, too…travelers and on-the-go listeners, take note! And at an MSRP of $649, it's highly affordable, even for the budget-conscious audiophile/music lover.

Another win, another 2020 Brutus Award for iFi Audio.

Grado Labs Hemp Limited Edition Headphones

Images courtesy of Grado Labs.

Grado Labs has been making headphones and cartridges for many decades now…no need for me to go over all of that ground. Check out their Web site if you need a sense of what the Grado folks are about.

And I've reviewed/heard a number of their designs over the past decade+, all more or less favorably.

This latest offering is one of Grado's Limited Edition series of headphones.

Bob Levi brought this one to my attention, and piqued my interest in a Grado made of (gasp!) Hemp wood! The wood itself was beautiful; Grado has a real touch for doing nice work with woods. It turned out that Grado was interested in my take on their Hemp wood Limited Edition, and so sent it along for eval.

Specifications

• Housing: Hemp / Maple Wood
• Transducer Type: Dynamic
• Operating Principle: Open Air
• Frequency Response: 13hz-28kHz
• SPL 1mW: 98
• Normal Impedance: 38 ohms
• Driver Matched db: .05dB

The frequency response is obviously very solid and extended, and the efficiency is quite good. The drivers are dynamics, with open-back construction, which adds a pleasant spaciousness to the feel of the Hemp. With a 38-ohm nominal impedance, these are low-z headphones that should be pretty easily driven by most headphone amps, even the portables. In this case, I used the iFi micro iDSD Signature Headphone Amp/DAC (see above) to develop my impressions of the Hemp Headphones. The computer that I used was our Dell L321X i7 laptop with a mere 4GB of RAM, running a 480GB SSD and Windows 10 64-bit as the OS. For DSD and PCM playback, I accessed our Wolf Audio Systems QNAP 1273U NAS/RAID 5 with its 84TB of high-performance storage on our LAN. Streaming was tested via my PF account on Qobuz. Both LAN and streaming was done via high-speed wireless connection (speed tested at just under 70 mbps) to our Xfinity wireless access points. There were no bandwidth problems at all with either.

One note:  The Hemp Limited Edition Headphones are a true on-ear headphone. That is, the earpads and speakers rest directly on your ears via Grado foam headphone pads. Their smaller earpad structures don't go all the way over and around your ears, which is called "around ears" designs…or circumaural for those who prefer Latin. Some headphone listeners don't like the feel and pressure that they might experience with on-ears. But the Hemps are light, with comfortable leather headpads.

The good news is that I have used the Grado Hemps for many hours without discomfort. Normally I'm either circumaural or in-ear (IEM) with my headphones, but didn't have a problem with the Hemp Limited Editions. Sonically, with the iFi micro iDSD Signature there is a really pleasing warmth to the sonic presentation with the Hemps, without the loss of detail. They were always very musical, regardless of whether the source recording was DSD512 or streaming 44.1kHz PCM.

In fact, for their price (MSRP is $420), the Grado Hemp Headphones punch well above their cost. They're also a dynamite combination with the iFi micro iDSD Signature DAC/Amp, which together cost $1069. This is a price point that most audiophiles can afford, and the musicality that you purchase is exceptional. Note too that this package is very light and portable, and can be easily transported when you're on the go.

Pretty tough to beat this.

Therefore the Grado Labs Hemp earns one of my 2020 Brutus Awards, with real affection.

Furutech Booster Brace and Booster Brace Single

The Furutech NCF Booster Brace, double AC receptacle version. Images courtesy of Furutech.

Furutech is certainly no stranger to my PF Brutus Awards. Over the years, they have garnered a number of them for reasons that are not mysterious:  Furutech simply produces some of the finest and most meticulous high-end audio products available.

This year, I had the opportunity to check out their Booster Brace (double AC receptacle) and Booster Brace Single (single AC receptacle), plus their NCF Clear Line.

The Booster Brace designs are units that provide additional bracing and shielding at the AC receptacle end of things. It supports the male AC power cable end of things, and nicely performs the task of applying the clarifying effect that NCF adds to high-end audio playback.

I can do no better than to quote my summary evaluation of the Booster Brace from a recent review. As I mentioned in my review of the Vinnie Rossi L2i SE Integrated Amplifier in September of 2020, quoting from an email that I had sent to Furutech:

"…we have our Vinno Rossi L2i-SE reference integrated amplifier/DAC/phono amp and an iFi Pro iDSD DSD512-capable DAC/Headphone Amp/ Preamp sharing a pair of AC receptacles with a two-receptacle Booster-Brace via the Clarus Concerto. This is a very high-resolution system. Cables are a combination of TARA Labs (XLR and Speaker cables), Kubala-Sosna Realization Reference USB cable, Synergistic Research Galileo SX reference power cable, Skogrand Beethoven Power Cable, and Focal Sopra 1 Monitor Speakers and dedicated stands. I had been using this combination for several months now, plugged into the same receptacles on the Concerto that I used when I installed the Booster-Brace, and was using DSD512 and DSD256 albums as sources. The DSD512 from NativeDSD.com is particularly astonishing, although the DSD256 from various sources is also remarkable.

The results of the Booster-Brace in this application were immediately apparent to me: Greater transparency, more nuanced detail, and a sense of improved solidity in the imaging of all recordings that I've heard.

This is a notable achievement. At the DSD256 and (especially) DSD512 levels, the performance wrought by the Booster-Braces cannot be gainsaid. I would not want to be without it."

The Furutech NCF Booster Brace, single AC receptacle version.

Enough said! Furutech has done it again with its Booster Brace products, and receives my Brutus Award for this innovative design.

Furutech NCF Clear Line

The Furutech NCF Clear Line AC Power Supply Optimizer

A final product submission from Furutech came to me later in 2020. It was their latest NCF product, the NCF Clear Line. The unit is compact, easy to handle, and simple to deploy. And it has the ability to enhance the sonic/video performance of all components in its circuit.

As stated on the Furutech Web site, the NCF Clear Line applies the dampening characteristics of NCF to its application to audio power circuitry in a system. The link that I've supplied talks about what's happening in more detail:

"NCF Clear Line is an audio grade passive AC optimizer, small enough to hold in your hand, that instantly enhances the quality of your power supply. Simply plug the NCF Clear Line into any vacant receptacle on either a power distributor or wall outlet. For best effect, use the NCF Clear Line on the same AC line/supply as your system, preferably at a receptacle adjacent to your system.

It only takes a moment to hear the improvement in the sound. You won't have to switch back and forth repeatedly in order to ‘discover' an improvement. It's right there.

You'll immediately notice improvements in the depth and focus of the sound stage, harmonics and tonal balance with NCF. Low frequencies are cleaner, with a greater sense of definition made possible by a lowered noise floor.

Then unplug the NCF Clear Line from the power receptacle. You'll immediately miss those sonic improvements. You'll want them back.

In home theater applications, you will also hear these same distinct results. Just as importantly, you'll see the difference in your video quality. All you need to do is plug the NCF Clear Line into your home entertainment system and the improvements will be instantly noticeable.

Sharper. Clearer. Yet more natural and easy on the eyes."

I'll amen this, since it parallels my experience here at PF Central. Having applied the review sample NCF Clear Line units in both our reference office system, as well as in our reference home theater/multi-channel room, I was able to simply and easily confirm that Furutech's claims stated above are quite accurate. A simple A/B/A switch out (put the NCF Clear Line in and listen; remove it and listen; then put it back and listen again) confirmed the changes that I could hear immediately. For me, it was the lower noise floor, which produced a greater transparency. This in turn created a better soundstage and improved imaging in both settings. And the video clarity on our 65" Sony Bravia OLED 4K TV was quite evident, bringing an improved presentation of both 1080p and 4K sources. This was regardless of whether I was using optical media courtesy of our OPPO UDP-205, or streaming via Amazon Fire 4K/Amazon Prime and associated subscribed channels, Apple TV 4K, or YouTube Premium 4K. All took a step forward with the NCF Clear Line in the AC end of things.

At an MSRP of $250 per unit, this is a serious audiobang-for-the-buck product, and should improve any system on an associated circuit. Definitely a serious and easy-to-use system enhancement, and one that I can recommend to all audiophiles and videophiles. Try it; you'll like it!

And also another a winner of another of my 2020 Brutus Awards!

The Music companies/labels

We all depend on our music sources/labels to keep the great recordings (and maybe some that aren't so great) flowing to us. Every year, I recognize those sources that have done superior work in getting us the albums and songs we love, plus those new joyful discoveries…musical treasures both old and new.

I've written about most of these labels and sources in past years, and don't intend to repeat myself this time around. This year I'll simply list the labels that are worthy of praise for carrying on the good work of keeping the musical river well stocked. Congratulations to all of these great companies…may they continue to prosper.

Analogue Productions

Given the incredibly prodigious production of musical treasures both old and new, and his extraordinary commitment to excellence in all phases of the audio arts, certainly my man Chad Kassem deserves to be recognized once again for his passionate work at Analogue Productions and Acoustic Sounds.

LPs. SACDs. Reel-to-reel tapes. Select hardware. Various audiophile accessories. He does them all.

Chad's reissues are always top-notch, and his team at AS and AP are a great bunch of folks to deal with. All are highly professional, and share Chad's commitment to really great music at the highest level of the audio arts.

No more need be said. Year after year Chad has taken a Brutus Award from me; this year is no different.

Done!

High Definition Tape Transfers (HDTT)

Bob Witrak stays the course with a constant stream of transfers from tape to various high-resolution formats. He has a library from many different classical and jazz recordings, with some excellent artists on major and minor labels, which he brings across with very high skill. Over the years, my favorites have been his DSD256 offerings, with his DSD128 transfers being in a firm second place. DXD is available for some titles, as well. Great recordings of top-notch performers at reasonable prices…tough to argue with that!

Bob's work deserves to be recognized for its uniqueness, and for the hard work that he has put into the highest level of production values for his transfers from our precious analog sources to an array of digital formats.

If you haven't visited his site at the link above, do yourself a big favor.

You can thank me later. Really.

Meanwhile, another Brutus Award for Bob and HDTT!

NativeDSD

The good folks at NativeDSD.com have grown into a true powerhouse of DSD-based music…all the way up to DSD512…and DXD with clear and trustworthy provenance. The team at NativeDSD remains strongly committed to DSD, and provides reasonable pricing for downloads at their site. You'll find classical, jazz, some experimental rock, and some ambient music there, with a track sampling function that allows you to try before you buy.

In fact, NativeDSD.com has become the major site for DSD recordings worldwide, with dozens of labels participating in a kind of audiophile/music-loving online mall. If you haven't yet visited, you really must give NativeDSD a try…for DSD lovers, or those who are curious about the capabilities of this superior format, it's the place to be.

Regardless of your musical preferences, I think you'll find something here to satisfy your musical/audio jones. Very highly recommended! And a winner of another of my Brutus Awards for 2020.

Blue Coast Records

Cookie Marenco and company have maintained, and even expanded their offerings over at Blue Coast Records in 2020. With some great A&R going, a strong commitment to DSD, and a willingness to experiment and innovate, Cookie remains a key leader in the world of audiophile/music-loving production work.

Heck, just for her Qua Continuum series (12 albums!) alone, I would give her plaudits and a Brutus Award, but there is so much more going at her site.

Check it out and see what one of the great audio producers is at these days!

A definite Brutus Award winner here in 2020…with enthusiasm!

2L

Morten Lindberg has become a true master of audio production and recording in Scandinavia over many years now. He's finally been the Grammy that he so richly deserved for the stellar and ground-breaking surround recordings that he's produced…and about bloody time!

He records in DXD for his complex post-production work multichannel, and then provides both Blu Ray and SACD optical discs for distribution to audiophiles and music lovers all over the world. His choice of classical (old or new) compositions are always refreshing, challenging examples of the audio arts. I have never walked away from listening to a 2L SACD feeling bored or indifferent! And that's a very high compliment to Morten and crew.

Be sure to check out the 2L site. Extend your musical education and experience!

2xHD

René Laflamme of 2xHD (and Nagra) has been producing some absolutely stellar work over a number of years now. He does brilliant analog tape transfers to DSD, does the same with the 2xHD series of LPs, and even produces limited runs of 10.5" reel-to-reel tapes. All demonstrate the highest level of audio craftsmanship that I've come to expect from 2xHD.

His DSD work can be found over at NativeDSD.com. His LPs are generally available at the usual online audiophile music distributors. Check with Acoustic Sounds or Elusive Disc about purchasing René's tapes.

2xHD is particularly strong for jazz releases and transfers to DSD from tape. I strongly recommend their work in any of these formats. This is why they are receiving another one of my Brutus Awards here in 2020.

Impex Records

Abey Fonn and her associates have been issuing brilliant LPs for quite a while now. Each one is a meticulous masterpiece of the audio arts, from mastering to final production, demonstrating what can be done when one is passionately committed the making the best LPs possible.

I can recommend any of the Impex Records LP titles without hesitation, and love their work without exception. I've never had a bad pressing from these folks…ever.

Can there be any better indicator of a Brutus Award being needed?

I think not…!

Yarlung Records

Bob Attiyeh is another one of the audio appassionatos in our world of the audio arts. Bob's Yarlung Records label has been in existence for years, with Bob moving heaven and earth to produce new recordings of talented and sometimes lesser-know artists. In so doing, he has brought wonderful recordings of classical and jazz performances, produced in conjunction with brilliant engineers like Arian of SonoruS Audio.

His growing library of LPs can be found at your usual online audiophile sources; his transfers to DSD are available at NativeDSD.com. RTR tapes may be a growing option in the future, but we'll have to see about that in these COVID-19 days.

Regardless, Yarlung Records has produced another year's worth of fine titles, and another of my Brutus Awards is in order for 2020!

Channel Classics

Jared Sacks of Channel Classics is one of the leading producers and recordists of classical music of his generation. He's been recording directly to DSD for some 20 years now, and has a massive library of brilliant albums that are among my favorite new classical performances and recordings in the audio arts. And this is not just my opinion:  many professionals that I know in high-end audio use Channel Classics recordings as a major reference standard at shows and demos, to make obvious the strengths of this remarkable format.

Jared has visited me at PF River City, and I was very impressed with his understanding, his humility, and his sense of humor. His command of the audio arts, and with the role of the producer in bringing out the very best in the performers and the venue, are quite obvious. Certainly, experienced music lovers and audiophiles will recognize the remarkable coherence of his work.

There's no doubt about it…time to recognize Jared Sacks and the wonders of Channel Classics once again.

Qobuz

For the past several years I have been following the streaming service Qobuz as it grew in Europe, and then migrated to the USA to spread its offerings to an increasingly driven, growing audiophile audience in this hemisphere. The transition was a bit bumpy early on, but now Qobuz seems to have the range on its distributed services here. Currently claiming in excess of 60 million tracks, Qobuz is nipping ever more closely at the heels of TIDAL.

For an extremely reasonable price, you can have access to the enormous and ever-growing library of great music that Qobuz offers. The music is delivered in .FLAC format, which is a lossless compression that reduces the bandwidth load for streaming audio. Depending on the titles, the PCM resolution can range from the low-end standard of 44.1kHz/16-bit all the way out to 192kHz/24-bit. Having experienced Qobuz on a half-dozen+ audiophile-grade streamers/DACs, I can say that Qobuz impresses the hell out of me. If you are running a small Internet pipe/one that is heavily used in these days of online education everywhere, you might have a problem with higher bitrate files, but with our Xfinity gigabit pipeline here and our completely rebuilt LAN (all Cisco Managed switches) and high-speed wireless network extended throughout, I see nary a problem.

If you build your network correctly, streaming nasties go away.

At this point, the only thing that Qobuz hasn't gotten around to…and should, in my strongly-held opinion…is streaming DSD. That would be a colossal breakthrough for a large group of audiophiles around the world. We'll see if Qobuz is interested in this or not. They do have an awful lot on their plate these days….

Anyway, as I stand here writing in the middle of the night, listening to some Lavinia Meijer harp music…Philip Glass, once again, via Qobuz through our Naim Mu-so Second Generation Music System…I am struck by how far fine audio has come over the past ten years.

Qobuz has become a major element in our audio landscape. And here's another of my Brutus Awards, to praise this fact.

TIDAL

Of course, the other major player in the world of high-resolution streaming audio is TIDAL. With a claimed library of over 70 million tracks, TIDAL is the other major high-resolution streaming service in the game.

TIDAL's main approach to provisioning high-resolution files is not to use .FLAC, but instead to produce its MASTER releases in MQA format. This takes PCM files and…through a combination of hardware and software…folds higher resolution files into a much more compact data payload. It is also used to authenticate the provenance of a PCM master, and correct processing errors that might occur during production or post-production.

If you have a good DAC that is MQA-certified and capable, then you can get improved sound while keeping down the bandwidth required for streaming. If you don't, then you'll get lower resolution at 44.1kHz/16-bit…CD quality.

So MQA-equipped listeners will likely want to have a TIDAL account, for this very reason.

Or you could do both, eh? I do. And since we are MQA equipped here in multiple devices, I'll admit that I enjoy each streaming service in turn. Roon delivers both to me; I'll swing either way.

Clearly, TIDAL's presence in high-resolution streaming does merit a 2020 Brutus Award from me.

So done!

Roon

What can you say about Roon? There are other alternatives out there in the world of streaming audio, but if you have a Roon-certified streamer/DAC (please check this before purchasing the hardware, although Roon claims over 800 Roon-ready devices these days), I have found that Roon provides the sort of superset interface that combines immense power with intuitive use…once you get used to it.

In the gigantic world of online music, we have tens of millions of tracks available to us. The main problem lies in finding what you want, and digging into it with understanding and power.

In other words, storage is not the problem; search is.

Roon provides an interface with database lookup and display functions that really turns searching into a joy. I have spent countless hours using Roon as the overriding interface, combining transparent access to my Qobuz and TIDAL accounts simultaneously while I search/research the music. The overlay information, the ability to create/access playlists, to check out the latest releases, and…frankly…just to poke about for as long as you want, discovering things that you have never found or known…makes Roon the magic carpet of musical research for me...and for a reasonable price these days.

I really do appreciate Roon every day. I wouldn't want to be without it.

So let me praise it now.

JRiver

The Media Center 27 continues JRiver's tradition of combining a powerful set of capabilities with an excellent interface and (in my experience) bulletproof performance. I employ Media Center 27 for LAN- and SAN-based playback on several of our Windows 10 64-bit computers here. Usually, I simply load the Windows 10 64-bit ASIO drivers for the DAC, point Media Center to the new device, make sure that all settings are ready to go, and blast off. It works like a charm; I've seen very few problems with Media Center over the many moons that I've used it. In fact, for DSD playback, it seems able to deal with any resolution of DSD that I've tried with it.

Note that Media Center has an extraordinary number of capabilities, encompassing both audio and video applications and capabilities. I use it for audio playback, but I have seen enough to know that MC 27 is quite up to being a complete solution for a person looking for the full integration of their audio and video playback requirements. And the current subscription price of $59.98 for a given version of Media Center is pretty reasonable, given its features. Upgrade pricing for major revisions of the software allows for discounting. Meanwhile, Media Center will install minor updates at no charge, automatically detecting when it should do so when you open the software. It will download and install the latest safe version on the fly, and will then open MC to continue with your playback. Most excellent!

I've been using Media Center for many years, and will be continuing to do so. Highly recommended!

And a definite Brutus Award winner once more here in 2020.