Alan Maher Power Enhancer and Studio
Reference Junior Power Cable
Roy Harris
Depending
upon electricity to power one’s components may be hazardous to one’s
aural well-being. Unfortunately, most hobbyists do not have access to
battery operation. Contaminants on the ac line often impact the performance
of amps, preamps and digital sources. Many products are available to “treat”
the ac. They are of two types, namely, series and parallel conditioning.
The former requires interface between the component and the wall outlet.
The latter is plugged into an unused receptacle and does not interface
a component.
I became aware of the Power Enhancer
(PE) from comments I read on a forum. At a cost of $75, the PE is a parallel
line filter. This device is most effective when placed at an outlet shared
by another component. The PE has no receptacles. After receiving one PE,
I requested 3 more and inquired about other products. Along with additional
PEs, I received a line cord, the Studio Reference Junior, at a retail
cost of $550 for 6 feet.
Technical Considerations
The PE contains 8 metalized polypropylene
capacitors of different values, wired in parallel with either silver or
copper wire. The review sample consisted of 3 PEs wired with copper and
one with silver.
The Studio Reference Junior line cord
is a multi-conductor 6n copper, 12-gauge design, with a foil shield. This
product incorporates passive resonant tuning. This technology passively
filters rfi/emi noise and harmonics from a component’s power supply.
Shakti rfi/emi filters provide filtering and tuning. Connectors include
Marinco 8215 and Wattgate 320.
Listening Sessions
Prior to installing the PEs and line
cord, I was using an Enacom filter and PS Audio Noise Harvester. I removed
them and auditioned my stereo system. Thereafter, I inserted the PEs and
line cord, and auditioned the stereo system a second time. The comments
below represent a comparison of the sound of my stereo system with and
without the PEs and Studio Reference Junior AC cord.
The
following recordings were selected to facilitate product evaluation: Holly
Cole, DON’T SMOKE IN BED, Alert Z2 81020, track 1, Steely Dan, AJA,
MCAD-37214, Andy Narell, SLOW MOTION, Hip Pocket HD 105, “Natty
Stick”, track 2, Offenbach, “Gaite Parisienne”, JVC
0224-2, track 1, Ravel, “Alborado del Gracioso”, London 414046,
track 2.
Holly Cole’s voice is close-miked.
Sibilance is an unavoidable consequence of such placement. Listening without
using Alan Maher’s products revealed a subtle grain structure and
noise – a chalky quality to the voice. Inserting the PEs and line
cord did not eliminate the sibilance. Rather, it changed the texture,
removed the noise and grain, creating a purer and more natural vocal presentation.
Untreated, Donald Fagen’s voice sounded rougher than usual, and
the tenor sax sounded pinched, reduced in scale, and unbalanced in its
frequency response. It exhibited many of the attributes of the alto sax.
After the PEs and line cord were inserted, I noticed a smoother vocal
presentation, greater extension and a reduction in timbral inaccuracy.
As a result, the saxophone sounded more like a tenor than an alto. The
impact of the PEs and line cord on the sound of the steel drum ensemble
included extended decay time of a bell, greater control of the acoustic
bass, a slight increase in width and depth and a more full-sounding woodblock.
The PEs and line cord affected the sound of an orchestra as described
below:
I observed an increase in focus and extension
when listening to Gaite Parisienne. While the dynamic range seemed to
be unaffected, the spatial relationship between a woodblock and triangle
changed. The woodblock seemed to be projected deeper into the orchestra
and had greater separation from the triangle. The effect of noise reduction
following the introduction of the PEs and line cord was evident in the
sound of a clarinet, cymbal and bassoon heard during the performance of
Alborado del Gracioso. A brief clarinet solo was positioned deeper into
the orchestra. A cymbal crash was also further back and somewhat softer
in the treble region. Finally, the bassoon solo had greater focus and
exhibited greater depth. The ambience of the hall was more recognizable
as well.
Conclusion
The effect of Alan Maher’s products, a reduction in noise, was manifested by a change in dimensionality. Complex material provided an opportunity to observe greater depth and width. Smaller ensemble recordings were characterized by greater purity of tone and longer decay time.
Associated Equipment
CD Player: Vincent CD S6
Preamp: Bent TVC
Amplifier: VTL Deluxe 120
Interconnect cable: Elemental cable, Maple Audio, Soundstring
Speaker cable: Elemental cable
AC cords: Elemental cable, Soundstring, Voodoo cable
Speaker: Magnepan 1.6
Passive Accessories: eggcrate mattresses, cocobolo blocks, furniture foam,
Room Tunes, Gutwire Note Pads, Z Sleeves, Sound
Fusion Sound Boosters, Enacom speaker filter,
Stillpoints ERS sheets
Active Accessories: Quantum Symphony, PS Audio Power Plant, PS Audio
Noise Harvesters, Enacom Filter, PS Audio Ultimate
Outlet, Chang Iso 6400, Nirvana Audio isolation tranformer
Manufactured by Alan Maher Designs
Source of review sample: Manufacturer loan
