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Revue de presse

Produit - Acoustic Revive RTP4e barrette secteur

Magazine - High Fidelity

Connecting the RTP-4eu Ultimate strip to the Power Reference cable, plugged into the Furutech socket confused me a bit. This does not happen often, but when it does, it is usually in the context of my own system, which I know very well. I mean, that listening to recordings, which played a moment earlier with the old power strip, and/or the old power cable, I knew everything had changed, starting from the timbre, through dynamics, holography, presentation of the attack and reverb, impact of the sound and the perception of volume. Evrything was different. With such a dramatic change of paradigm, with such an deep reorganization I get lost for a while – I know exactly what happened, at least at the level of analysis, but on the level of synthesis, by normal listening, and decision about the what and when, I would be helpless. If the reference point for the recorded and reproduced sound would be a live event, then it would be easier. But because playing at home is only a certain way of approaching it, crippled in every way, and at the same time having its own assets, which are not there at a concert, there is the need to redefine our “reference” sound anew. I think, that I managed to do that, but I know that it is a process, which needs constant adjustments, something like an approximation. Fortunately the most important elements of that change are visible, they have the lead, “supporting” each other.

The most important change that came with the power strip (please remember – this is not about the change of the strip alone, but how it cooperates with the new cable and power socket) was the addition of incredible saturation and volume to all recordings. I write that in one sentence, not splitting it in ‘saturation’ and ‘volume’, because those elements give something more together, and are inseparable here. The recordings “grew”. This was caused by the saturation of the midrange and bass, the latter being stronger, and slightly stronger lower midrange. This was “serious” sound. I did not hear before the change, that sound of my system hadn’t such a big volume as I thought. Now I had a new perspective. This is still not the volume as shown by Avantgarde Acoustic Duo Mezzo, which you could hear on this year’s Audio Show, but truly, at the distance I was listening, the momentum, a certain organic “whole”, the music arrived in, were incredible.

I think, that this intensity was the first obstacle for me to evaluate the sound quickly. I will not exaggerate saying, that the change of these three power elements brought more changes to my system, than changing any other element of it. This might seem heretic, but I cannot help it. This is how I hear it. Now I also see, that the recordings were a bit shallow before, a bit “small”. Although they did impress, and not only me, changing to something better, something so MUCH better, showed the direction I should follow with the next changes. Much higher resolution is related to that. Not circumstantialities, because this category does not apply at this level, it is absorbed by resolution, holography and differentiation; but it is the resolution that gives a better performance than before. I cannot think of a better name – it is a spectacle. This is a change in looking at the music, at recordings, but in combination: the recording and the music are now a unity. We can hear different ways of sound engineering, but only by hearing how something was sung and realized, how it was recorded and mastered, etc, but not on their own.

Like I said, the bass is much stronger than before. It is clearer, deeper and more dynamic. It is palpable and intensive. It is easier to catch its irregularities introduced by the loudspeakers. Chario Academy Sonnet, I use for some time, exchanging them sometimes for some big floor standing speakers from other companies, are splendid loudspeakers, but they have their own character, and for the first time they showed so clearly, that the lower bass can be so “pumped” by the bass-refex port. I am sure, that in other systems, with cheaper electronics, without such a phenomenal saturation, this will not be that audible – I did not hear that like this two weeks ago. But now it was unambiguous. Also the midrange was much stronger. Sometimes, like with the new re-edition of the Savage disc Ten Years Ago, fantastically prepared by the team Rafał Lisiecki/Damian Lipiński, responsible earlier for the disc Tonight, I had the idea, that most of all, the “analog”, deep midrange was playing. Until I got accustomed, until I “switched the button” in my head. It took a while, but now everything else sounds dry and thin to me. But at first, I had the impression of having too much midrange – this is a thing people kill to get, spend fortunes on it, and still do not have it, and I had too much of it!