In order to keep things manageable (with so many swaps and stages) I chose three familiar discs for the majority of the step-by-step comparisons:
Antonio Vivaldi – La Cetra
Rachel Podger Meets Holland Baroque Society
Channel Classics CCS SA 33412 (SACD)
Rachmaninoff For Two
Sergei Babayan and Daniil Trifonov
Deutsche Grammophon 486 4805 (CD)
Somethin’ Else
Cannonball Adderley
Universal Music UCCU 40116 (UHQ-MQA-CD)
Even after several days of undisturbed warm-up and bedding in, the musical results of the system with its mix-n-match cables were profoundly disappointing. Having got used to the same CH Precision D1.5/X1, TEAD Groove/Vibe/Linear B, Living Voice OBX-RW4 system running the full Blue Heaven 3 wiring loom, the results with the re-wired set-up were essentially unrecognisable: congested, lumpy, aimless and slightly unpleasant.
Playing the Vivaldi SACD, the band collapsed in on itself, wallowing in the turgid, indistinct bottom-end. String tone was glassy and astringent, with a wince-inducing edge: continuo was disjointed and muddled; instrumental spread or location was non-existent and the overall shape and purpose in the music totally absent. The Rachmaninoff underlined the issues with a strident splashy sound atop a fat, disjointed and overly heavy bass. The playing was sporadic and directionless, with no relationship between the parts – almost as if the two pianists were in competition. Almost bizarrely left/right in the quieter passages, more dynamic or busier sections saw the sound converge and congeal in the centre of the speakers. Meanwhile, that sense of disconnected musicians who just happen to be in the same space carried over to ‘Love For Sale’. The extended piano opening was meandering and lacking shape or structure, while the three-way conversation that is supposed to develop between the horn, piano and bass didn’t, a situation that was bad with Miles’ trumpet, but disastrous with Adderley’s longer, less definite lines. Poor old Sam Jones, playing the double bass, sounded like he was barely awake…
Given the quality (and proven capabilities) of the components in this system, here was an object lesson in just how damaging cables can be. I think it’s fair to say that this set-up possessed not a single redeeming feature. An argument or case for wholesale change? In the conventional world of audio upgrades, it would be difficult to know quite where to start – especially as the electronics and speakers are all, essentially excellent, each a benchmark product within its own field…
Step 1 – Inserting a Blue Heaven 3 power cord between the wall socket and the QB8 distribution block.
As described in the overall priorities above, the cable to start with is the one coming out of the wall. Removing the Isotek EVO3 Premier lead from the QB8, I replaced it with a Blue Heaven 3. Change just one cable and you might not be expecting much, but even I was surprised by the significant step up in musical intent and rhythmic integrity, dynamic range and instrumental focus. The opening bars of ‘Love For Sale’ gained colour, purpose and a sense of rhythm and direction. The horns gained shape and subtlety as the space between notes started to emerge. But the biggest step up was in the bass, where Sam Jones responded as if to the proverbial cattle prod. Suddenly, the plucked notes had attack and shape, pitch, pace and phrasing.
