Despite the availability of three different PSU solutions, the listening in this instance proved remarkably straight-forward – not least because the differences themselves are so clear and substantial. With the battery fully charged and both of the AC supplies hooked up with identical power cords and symmetrically connected on the QB10, it was time to get started. The Monaco was mounted with the Kuzma 4Point14 tonearm and Fuuga cartridge, feeding the CH Precision P10 phono-stage and L10 line-stage. Power amps (where required) were M1.1s, with speakers being variously Avantgarde Mezzo G3s, Wilson DAWs or Peak Consult Sinfonias. The main precaution in listening consisted of ensuring that the cartridge and ‘table were properly warmed up, to prevent evolutionary changes impacting the results. Of course, at least two of the options under consideration were already familiar, which always helps. So it’s worth noting that, not only is the stock Monaco a remarkable performer at its (relatively) modest price, the battery option had already given it a worthwhile lift in performance. With impressive dynamic range, temporal and pitch security the ‘table has always had the ability to define clearly not only when notes start but when they stop, to capture the space between those notes and the way that notes and silence interact.
Adding the Numax Premium 12V battery along with the custom connecting lead that links the battery’s terminals to the controller’s coaxial power connector (courtesy of UK GPA importer Definitive Audio) builds on those qualities. It offers an increase in space, between instruments and between notes, with a more sure-footed and articulate grasp of pace and placement. There’s a more natural range of tonal colours and instrumental identity, a closer relationship between performers and their lines. Playing the title track from Michael Kiwanuka’s excellent new album, Small Changes (Polydor 6590478) the opening drum pattern has greater shape and flexibility, the exposed vocal is more natural and connects more directly. The patterns and contrasts in this sparsely constructed track are more explicit, the signature backing vocals more distant, separate and ethereal, really bringing home the greater sense of depth, blacker background and lower noise floor delivered by the battery. The shape and structure is more precisely rendered, but the performance is also easier and more relaxed, allowing the music to breath and express more easily.
It’s an impressive performance upgrade, even if it does involve stepping outside of audio specific components and a bit of custom or DIY ingenuity. The musical benefits are such that I’d say that, despite the unconventional approach and the increased housekeeping required, this is a no-brainer step for anybody who has already invested in a Parabolica, let alone a Monaco. It really is an essential step for any GPA owner wanting to maximise their return on the investment they’ve already made and their enjoyment of record replay. Playing through the Kiwanuka album demonstrates just how much intimacy and expressive range the battery instills, how much shape and momentum it brings to the groove. Kiwanuka’s voice is special. The battery makes you realise just how special.
