But what is particularly interesting is the effect of the power supply on the impact of the various replay curves. Play this recording on RIAA with the battery supply and the results are predictably limp and lumpishly clumsy. Switching to the Teldec curve is genuinely transformative. The ARC6 DC4 certainly does a better job on RIAA replay, instilling some drive and purpose to the playing, but the step up to Teldec is even greater. The improved temporal security might be expected to play to the proper curve, with its influence on spatial and rhythmic coherence, but here the transformation is striking. The combination of the correct curve and the best power supply brings a great work, great orchestra, compelling conductor and a soloist arguably at the top of his game, vividly to life. Karajan’s direction is emphatic, his orchestra responds and Ferras certainly rises to the occasion – an occasion revealed and recreated with the (considerable) help of the Monaco/ARC6 DC4 pairing. As a Monaco owner this is one of those once heard, no going back experiences.
In one sense, this is a limited review: it covers a bespoke power supply for one (possibly two) models of turntable. Yet at the same time, it also has very real, general implications. The importance of power supplies to turntable performance isn’t exactly news, dating back to Linn’s Valhalla (if not before). But just how important the power supply is can only really be appreciated with the most accurate and transparent turntable. Analogue’s all too frequent additive colourations draw not so much a veil as a curtain across true performance potential. In a world full of overweight, over-sized and over-built record-players, the GPA Monaco is almost uniquely built for purpose. It brings a whole new slant to the expression, “nothing added, nothing taken away”. Yes, the Monaco is direct drive, but let’s not get reductionist about this. Not all direct drives are created equal, as the Technics and its various derivatives so clearly demonstrate. The Monaco drive might be inherently superior – but its performance is a function of the whole: the platter, clamping, monocoque structure, critical damping and mechanical termination, precision manufacturing and geometrical accuracy – and not forgetting the control electronics and their power supply. It still needs, indeed depends on, the best possible DC feed to deliver on its enormous musical potential. Which begs two serious questions for the potential purchaser – neither of which I can answer…
Doing the numbers…
How does the ARC6 DC4 compare to GPA’s own, sophisticated battery power supply. I haven’t stood them side-by-side, although that chance should come soon. But two things are clear: the Jacobs supply is significantly superior to the DIY battery solution and it’s also significantly cheaper than the GPA supply. At almost £6K it looks like exceptional value when stacked up against the £40K+ price of the Monaco. It looks more expensive in the context of the £25K Parabolica – which brings us to the second question: how does the full-size ARC6 DC4 compare to the half-the-size and half-the-price Mini? That I can’t say, simply because the Mini I have outputs 19V (for the Roon Nucleus) and the full-size unit outputs 12V, so direct comparison isn’t possible, at least with the pieces I have available. But given the price differential, if I was running a Parabolica, the Mini ARC6 DC4 would be right at the top of my list for an early audition.
