The first example I’ll cite is the UHQ-MQA CD of Du Pré’s definitive performance of Elgar’s Cello Concerto (with Barbirolli and the LSO WPCS 28424) chosen for its impressive dynamic contrasts, beautiful cello sound and emotive playing. No matter the system, adding the Matrix 1s opened out the soundstage, bring air, space and focus to the picture. The backdrop was quieter, producing wider and more precisely tracked dynamics, more emphatic rhythm and more convincing ensemble playing from the orchestra, Everything hung together better and the concerted sense of musical purpose brought power, drama and explosive impact to the performance. But it was solo instrument were the impact was most obvious. The Cello gained body and presence, texture and harmonic development. Note length and spacing were clearer, with more apparent shape to the lines. There was a much greater sense of bowing and human agency. The slower reflective passages had a calmer, more measured pace. The faster sections were played with real attack and vigour. But the biggest lift was in terms of expressive range and communication. The emotional intensity of the playing was more obvious, more directed and more purposeful, carrying greater depth and intent. With the Matrix 1s hooked up, it isn’t just more obvious that this is a great performance, it’s more obvious why that’s the case. As impressive as those changes were on the diminutive Vienna Acoustics Haydns, they couldn’t compare with the sheer power, authority and drama the ZeroPoints instilled with the 10 Series electronics driving the Göbel Comtesse/Sovereign combination (with the Matrix 1s connected to the bass terminals on the Comtesse). The bigger and better the system, the greater the benefits.
My second ‘go to’ disc was the fresh, intricate, beautifully crafted pop of Steve Dawson’s Sweet Is The Anchor (Undertow CD-UMC-028). The Matrix 1s bring pattern and clarity to the careful arrangements and deft blend of acoustic and electric instruments, a sure-footed rhythmic integrity, pace and timing. The down-beat funk of ‘Love Is A Blessing’ finds its groove, the light-hearted self-deprecation of ‘I’m The One I Despise’ gains an infectious hook to contrast with its sombrero sub-text. These are clever, lyrically and musically intelligent songs and the ZeroPoints make that and their meaning much, much clearer. But it was the title track I found myself turning to. The sheer intimacy of the vocal and close harmonies revealing both the musical insight and the human qualities instilled by the Matrix 1s. Dawsons voice was more natural, more present and had more body behind it, while the vocal intimacy with wife Diane Christiansen, so central a part of Dolly Varden’s music, was laid bare, the voices separated yet their connection reinforced through pitch, tone, timing and phrasing. Those harmonies are a thing of beauty and the ZeroPoints let you dive right in and wallow in them.
Whether you play CDs, files or records, rock, pop, jazz or classical, the Matrix 1s will deliver more music from the system you already have. What’s even better is that you don’t need to take my word for it. The Matrix 1s are simplicity itself to install and audition. Listen to something familiar, plug in the boxes and listen again. The only complicated thing is making sure you get the right terminations to suit your set-up. The only situation which needs a little thought is those speakers which offer 4mm sockets and nothing else to connect your speaker cables. Even here, it’s not too great a stretch to rig a dual input adaptor…
