Audiophilepure

https://www.soundstageultra.com/index.php/features-menu/opinion-menu/1276-silver-everywhere-sliding-in-more-siltech

Enough lame-ass, squeaky progressive rock. Without a doubt, the weightiest record in my collection is Vladimir Ashkenazy’s performance of Franz Schubert’s Sonata in G Major, Op. 78 (LP, London CS6820). The first movement, “Fantasie,” which takes up the entire first side, is structurally massive. This isn’t complicated music, being all low, sonorous left-hand notes, but it’s the emotion, the power that Ashkenazy pours into this piece that makes it so insanely powerful. I’ve listened to other versions of this sonata, and I keep coming back to this planet-smasher.

With the Siltechs in the amplification chain, both ends of each note were juiced up. The leading edge gained a quicker sense of ramping up to full impact, while the tails of each key strike continued on just a little further in perception as they trailed off into infinity. These were notable, substantial gains.

After inserting the Royal Single Crown power cords and interconnects, I paid a fair bit of attention to the system’s tonal balance, but didn’t notice any overt changes worth mentioning. Once the cables had broken in, the small amount of additional bite and sizzle up top vaporized, and I was left with the changes to soundstage depth, midrange delicacy, and dynamic snap consuming my awareness. And this is as it should be. Cables often act as tone controls: boosting bass, increasing or subduing treble. I don’t want that. My system, with the Bowers & Wilkins 805 D4 Signatures, sounds as close to perfect as it ever has. With just the Royal Single Crown speaker cables in place, I’d have said I don’t want to change anything. But what I’m hearing now isn’t so much a change as it is a refinement, a housecleaning, an enhancement of everything that’s good about music.

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