Audiophilepure

With the aR6-T4 conditioning my system’s power, the treble registers were reproduced with crystalline purity. Shadowfax’s Folksongs for a Nuclear Village is a nuanced amalgam of world music, jazz and ambient soundscapes., with a myriad of percussion instrumentation flitting in and out of the broader performances. Via the addition of the aR6-T4 and frontRow powerChord, the chimes, gongs, cymbals, and shakers on “Lucky Mud” were reproduced with more air, shimmer, and dynamism. Likewise, Manu Katche’s cymbal work on “Digging in the Dirt” from Peter Gabriel’s Us SACD were more readily discernible against the background of the complex multi-tracked mix. 

The sonic benefits conferred by the aR6-T4 were made more readily apparent with its removal from my system. With all components plugged directly into the wall, the soundstage shrunk, dynamics flattened, and there was a coarse grit that overlaid the overall presentation, leading to less verisimilitude, which, in turn, engendered less musical involvement. And, as good as the aR2p-T4 is, especially at its price point, the larger aR6-T4’s performance improved upon that of its sibling with greater transparency, enhanced soundstage recreation, and improved rendering of dynamic contrasts. These differences were subtle, but experienced over time in a system tweaked for resolution, they became difficult, impossible even, to live without. 

Musical enjoyment is a gestalt experience, where minute and disparate factors combine to create an end result that transcends the components involved in its creation. As a music-playback system becomes more resolving, even small improvements begin to have outsized impact. Audience’s aR6-T4 wrought such an impact to my system’s performance, proving that the subtle can be profound. Well done.