Audiophilepure

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“Noise Isolation Chamber (NIC): A passive copper circuit developed and patented by Shunyata that provides the Typhon QR with much of its passive filtering abilities. It contains ZrCa-2000, a proprietary, nonreactive, ferroelectric crystalline material that is the subject of a patent separate from the one granted for NIC. According to Samuelsen, this material absorbs high-frequency power-line noise without the frequency-response anomalies often associated with transformer, choke, coil, or other ferrite-based power conditioners.

Typhon QR/BB Noise Reduction: A passive copper circuit, developed and patented by CIS, that allows the Typhon QR to provide components with instantaneous access to an AC reserve or coulomb charge. By eliminating the inductive reactance inherent in standard AC power conditioners without the use of low-pass filters or inductive devices, this circuit is said to enhance dynamics.”

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“I’ve used my PerfectWave P10 Power Plant continuously ever since I reviewed it for the May 2016 issue. I noted then that, with the P10 feeding all my equipment, “the aural images reproduced from digital sources” were “fleshier, more corporeal, and better located in space.” I also wrote that with the P10, the sound “seemed more natural and less electronic—almost suggesting a physical rather than electronic playback medium ”

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“First, the characteristic midrange and upper midrange brightness of the room was corrected, yet with no apparent loss of musical energy or information in either frequency band. Second, imaging became more continuous, meaning there was little if any tendency for there to be a sonic ‘hole in the middle’ between the speakers, while perceived imaging focus and specificity were dramatically improved. In layman’s terms, the diffusors seemed to take the room out of the equation, so that I could more clearly hear what the loudspeakers were doing. Third, spatial cues in the music, including very subtle recorded echoes and reverberations, became much easier to hear, as did sounds of instruments and voices interacting with the acoustics of various recording venues. The upshot was an increase in overall soundstage size and three-dimensionality. Finally, the panels worked equally well with dipole and with forward-firing loudspeakers. When you put all of these virtues and benefits together, the Vicoustics panels seemed like nothing less than acoustical miracle workers.

How are the Vicoustics panels mounted in one’s room? The answer is that in many applications the panels would be affixed to wall or ceiling surfaces using special flex glue that Vicoustics makes for this purpose. At the same time, though, I should point out that the panels don’t have to be attached to walls at all to be effective. In my case, for example, I found it perfectly acceptable to place panels on the floor, butted up against the wall, and then to stack additional panels on top. The beauty of this approach is that you can experiment with different panel placements as you wish without having any glue residue to clean up.”