Audiophilepure

Before I bring this evaluation to a close, I would be remiss not to mention how effectively the in-tank filter system performs. The pump efficiently cycles the tank, and throughout all the record cleaning sessions I never saw an accumulation of detritus in the tank. In contrast, with my 40kHz tank I needed to use a flocculant additive so contaminants could settle to the bottom of the tank. I then had to filter the fluid or change it for a new batch. The CleanerVinyl system effectively keeps the tank clean and eliminates any materials from redepositing on the records. Secondly, the 132kHz tank is noticeably quieter than my 40kHz unit. When I mentioned this point to Rudy, his response was that the harmonics of a fundamental 132kHz waveform are higher than the 40kHz tank, and either out of our hearing range or the subsequent fundamentals that do approach our auditory bandwidth have lost significant amounts of energy and have a lower dB level. When we finally get down to the harmonics within our hearing spectrum, there is significantly less intensity being radiated, so the process presents as “quieter.” The benefit of this is I can keep this cleaning system in a room adjacent to my listening room and have it running while I play music or take care of other activities. Alternatively, I keep the 40kHz tank in my garage, as it is distractingly loud. Finally, this tank is compact and does not take up a substantial portion of real estate. On the flip side, this also means that you need to pay attention to positioning the gantry and the in-tank filter system, to maintain sufficient clearances for the records. This is not a complicated task and after you work through it once or twice it will become second nature. This entire system is neatly laid out with a “form follows function” blueprint, and users have a purpose-built tool for cleaning their records that does not have an extravagant price tag

Designed with the high-end audio system in mind, the ULTIMO is the ideal power solution for JCAT USB and network cards, the Master OCXO clock, as well as any other component requiring 5V or 12V PSU such as a network switch. Its advanced design ensures that these critical components receive the most stable and clean power, unlocking their full potential and delivering an audio experience that goes beyond hi-fi.

The rhythm section of Bill Evans’ piano, Paul Chambers’ upright acoustic bass plucks, and Jimmy Cobbs’ ride cymbal shimmers with life and sets the stage for what’s to come. Miles Davis’ understated trumpet takes over, front and center, in “So What.” With Cobbs keeping time on the left channel, and Evans on the right, it’s very organic and lifelike (Miles Davis, Kind of Blue. Vinyl. Columbia Records, August 17, 1959). John Coltrane’s saxophone solos next on the right, then Cannonball Adderley takes over on the left. With the Panamax, it sounds very good, but the imaging seems a touch tarnished by comparison—most notably on Miles’ trumpet solo. Like brass burnished with buffing compound, the RGPC 1200 adds a little polish, luster, and life to the listening session.