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Well,
it's been a while
since I've written
for these esteemed
web pages, so it
was with great
excitement when
The Stereo Times
editor Clement
Perry handed me
two Analysis Plus
Oval Power cords.
I had dropped by
Perry's for
another one of his
always memorable
listening sessions
and just a plain
old hello in the
wake of the
September 11th
attack. After
returning to NY on
September 17th
from a gig
featuring the
Regina Carter
Quintet with the
Milwaukee Symphony
out in Wisconsin,
my visit with
Perry out in New
Jersey was a
welcomed relief
from the stresses
we were all going
through. The prior
week's 3 concerts,
combined with that
evening of
listening to
music, was a small
reaffirmation of
the beauty of our
existence. Plain
and simple music
was and still is a
healing force in
my life.

Since
receiving these
cables, I have
been out of town
on 5 gigs and
tours over the
past 4 months. In
the past,
listening to my
system after my
return home
usually meant
"Cool, it's
nice but it's got
a way to go before
it gets to doing
that magic trick
of keeping me
involved."
This was surely a
result of being
around so much
live music. Yet I
can honestly say
that now, when I
come home and
press play on the
transport or flip
the preamp to the
tuner input, I'm
much happier now
with the Analysis
Plus Oval Power
cords in the
playback chain,
and that means a
LOT to me.

Perry
gave me two of the
Power Ovals and
suggested that I
would realize the
most benefit by
placing them on my
amp and power
conditioner, or
alternatively on
the preamp. After
trying them on
different
components I
realized he was
right. Off came
the Audio Power
313 from my PS
Audio P300 with
Multiwave (if you
don't have the
Multiwave upgrade
get it - I
received mine in
the spring and
haven't looked
back.) I
immediately heard
more of the
ambience and
detail surrounding
the instruments
that gives those
oh so precious
cues as to where
an instrument is
being played.
Improvements were
showing themselves
very fast.

Then
I removed a
half-meter run of
PS Audio's Mini
Lab cable from my
PS Audio Ultimate
Outlet and I heard
even more
ambience. The
Ultimate Outlet is
a wonderful power
conditioner that
is non-current
limiting, so for
all of you owners
of older Audio
Research amps with
fixed power cords
like me, it is a
must. At this
point I was
curious to hear
what the system
would sound like
sans the TDS
Passive
Audiophile. Once
it came out I lost
a little bit of
the weight but
overall everything
sounded
considerably more
natural and
certainly more
transparent. It
seemed to me that
the Power Ovals
were doing
everything I
needed to return
my system to a
more
"purist"
state sonically
and physically.

I
tend to shoot for
purity of sound
over euphony. Of
course this a
subjective
perception but I
base my choices on
what I hear on the
bandstand and do a
precarious
balancing act of
trying to find the
most natural
sounding equipment
afforded by my
jazz musician's
budget, which is
no small feat! For
a preamp I've
chosen Monolithic
Sound's PA-1
Passive/Active
Line Stage. Up
until unity gain,
which is at 12
o'clock its volume
control, this
little baby runs
purely passive.
After that
straight up
position, it is a
Class A, dual-mono
amplifier
providing up to
6db of gain. It's
a simple but
extremely
transparent Preamp
that I'm quite
happy with. To
sweeten the deal
I'm using
Monolithic's
upgraded HC-1 Dual
Mono Power Supply
for the PA-1. This
is excellent bang
for the buck and I
think I've
achieved the best
I can get on my
limited budget.

In
went the AP's and,
low and behold, 4
months later here
I sit writing a
review. My dilemma
in this situation
is to be able to
base my
perceptions on an
older reference
that at this point
no longer exists.
I had to compare
what I've grown to
be so happy and
comfortable with
to an older
standard for me.
In the course or
doing so I
realized that I
had been
shortchanging
myself by mixing
cables!

For
example, after
pulling out the
Mini-Labs and
Audio Power 313's
again, I realized
that my system
sounded better
with BOTH the
Ultimate Outlet
and the P300 being
fed through the
Mini Labs than
with the Audio
Power 313 on the
P300. But for the
sake of continuity
I've decided to
document my
experience with
mixing cables so
I'll begin with my
Audio Power
313/Mini Lab
configuration.

Changing
out the Audio
power 313 cord on
the p3OO to the
Power Oval

For
this stage of my
listening I used
the latest 16/44
version of Miles'
"So
What" from Kind
of Blue
[Columbia CK
64935]. The most
immediately
noticeable effect
I heard was the
removal of subtle
grain. Bill Evans
opening statement
sounded richer and
more
"wooden"
in a good way. I'm
not talking stiff.
No, I mean I could
hear more of the
wood of the piano
and in my book
this is a good
thing. Certainly,
I had been happy
before but the
Power Ovals had
raised the bar.
There was
definitely more
bass and in fact
almost too much.
This opening piano
and bass passage
has been tricky
for the mastering
of the various
reissues this
recording has seen
and it is just as
tricky to
reproduce on audio
systems. Up until
the latest CD
reissue I've found
this section to be
murky (I'm not in
any way referring
to the vinyl
version), but
finally we have a
better view of all
those gorgeous
colors being
displayed. At 34
seconds in the
bass fingers
"scrape"
was the more
natural than with
the 313 on the
power conditioner.
However the bass
was a bit ripe and
this was bothering
me.

Once
the horns entered
in response to
Paul Chamber's
call of the melody
they sounded more
natural and
engaging. It
seemed like there
were more
harmonics of each
horn to be heard
which in turn gave
more
distinguishing
character to each
instrument. I
heard sweeter more
relaxed highs and
this showed on
Jimmy Cobb's
cymbal work,
particularly at
the point where
the band kicks
into Miles' solo.

Changing
out the Mini Lab
from both the P300
and Ultimate
Outlet on the amp

Now
we were getting
somewhere! The
bass ripeness that
I was hearing was
somewhat
ameliorated, but
everything else
about the sound
improved even
more. The whole
soundstage became
more
three-dimensional.
The instruments
grew in vividness
even more. Within
seconds I could
tell it was a case
of "the more
the merrier"
with this cable.
Two were
definitely better
than one. The
cymbals became
wonderful in
comparison to what
I was hearing
before using the
Mini Labs cable.
Articulation and
sustain took a
strong step
forward in
quality. With an
improvement in
harmonics and
body, the music
became more
involving and
seemed a tad
louder.

Switching
out the Power Oval
and returning to
the original cord
on the Ultimate
Outlet resulted in
less bass, while
being a bit more
polite and
offering a clearly
less involving
presentation. As
for grain, I
decided to try a
more modern
recording without
tape hiss, but at
that point, it
sounded like there
was less.

Before
moving on to
different
selections I
decided to back up
a bit and try an
extra run of Mini
Lab on the P300
that I had
cannibalized from
my Fanfare FT-1A
tuner. At this
point I realized I
had been
shortchanging the
competition.
Substituting the
Oval for the Audio
Power 313 in the
chain yielded a
more natural
presentation. The
sound wasn't as
sweet and rich as
with the two Power
Ovals, but the
micro dynamics and
articulations of
Miles', Coltrane's
and Adderley's
solo lines were
very clear and
initially bettered
the AP in this
regard. (Keep
reading) However
there was just a
bit of harshness
on strong attacks
relative to what I
had heard from the
Power Ovals. At
this point I
decided the two
Power Ovals would
have to face off
against the two
Mini Labs.

The
ML and AP
comparison

The
first thing I
chose to listen
for comparing both
sets cables back
to back was Cyrus
Chestnut's
"Grandma's
Blues" from
his Earth
Stories
release [Atlantic
82876] that I had
played drums on.
The piano sound is
particularly
wonderful and Joe
Ferla, the
engineer, has done
a wonderful job of
capturing the
weight of the
2-week-old, 9-foot
Hamburg Steinway
that Cyrus
performed on for
the session.
(Cyrus was only
the second person
to sign the
instrument. Andre
Previn had signed
it the week
before. Yes I know
it sounds
heretical but it
is a tradition for
some rental pianos
to be signed.) I
still get goose
bumps whenever I
hear this played
back on a system
that captures the
weight of the
piano. I'm not
particularly
impressed with the
drum and bass
sound on this CD -
the sound staging
and presence of
these two
instruments where
not recorded at
the level I would
have preferred,
but Cyrus' piano
is the focus here.
At the same time,
the overall
representation of
the tonal quality
of my drums and
cymbals give me an
indication of a
system's
capabilities.

Initially,
on Cyrus'
"Grandma's
Blues," the
Power Oval's won
out in every area
except one. The
AP's brought the
instruments more
into the room with
me. Not that it
was in an
"all up in yo'
face" kind of
way that can be so
exciting initially
but then grows
fatiguing with
continued
listening. No,
this was
definitely more of
the real deal when
it comes to
getting closer to
what all the
instruments are
supposed to sound
like. Once again I
heard that
wonderful wood
sound that is so
often missed in
stereo playback.
The Mini Labs just
didn't get this
aspect of the
performance nearly
as well as the
Power Ovals. The
scale of both the
soundstage and the
ability of my
system to resolve
macrodynamics grew
with the Ovals in
place. The best
way that I can
describe what the
AP's where doing
in just a few
words is to say
that the
performance seemed
to be "more
on my skin."
I simply felt more
presence from the
instruments and
was able to better
distinguish the
different
environments that
each instrument
was recorded in.

I
don't feel that
being able to
distinguish
whether
instruments are
recorded in
different spaces
within a studio
recorded
performance as
being necessarily
a bad thing. Most
modern studio
acoustic jazz
records are
engineered to
create the
illusion of
performers
performing
together in one
space when in
reality isolation
booths are
virtually standard
for the drums and
bass. Some of the
results are better
than others. In
this case, Earth
Stories was
recorded live to
two-track DAT.
Cyrus was placed
in a HUGE room
while I was placed
in a rather small
room. The ceilings
in Cyrus'
recording space
were well over 20
feet tall. I can't
remember visually
the exact
dimensions, but I
would think it
fair to say that
it was probably 30
feet long buy 20
feet wide. The
floor was a hard
wood, most likely
maple, and the
walls had a
minimal amount of
acoustic tiles. In
short, the room
had a pleasant and
warm decay.

I
was placed in a
booth that
probably had a
7-foot ceiling. It
couldn't have been
any longer than 15
feet and no wider
than 10 feet. To
top it all off,
the room was
heavily damped
with various
carpets on the
floor and a very
liberal amount of
acoustic foam on
the walls. It is
just impossible to
have the drums and
piano sound like
they are in the
same room without
employing a hefty
dose of artificial
reverb on the
drums or overly
close-mic'ing the
piano, neither of
which was used for
this record. I am
able to detect a
small bit of
reverb being
employed on my
drums on one of
the other tracks
on the record, but
not on this track.

With
this in mind, the
Analysis Plus came
out on top with
flying colors. The
entirety of the
ambience that was
being reproduced
so beautifully
gave me more room
cues than ever
before while at
the same time not
sounding lifeless
or overly
analytical. My
cymbals sounded
the best I've ever
heard them on this
recording, yet the
dryness of the
drum's recording
booth versus the
openness of the
space in which the
piano was recorded
was still evident.
I was reminded
about how the
antique Zildjian K
cymbal I was
playing at that
time had more
rivets in it than
now. I was also
able to enjoy the
sustain of my
cymbal in it's
pre-cracked and
"surgically
repaired"
state. Since it
was damaged
several years ago,
I will never hear
that cymbal the
same way again.
Though I've always
been able to enjoy
it's original
sustain in my
"minds
ear," now I'm
a good deal closer
to hearing it with
the Power Ovals in
my system. (Trust
me that cymbal
still sounds great
in person, it just
doesn't have as
much sustain.) I
was simply able to
enjoy the music
more while being
more informed
(well… reminded)
of how this
performance was
recorded.

Without
making the
necessary
adjustments in my
system, the one
initial area where
the AP's suffered
was in clarity
going towards the
nether regions.
This was due to
what seemed to be
a slight blurring
in the lower
midrange and upper
bass. It also
seemed that the
Mini Labs
initially beat the
Ovals in the area
of microdynamics,
which I think
might have been a
result of their
dryer sound. It
was just a bit
easier using the
ML's to extract
the detail of
Cyrus' virtuosi
lines once he
delved into the
tenor to baritone
range of the
instrument. This
was confusing and
I started to grow
suspicious. I'm
glad I pursued my
suspicions because
I would later come
to realize why I
had failed to
achieve the
synergy needed to
give a fair
review. How could
the AP's be
performing so well
in all other areas
but be coming up
short in this one?
I figured I would
move on to some
other music to see
if this would
reoccur.

Next
I listened to the
Vermeer Quartet's,
performance of the
Allegro from
Beethoven's String
Quartet no. 7 in F
Major, op. 59,1
[Teldec,
4509-91495-2]. The
carrying theme on
this record is a
Russian folk song
and is first
stated by the
cello. Here the ML
won out by a hair
with its ability
to delineate the
various parts. As
the lines were
passed between
instruments I
found it easier to
follow them using
the Mini Labs,
which contributed
to more enjoyment
of the musical
event. It
definitely sounded
a bit grainier
than with the
Power Ovals, but
the clarity of the
lines was
spectacular. The
Power Ovals were
still more
tangible in a
visceral and
three-dimensional
sense, but their
sweetness became a
slight liability
since those parts
were blurred; most
noticeably, the
Cello which is 1st
to state theme and
crucial to the
meaning of this
lovely movement.
Initially, the
cello also sounded
slightly
harmonically
inaccurate
compared to using
the Mini Labs, yet
still seemed to
exist in more of a
believable space.
At this point I
began to wonder if
the Power Ovals'
sweetness might be
a result of a
roll-off in the
highs or perhaps
it was merely that
my amp was being
presented with
more juice and a
more resolved
signal and it
wasn't capable of
faithfully passing
the signal. This
seemed like a
contradiction
since the cymbals
on the previous
recordings were be
reproduced with
wonderful decay.

That's
when it hit me. I
thought to myself
maybe the room, or
I should say, my
ears, where not
used to hearing
this much bass in
THIS room with
these speakers
this CLOSE to the
rear wall. It was
obvious to me that
I was getting more
of everything and
possibly more
wasn't a good
thing if handled
with kid gloves. I
decided to ever so
slightly toe in my
Thiel 2.2's. They
had been firing
directly forward.
By pivoting the
outward most rear
corner of each
speaker a bit
forward and away
from the wall, I
was effectively
moving the woofer
on each speaker a
bit away from the
rear wall.

Boom!
That did it! The
problems that I
heard earlier
virtually
disappeared. The
Allegro of
Beethoven's String
Quartet in F Major
was now
spectacular. I had
everything. The
resolution,
ambience, imaging,
accuracy of
timbre, and
naturalness of
decay were in
place plus the
cello no longer
had the problem of
sounding blurred.

Returning
to Cyrus
"Grandma's
Blues," I
realized that the
blurring I had
heard earlier was
gone. The clarity
and naturalness of
the lines
completely outdid
the Mini Labs.
Don't get me
wrong; the Mini
Labs are a fine
cable for the
money, especially
since they are
only $199 for 5.5
feet verses the
Analysis Plus
Power Oval's cost
of $330 for 6
feet. Prices
aside, the
Analysis Plus
simply sounded
better.

One
of my favorite
ways to evaluate a
system's midrange
is to use one of
the two records
that I played on
with Abbey
Lincoln. I've
spent over 4 years
of my professional
career touring
playing with this
queen of song
throughout Europe,
Japan, and the
U.S. and I've come
to know here voice
almost as well as
my own. She, like
a very special
few, has an
immediately
recognizable
sound. Charlie
Haden said that
she possessed the
mark of a true
original and great
singer in that she
sang in just the
same way she
talked. This lady
puts on no airs so
if you hear her
singing it's like
she is talking to
you and you
directly.

Abbey
Lincoln's Who
Used to Dance
[Verve, 314 533
559-2], features,
believe it or not,
Savion Glover tap
dancing to a
steady sailing,
gentle ballad that
speaks of a
people's losses in
history and their
own forgetfulness
of their
greatness. In my
mind's eye I can
still see the
floor that Savion
had specially
constructed in the
studio for him to
tap on and my
system was finally
doing this
recording justice.

There
she was! Abbey's
voice was rendered
superbly and a
layer of grain was
lifted. I wish you
could have seen
the smile on my
face when I put
the Power Ovals
back in my system.
Unfortunately I
hadn't had a
chance to sit down
and listen to this
recording since I
had placed the
Power Ovals in my
system, but this
simply served to
illuminate even
more why I liked
the Analysis Plus.
I literally took
for granted how
good they sounded
and had yet to
finish my
audiophile
listening rounds.
I was just
thankful to be
hearing her voice
again played back
at such a superb
level of
naturalness. Once
again the piano
sounded more
holographic and it
was obvious that I
was using even
more rivets on my
cymbal than the
Cyrus Chestnut CD
that I had
listened to
earlier. I find
this delineation
of a jazz cymbal's
character to be
one of the hardest
things to capture
using the 16/44
medium, but
obviously the
Ovals helped the
P300 coax the
highest level of
performance I had
ever attained in
my system.

It
was clearly
evident that
Savion's tapping
wasn't close
mic'ed, which was
exactly as it was
recorded. As he
moves around from
side to side and
front to back on
the 10 × 12-foot
surface, the
listener is
treated to a
wonderful display
of soundstaging.
Each move he made
was tracked
beautifully! The
engineer placed
two mics on the
long edge of the
board spread about
6 feet apart. I
could see Savion
moving from side
to side and back
and forth in
display of another
virtuoso
performance. Once
again the ability
of my system to
resolve the sound
of wood was
heightened. The
floor sounded much
more believable
than ever before.

That
floor had been
assembled with 3
inch slats all the
way across. If a
tap dancer knows
their stuff they
can use the seams
between each of
these slats for
great effect,
which Savion did!
I could clearly
distinguish the
points where he
drags his feet
across the slats
and creates a
"washboard-like"
sound.

Savion
taps as
accompaniment,
duettist, and
soloist throughout
this track. There
really isn't a
point where he
isn't tapping. On
both the bass and
piano solos, the
musical line
between whether
Savion or the
instrumentalist is
soloing is so
blurred, (for the
lack of better
words - not in
terms of
soundstaging!) I
would call it a
duet. At 4:17 into
the track, Marc
Cary initiates a
trill in the upper
register of the
piano that Savion
immediately jumps
on after a few
seconds. This cat
rattles off some
of the most
ridiculously fast
single footed
rolls that I've
ever heard. I can
plainly hear that
he is standing on
the right side of
the soundstage
with the trilling
foot towards the
rear of the board.
He finishes off
several trills
with a strong tap
with his other
foot that clearly
sounds towards the
front of the
board, which is
closer to the mic.
For all of you
soundstaging
freaks, this is a
great test track,
which the Analysis
Plus rendered it
beautifully.

The
role I chose in my
drum performance
on this track was
to be simple in
light of that fact
that Savion's
tapping already
contained a
tremendous amount
of activity. You
can hear that I am
primarily creating
a sweeping sound
achieved by moving
my brushes in a
circular motion
around the head of
my snare drum. At
several points I
accent and
delineate section
changes in the
song with gentle
cymbal crashes
and/or accents in
the bass drum.
Leading up to the
3:45 point in the
song, there is a
swell felt from
the entire band
during Cary's
piano solo with a
resolution
accented by my
cymbal crash. The
rivets on that
cymbal rang for a
good ten seconds
and naturally
decayed back into
the sound of the
band. The Analysis
Plus, once again,
rendered this
superbly. My
former reference
couldn't pull me
into the music in
the same way. I
felt much more
immersed in the
moment while the
crescendo and
subsequent
diminuendo were
most effective
while listening
with the Analysis
Plus.

After
noticing how
natural the
relative dynamics
sounded, I decided
to listen to some
larger scale
stuff. I chose
from Reference
Recordings the
Minnesota
Orchestra
performing Ravel's
"Alborada
del gracioso"
under the
direction of Eiji
Oue from the Pictures
at an Exhibition
disc [Reference
Recordings RR
79CD]. In the
latter part of
October 2001, I
performed for a
couple of nights
with the Regina
Carter Quintet
along with this
orchestra in the
same hall that
this was recorded.
Luckily for me
this also gave me
a chance to become
more intimate with
this orchestra's
sound, meet the
wonderful
percussion
section, and
actually tap on
the custom made
snare that has
been used on most
of their
recordings for
Keith Johnson's
label.

Of
course, anyone who
has listened to
any Reference
Recordings CDs of
large-scale works
will know that
they have a
tremendous dynamic
range and the
Analysis Plus did
not fail to
deliver. The
"Alborada
del gracioso"
is a treasure
trove of color,
mood, energy and
dynamics courtesy
of the constantly
shifting
perspective of
Ravel's
orchestration of
this piece that
was originally
composed for
piano. After
making the
necessary
adjustments with
the volume knob to
get the system to
the point of being
at a believable
volume level I was
swept away by the
music. It was
actually a bit of
a struggle making
notes while
listening because
I kept being drawn
into the music. I
had a hard time
shifting into to
"reviewer
mode" so I
just gave into the
music and chose to
just enjoy
listened to this
piece in its
entirety several
times before
starting to write
down notes.

Once
again the
immersion
presented by the
Power Ovals was a
notch above that
of the Mini Labs.
That snare drum
sounded more like
the one I
remembered hearing
in the concert
hall. On this
recording, they
used the same
distinctive
drumhead as I use
on my entire drum
set so I've come
to be very
familiar with this
particular sound.
In addition to the
removal of grain,
the Analysis Plus
presented a deeper
soundstage
allowing the front
row soloists (i.e.
the woodwinds) to
come a bit more
forward. This
resulted in a
perceived
lengthening of the
soundstage. I also
heard more body
from all the
instruments,
bringing them
closer to what
they sound like in
real life. This
might also have
contributed to the
perceived
lengthening of the
soundstage.

After
performing with
this orchestra as
well as the
Milwaukee symphony
in September, I
was surprised how
far apart the
orchestra members
sit from one
another and I was
happy to hear that
my system was more
accurately
portraying that
same space between
the instruments.

The
final crescendo of
the piece, leading
up to the bass
drum stroke
followed by the
resolving chord
featuring a
healthy dose of
brass, never
failed to give me
spine tingling
goose bumps. With
the Analysis Plus
in my system, each
time I heard it --
even thought I
knew it was coming
-- I couldn't help
but be struck by
the power and
immediacy I was
hearing and
feeling. What made
it even better was
that I was getting
all of this
without it ever
sounding overblown
or out of
perspective. This
confirmed for me
that these cables
were not just
being gimmicky and
doing "circus
tricks," but
actually getting
to the core of
what this was all
about - the music.

Beware
of the bass the
Analysis Plus has
the potential to
allow your
components to
reproduce. What
may sound like a
sloppy sounding
bottom end just
might be a room
interaction that
you've never noted
before. Since it
is all a matter of
synergy, I can
certainly say that
in my system, the
Analysis Plus
Power Oval gave me
remarkable
improvements in
musicality and in
creating the
illusion that I
was in the musical
venue and that the
musicians were
there in the room
with me.

Granted that my
former reference
is a slightly less
costly cable, it
was a product of
one of the most
well known and
respected
audiophile
companies in the
business noted for
producing
extremely strong
products for a
reasonable price.
I am aware that
this same company
produces a
higher-level cable
that might be a
more matched
contender against
the superb
Analysis Plus
Power Oval, but
until I hear it in
my system I'm
going to have to
call the Power
Ovals my new
reference power
cable.

I've shot for
neutrality and
naturalness
(naturalness being
the better word,)
and I think that
the Power Oval
brings me
considerably
closer to my goal.
As a matter of
fact, I must admit
with the Analysis
Plus in and the
TDS Passive
Audiophile out, I
can say this is
the longest time
I've enjoyed my
system without the
desire to upgrade.
It's obvious to me
that I'm hearing
the music and not
the system. This
is a thoroughly
enjoyable product
and is now my
reference power
cord for the P300
feeding my front
end and the
Ultimate Outlet
feeding my amp. I
thoroughly
recommend them for
anyone that loves
music for music's
sake and not just
as an audiophile
hobby.

               < =============================================== >

Weinhart Design is here to earn your trust & future business and always interested in purchasing quality Audio, LP
collections, specialists buying Audio Estates and interested in most quality trades
in's.

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Call me directly in my Audio showroom in Los Angeles weekdays

from 11-4PM @ 310-472-8880 or on my cell including weekends from 10-10PM

at 310-927-2260 and I can answer your questions and help you with all of

your new and pre owned needs.

Making better Sound One
    system at at a time,








  David Weinhart 

Weinhart Design, Inc.

 President & CEO

The Audio and Video Expert
e: [email protected]
www.weinhartdesign.com

2337 Roscomare Road, Studio #1
Los Angeles, California 90077

Showroom) 310-472-8880
Cell) 310-927-2260