MikE
Color Me Gone
April 2000
Is hi-end audio a fraud? Or more accurately, is it worth the time and dollar invested for the payback received? While I feel the crux of this question is multi-faceted, one of the less considered factors is the decision-making process’ of the listener / system-builder. Success, in any endeavor is based on many things. Lack of success awaits those who either reluctantly refuse to educate themselves in product performance, system compatibility, listener bias or who randomly swap components, until in futility giving up, summizing hi-end audio is a fraud. While there have been sidetracks and setbacks, ultimately, my experience dispel many of the allegations of the conspiracy-seekers. IME, my enjoyment is directly related to my investment - in effort or capital - which to offer perspective to my comments, is considerable. During the past four years I’ve spent upgrading my audio system I have come to witness more than just it’s transformation; the physical juggling of components, be they metal, ebony or composite. The more telling transformation has been not of equipment or even its ability to affect sound but of the listeners ability to interrupt that sound, forming a better understanding of the listener / stimulus relationship. This understanding has lead me to realize that by executing a clear and concise vision, it is possible to watch your system metamorphosis right before you; (seemingly) breathing life into dormant technology. I’ve learned that system-building is not about the indiscriminate spending of big bucks, rather involves intelligence, sensitivity, diligence and faith. Faith that the chrysalis you see before you today could become something so much more beautiful. For me there is sound and then there is music. Music happens when feeling or meaning form a union with sound. I believe the products of this review will strengthen that bond.
REVIEW COMPLETE: The purpose of this power cord review is to substantiate “industry rumors” surrounding the alleged superiority of the new Shunyata Viper v2 over it’s elder sibling, the King Cobra, Caelin Gabriel’s benchmark power cord that recently underwent an upgrade to v2 status. This review covers the new Viper v2 and the original King Cobra. I have not had the pleasure of acquainting myself with the new King Cobra v2. The fact that the Viper v2 retails for one-half the cost of the original King Cobra makes this report relevant to those considering the acquisition of either and perhaps a minor curiosity to KC owners. The products of this review are hi-end audio components, approaching state-of-the-art in cost and performance. While all hobbyists are invited to peruse, the target audience for this critique are those enthusiasts who are fundamentally happy with the level of performance and satisfaction provided by their core components. Those looking either to explore power delivery enhancement, end-users wishing to supplement their existing first-hand knowledge with this product type or those interested in the art of fine-tuning their systems to more closely resemble music than mere sound. Seeing that I currently use PowerSnakes in my system, one could deduce that I would write a favorable review: I think it paramount that the reader study my comments throughout the review reflecting my listener profile to best determine if their aural preferences and proprietary equipment are compatible with my own. This correlation along with my observations on the sonic signature of the v2 would best serve readers in their assessment of the possible benefits of this product in their own application(s). As with any component - ancillary or otherwise - there is no way to predict or measure, with accuracy, if a product will prove compatible with your gear, system, or aesthetic values if not experienced in the application it was intended: Appreciation is largely based on association, resulting in enlightenment. Before proceding with the body of the review I would like to disclose information on my listener profile, reference system and review methodology to provide the proper context for my observations.
LISTENER PROFILE: Of my 43 years, 25 have been spent (in part) in the pursuit of musical enlightenment, through the means of enhanced electronic playback. For me music is about emotions; trying to achieve a deeper form of communication with which the artist is speaking. The paradox: The more you invest and through review auditions, forced to listen critically, you ultimately want your system (at least I do) to step aside, letting the music speak directly to you. My audio system is but a vehicle for the exploration of those moments. My sensibilities favoring the coherent, ethereal, and romantic rather than the monolithic, monochromatic or mechanical. I listen in the near-field and consider low-level shifts in scale and timbre essential to my enjoyment.
My REFERENCE SYSTEM as used in this review, has principally remained intact. I’m looking to enhance dynamics, envelopment and treble vibrancy, w/o losing the lush and airy presentation. My reference system, far from an absolute standard, is a delicate balance of vision and instrument. I have attempted to maintain as clean and direct a path for the signal as possible. In my evolution as a listener, I’ve discovered my bias deviates away from absolute, clinical neutrality and in fact is colored, colored to suit my tastes. My goal is to realize the vision I can only imagine, enhancing all aspects of system performance while maintaining the delicate balance of resolution and smoothness: By assembling components into a cohesive, inter-dependant union that makes music rather than mechanically renders electronic artifacts. My objective is to compose a system that will captivate my attention; enabling longer and more pleasurable listening sessions. I know what I like and have successfully, if not completely, fine-tuned my system to stroke my aural desires.
The REVIEW METHODOLOGY employed for power cords is identical to that used for all product types. Using live, unamplified music as my reference I observed deviations from this absolute, while identifying colorations and sorting those differences into a meaningful order. My primary interest is the interpretation of aesthetic stimulus for my enjoyment and enlightenment. I do explore scientific explanation, but only to confirm my observations and only to a degree that satisfies my curiosity. During my ongoing upgrade, I have experimented with over 17 different after-market power cords before settling on my quartet of Shunyata power cords, (2) Black Mambas and (2) Sidewinders. As an inmate on AA, humorously pointed out, I’ve “gone completely Shunyata.” The other cords I own are the E.S.P. “Essence”, Synergistic Research a/c master line coupler and Electra-Glide Fat Boy. The Viper belongs to The Cable Co. and the co-subject of the review, the KC, is on loan from a personal friend. Regarding the other cords, while certain aspects of their performance were pleasing and suitable to specific applications, none of them (IMO) demonstrated themselves (IMS) to consistently improve upon the musicality of the Shunyata cords.
The REVIEW PROTOCOL comprised the use of long term listening for pleasure, along with direct a/b/a comparisons using short sound bytes from a regulated and revolving selection of source material. I actually put more credence on casual listening, preferring to accept my prejudices then try to artificially listen around them-quoting another inmate, “long-term satisfaction cannot be tested, it must be lived”- however you choose to invest your time, money or allie your allegiance I wish you success in your endeavors. During my power cord upgrades, I’ve found the most dramatic results were principally achieved from the source downstream, meaning transport or CDP first, then pre-amp/dac, amp...therefore both review cords have seen duty via the IEC facility on the out-board power supply of my Audio Alchemy dds.pro transport. Which in turn is plugged into one of the discrete digital receptacles on my API Power Wedge 116 MK II power line conditioner.
DISCLAIMER: My observations should not be misconstrued as irrefutable fact or universally applicable claim, rather represent an individual hobbyist’s findings. My goal is not to win your allegiance, agitate or rescue anyone from their particular discipline or preference. My objective is to report - sharing - my observations w/the audio community at large, not just those that may adopt my enthusiasm or viewpoint; cultivating the opportunity for a cordial exchange of information. Rather than create an opportunity to segregate our members - inspite of our differences - we can find common ground to embrace our shared passion. The manner that my system deviates from absolute neutrality reflects my understanding on what works for me, as to your preferences, that my audio brothers (perhaps) still awaits you on the road to find out.
PHYSICAL DESCRIPTION: (Viper v2): Cable length is 6 feet. Cable diameter is 1.25". Current / voltage rating is 15-20A /125- 250V, depending on connector option. Conductor diameter is .111". Dielectric rating:600/+200 degree C. Connector options are: IEC/down angle/Hubbel 20A/Neutrik powercon. PowerSnakes are constructed with conductors that are capable of delivering 30-40A, which exceed the standard 15A household circuit. All PowerSnakes use UL and CSA approved IEC 60320 connectors, while the new Viper v2 and KC v2 have upgraded the gold Watt-A-Gate ac plug for a NEMA approved, heavily-plated silver plug.
BURN-IN PROCESS: I principally used my standby, GTA SE-40 amp for burn-in, along with a (150 WATT) light source equipped with a male IEC connector. In the Shunyata product literature, it states that PowerSnakes typically go through a dormant stage during there lengthy (300-600 hour) burn-in process. Sounding lifeless at first, then better, then worse, then incrementally improving with burn-in. Even then I’ve sensed my other PowerSnakes to fully blossom at some later point before stabilizing. I found this, once again, to be the case with the v2. As the Viper sounded worse at 100 hrs than it did at 5 hrs. No sweat, I just let her cook till the 200 hr mark before further sampling. Perhaps a consumer w/o this knowledge may have concluded the audition at that point, unimpressed. A case where prior product experience was invaluable.
BODY OF REVIEW: Upon delivery I sat down & listened one last time to my reference system with the Black Mambas & Sidewinders in place. On power down, I pulled the Blk Mamba feeding current to my dds.pro transport and installed the Viper v2 pc. After sufficient (30:00) warmup, I noted my initial impressions. I recognized a pattern consistent with the other power cords I’ve burnt-in; there was a hardness to vocals with an excess of sibilant splash that was not present w/the BM. The bass was lazy and M.I.A.-sounding coincidental rather than an integral, fundamental component of the sonic structure. Space, especially in the navigation of depth of field was not convincing. My system, while still enjoyable (?) took on a less involving, homogenized quality that obscured the essential nature of the music. After 5 hours, the system sounded appreciably better, equaling the presentation with the Blk Mamba & did something unique to all components auditioned in my home - the stage presence expanded, vertically. This impression was a casual observation, w/o direct comparison to the other cords. My preliminary score card read Viper v2 one, KC zero.
200 hr mark: My system, sounded markedly better w/the v2, evoking more fleshed-out timbres and dimensional images reminiscent of the KC. But the Viper is more vivid with greater micro-dynamic contrast or jump factor, that (IMO) recreate the illusion of live music. With the Viper, Shunyata appears to have married smoothness with resolution - qualities of the KC - while embracing dynamics, precisely what my system needed. Resolution, an analytical quality and smoothness, a musical quality are admittedly polar in nature and elusive for any one (1) component, yet are goals I set for all of my equipment adoptions.
KC notes: The KC reminds me of my Mullard cv4024 12at7 input tubes (“old logo”, not later production vintage); providing a softer, more recessed midrange that draws you in. Like a person speaking in a hushed tone, it invites, entices you to lean forward, rather than having an up-front, in your face presentation that can cause your ears to shut down, resulting in listener fatigue. When either the Mullards or KC are residing in my system I can listen for hours-both addicting, intoxicating and transcendental. During this review the unavoidable temptation was to both the Viper and the KC together, which I did on occation. The result: The sense of listening to live musicians was less fraudulant; the organic decay of a rim shot, the fullness and body of acoustic instruments, the sense of bloom surrounding images, the recreation of space, whether inside a venue or the resonance of air vibrating within an instrument. Listening to Coltrane’s 1957 “Trinkle Tinkle” [Rhino r271255], you can hear, clearly, the sense of dimensionality, of air vibrating within his hollow tenor sax. The impression is one of cancelling much of the subtractive thinning of the harmonic structure - the unwelcomed by-product of digital sound.The slight leanness my system exhibited is absent when either the Viper or KC are in attendance. Listening to Guy Clark’s Boats to Build [Asylum 61442-2], my inner ear experienced a phenomenon know as “Threshold Shift”, as the sustained sound levels - punctuated by an organic, physical presence - caused a rise in the rooms barometric pressure. When the KC or Viper are hooked up I find myself “swimming in sound”. In case you’re wondering, my average listening levels are between 60-85 dbs. As my system has become more refined, I can listen comfortably to louder levels but with the enhanced micro-dynamics and lowered noise-floor of products like the v2 I find myself enjoying less gain w/o loss of intensity or involvement. The attendant noise found in systems without AC treatment causes you to listen to higher SPLs to overcome background (AC) pollution, much like when speaking or spoken to in a noisy environment. References of a blacker background or lowered noise-floor are the antithesis of this condition. The sound stage doesn’t so much expand in front of you, it immerses you within it. Acknowledging my Sonatina speakers and premium quality e80cc n.o.s. Amperex’ contribution in this performance parameter, the Power Snakes embellish rather than inhibit this sensation: The sense of holographic envelopment with the KC was not as prominent with the v2. Recalling my Cobra / KC audition, I remember finding the self-effacing KC as thee most difficult component to describe, sonically-speaking. I feel only the best equipment has this, transcendental quality; unlike anything else which to compare against. Only after spending time with the v2 was I able to come to terms w/ the KC.
300 hr mark: The subtle differences are growing between the Viper and KC, the v2 displaying a stronger personality than the unobtrusive King Cobra. But rather than sounding like technology, the v2 gave me hope that perhaps my system was capable of more than simply dissecting sound and could provide insight into the musical essence; the sorrow, the joy, the magic. Lush still, like the dreamy and detached KC, the v2 engages you with the flow of the music. It’s more organic and vibrant, the KC more distant. One area where the Viper edges out the KC is in the recovery of low-level information. Another area of strength w/the Viper is its variety of tonal color, timbral shading and texture. On the fabulous 1969 Spaces album [Vanguard vmd-79345], John Mclaughlin and Larry Coryell blaze extended solos on their respective acoustic guitars, each in their own distinctly personal styles. Punctuating their telepathic call-n-response with immense accuracy and detail, the v2's contribution was its ability to weave their discrete styles into a believable and cohesive aural fabric. Midrange presentation was effortless, the v2 presenting detail with an absolute openness and clarity; capturing the breathiness / vibrato / remorse of Rickie Lee Jones’ singing on “Coming back home to me” [Geffen gefd-24426], with such resolve I felt her swaying in front of me. As I have suggested that the Viper associates itself with more absolute audiophile qualities. I would further describe it’s midband signature as paralleling solid-state characteristics while the panoramic, full-bodied, harmonically-rich KC possess’ traits associated with vacuum tube amplification. With this exception; much like analogue reproduction, the Viper was able to recapture the slightest shift in intensity or scale, that for myself is essential in simulating the magic of music.
400 hr mark: As the review progressed I found myself less inclined to formally critique the Viper, as I was more interested in rediscovering my musical library, pleasantly surprised to find many more selections measuring up to the standard I perceived worthy of my considerable (system) investment. On Jeff Beck’s Who Else [Epic ek67987], there is this live track that clearly shows off the v2's ability to replicate depth of field. While casually listening I heard a whistle from outside my window or so I thought. I hit the 10 second repeat on my transport and heard it again. So life-like and palpably positioned within the sound stage that I actually got up and looked outside, the v2 recreated the illusion of someone perhaps 40 feet away... unbelievable. That day as images extended beyond the boundaries of my 20x14x9 room, I was (seemingly) transported to the raucous concert venue. Recalling my initial disappointment with the v2's bass performance; the lower registers remaining dormant like a sleepy, old dog. Listening to Johnny Hartman’s 1972 recording, For Trane [Blue Note cdp 7243 8 3534622], the transformation was complete, as Yoshio Ikeda’s (bass) playing was solid / taut & propulsive. Absolutely natural sounding, the v2 let me visualize the thump / slap of fingers on strings & the body of his instrument. Far from wanting, I did sense, in direct comparison to the KC, the v2's deep bass attack lacking in sheer weight and mass.
Viper v2 sent packing: Paul from the The Cable Co. called saying he needed the v2 back NOW! The wait list on the Vipers had grown long and the natives restless. So, I thanked him for asking me to do the burn-in (allowing me to get a sneak peak) and reluctantly sent her back.
BM notes: No need to pout, that evening I put my BM back on my transport, let the rig warm up for a few (hours) and sat my butt down to observe the effect. IME, a products true character is drawn into sharper relief after substituting it for the original component or configuration. The BM still projected it’s laid-back nature, even more evident after my date with the lively Viper... but the BM, which by my own admission was exceptionally musical, with a balanced, seamless presentation now appeared evasive. Not only did low-level resolution suffer, the music became less open and airy, adopting a congested and mechanical quality. On my audiophile checklist the Viper was clearly superior but more important I felt less connected to the emotional fabric of the music w/the BM. One of my audio buddies preferred an all-Black Mamba set-up to either the Sidewinder / Cobra / KC or Sidewinder / v2 / KC arrangement. Apparently, she found the demure BM’s more to her liking than the larger-gestured cords. I too, very much enjoyed my time with the trio of Black Mambas. So, BM owners don’t lament or lambaste me, our cord is special. Just take my comments in the context in which they were spoken; vs the more expensive review cords. In direct comparison, the BM’s are well-heeled compared to stock cords or even well-received after-market varieties.
CROSSROADS: After spending (all but) 3 weeks w/the Viper, I found it to be clearly preferred to my BM’s. But at a cost: The BM retails for $700.00. The KC $2000.00. The Viper v2 $1000.00. The (now discontinued) Cobra $1200.00. My solution: Exercise my option to have my BM’s factory upgraded to Viper v2 status for $350.00 (each). Seeing how I didn’t pay retail - I shop around / haggle - and knowing the potential of my cord, it's an easy decision (IMO) for BM owners. So off she went, back to Caelin. Some may find my decision to upgrade premature due to my short stay with the (still) maturing v2. My experience w/PowerSnakes told me this cord had already gone through it’s dormant or degenerative stage and was only going to sound better. It’s sonic signature or personality had already been established and revealed to me. Thus the decision to upgrade.
2 weeks later: After taking delivery of my Blk Mambas, upgraded to Viper v2 status (serial# vao-121/122), I resumed my review after noting they exhibited identical characteristics to the Viper I had previously test driven. To maintain review integrity I borrowed a used BM to finish my review with the same ensemble of cords that I began.
500 hr mark: Treble excursions never exhibited any whitish, digital artifacts, instead presenting a realistic palette of tone & color. Guitar strings had more zing and cymbals shimmered with a degree of delicacy and airy decay I cannot ever recall experiencing (IMS). Treble aberrations were never apparent on Tsuyosti Yamamoto’s wildly dynamic 1974 Midnight Sugar [Tbm-xr-0023] audiophile-grade recording. The ability of the v2 to replicate space, air or harmonic decay was evident on The Beatles Anthology Vol. III [Capitol cdp 724383445226], with Paul’s singing on “Junk”, a good example of the Viper's imaging prowess. Rather than projecting him as a fixed object you can clearly “see” his movement about the microphone. Especially interesting is when he pivots right or left. The PowerSnakes lower noise-floor enables the recovery of these subtle movements, his voice appearing to emanate from a round human orb as opposed to a flat, 2-dimensional caricature.
You may have noticed I found the v2 / KC to share similar qualities, and though each stamps its signature separately on the sound, one of those similarities is that each steps out of the way, allowing the listener to focus on the musical presence, not frequency behavior. The KC does this more in a impressionistic light, w/a slightly softer, surreal almost dream-like focus, while the Viper chooses a more precise exposure, projecting more absolute audiophile qualities. How Margo Timmons voice outlines, with precision, the cavernous atmosphere of the Holy Trinity church. Imagine walking into a large, dark opening then flipping on a light source so the space is now illuminated, that is the recreation of ambience your system should provide (given the recording) that I refer to as projecting a believable sound stage. Just to set the record straight; all this talk of lush, dreamy images floating into outer space, blah, blah... my system is hi-rez, referring to the way it can peel back layers of electronic artifact(s) to get at a degree of absolute truth: You can hear, clearly, the A/C rush through the vents on the Trinity Sessions or the bus pass outside the church on TK 10 of the Stereophile Test cd 3 [Stph 006-2] at exactly 4:54. The detail is there, just peripherally noted, never hyped-up or over-whelming.
MULTIPLE SNAKES: As when I used the Cobra / KC combo, I found the best results were found when both were in the system together.The additive effect of running both Vipers simultaneously was addictive and non-condusive to the timely processing this review. There accumulative affect was as musically satisfying as any upgrade I’ve experienced in my home. My preference leans toward maintaining cable-family integrity but using the same cable or cord through-out your system can sometimes push the balance too far in one direction. While using a variety of cable brands, can result in positive shifts in tonal or frequency balance, I’ve found this approach to often inhibit system integrity and with it long-term listener involvement. The later favoring absolute audiophile values and the prior embracing overall musicality.
CAVEATS: While my overall preference leaned toward the Viper... If you like a more recessed presentation, say mid-hall or prefer a softer focus, then the KC may be desired. The KC has more of an intoxicating, dreamy quality; in my delicate and darkish system, utilizing the soft-sounding and romantic (xf2) EL-34 n.o.s. Mullards, the verve and punch of the Viper is welcome. I’m a tube-head, admittedly in deep doo-doo love with my V.a.C. amp and (partially) based on its triode valve topology I found the v2 to compliment my architecture. Those with solid-state gear may prefer the KC for its seductive and all-together ravishing qualities. I’ve found with products the pedigree of either the Viper or KC, it is not necessarily an issue of right or wrong or one better than another, more a matter of system compatibility coupled with listener sensibility. Either one could be preferred over the other and in other applications I could also understand a preference of another manufacturers cord to the PowerSnakes reviewed here. Of the cords I’ve have sampled I found the voicing of the Shunyata cords to best stroke my aural desires. Other manufacturers I would recommend for your exploration include Electra-Glide, JPS Labs, FIM / NBS, BMI & Suhuaro.
ORIGINAL vs V2: I think it would be safe to say the new Shunyata cords do sound different. The traditional Shunyata family-sound is one of upmost musicality and frequency continuity coupled with a smooth, soothing flow. With the introduction of the dynamic and exuberant Sidewinder, I sensed that Caelin was (IMO) perhaps moving in another direction. Now with my experience with his latest cord, I feel it does appear the voicing of the Viper is very much a progression based on the Sidewinder. Caelin expressed to me that the old cords (in hindsight) romanticized the sound a bit, he wanted his new cords to favor neutraity. Because the new cords are more revealing of upstream irregularities, I feel they are at their best when mated with systems / components that are not overly colored or analytical in a fundamental way. The original cords are “better” at hiding anomalies. You may ask, what might one expect descending the line from the KC? Without exposure to the KC v2 - acknowledging the different nature of the old vs new sound - I would summarize the difference as one of control or poise. The KC is more refined, if not as dynamic or detailed, as the Viper. The Blk Mamba I would also characterize in a similar vein to its younger sibling, the Sidewinder.
KC owners: I understand you may be unhappy that your benchmark cords may have been supplanted by the KC v2. But if you enjoy your cord, be it King Cobra or for that matter O.E.M., then what is the problem? If you’re comfortable with your particular resting point on the never-ending journey to audio nirvana then perhaps it best you not audition the v2-considering its performance, especially in relation to other cost-no-object cords. Once pampered, its difficult to enjoy listening to lesser components again. After being cautioned about the (stunning) KC, I too was haunted by it’s memory and till now, musically unsatisfied. If it seems I’ve tarnished the reputation of your favorite, don’t concern yourself. I’m just one guy, with one opinion. The long-term musical satisfaction your system (or individual components) affords you can not be questioned. I suggest you demo the Viper v2 yourself and If your findings concur with mine, well there is always that factory KC v2 upgrade available. My suggestion for all auditions; turn the lights down low, spin some fave tunes and the one that lets you forget about the analytical reviewing process is the one I would pursue.
O.E.M. vs AFTER-MARKET: Going from a less extravagant after-market pc (Sidewinder) to a typical o.e.m. cord (Belden 14awg) was both dramatic and unsettling. The overwhelming result was a loss of composure; harmonics lost there richness and variety of color. The soundstage collapsed, while the air surrounding individual images - within - evaporated. Frequency extremes were compromised; treble aberrations overlaid vocals with an up tilted, whitish quality while lower registers lost there foundation and rhythmic sense so fundamental to music. The opaque Belden cord buried detail, as a dirty window obscures your vision.
To be continued...
Is hi-end audio a fraud? Or more accurately, is it worth the time and dollar invested for the payback received? While I feel the crux of this question is multi-faceted, one of the less considered factors is the decision-making process’ of the listener / system-builder. Success, in any endeavor is based on many things. Lack of success awaits those who either reluctantly refuse to educate themselves in product performance, system compatibility, listener bias or who randomly swap components, until in futility giving up, summizing hi-end audio is a fraud. While there have been sidetracks and setbacks, ultimately, my experience dispel many of the allegations of the conspiracy-seekers. IME, my enjoyment is directly related to my investment - in effort or capital - which to offer perspective to my comments, is considerable. During the past four years I’ve spent upgrading my audio system I have come to witness more than just it’s transformation; the physical juggling of components, be they metal, ebony or composite. The more telling transformation has been not of equipment or even its ability to affect sound but of the listeners ability to interrupt that sound, forming a better understanding of the listener / stimulus relationship. This understanding has lead me to realize that by executing a clear and concise vision, it is possible to watch your system metamorphosis right before you; (seemingly) breathing life into dormant technology. I’ve learned that system-building is not about the indiscriminate spending of big bucks, rather involves intelligence, sensitivity, diligence and faith. Faith that the chrysalis you see before you today could become something so much more beautiful. For me there is sound and then there is music. Music happens when feeling or meaning form a union with sound. I believe the products of this review will strengthen that bond.
REVIEW COMPLETE: The purpose of this power cord review is to substantiate “industry rumors” surrounding the alleged superiority of the new Shunyata Viper v2 over it’s elder sibling, the King Cobra, Caelin Gabriel’s benchmark power cord that recently underwent an upgrade to v2 status. This review covers the new Viper v2 and the original King Cobra. I have not had the pleasure of acquainting myself with the new King Cobra v2. The fact that the Viper v2 retails for one-half the cost of the original King Cobra makes this report relevant to those considering the acquisition of either and perhaps a minor curiosity to KC owners. The products of this review are hi-end audio components, approaching state-of-the-art in cost and performance. While all hobbyists are invited to peruse, the target audience for this critique are those enthusiasts who are fundamentally happy with the level of performance and satisfaction provided by their core components. Those looking either to explore power delivery enhancement, end-users wishing to supplement their existing first-hand knowledge with this product type or those interested in the art of fine-tuning their systems to more closely resemble music than mere sound. Seeing that I currently use PowerSnakes in my system, one could deduce that I would write a favorable review: I think it paramount that the reader study my comments throughout the review reflecting my listener profile to best determine if their aural preferences and proprietary equipment are compatible with my own. This correlation along with my observations on the sonic signature of the v2 would best serve readers in their assessment of the possible benefits of this product in their own application(s). As with any component - ancillary or otherwise - there is no way to predict or measure, with accuracy, if a product will prove compatible with your gear, system, or aesthetic values if not experienced in the application it was intended: Appreciation is largely based on association, resulting in enlightenment. Before proceding with the body of the review I would like to disclose information on my listener profile, reference system and review methodology to provide the proper context for my observations.
LISTENER PROFILE: Of my 43 years, 25 have been spent (in part) in the pursuit of musical enlightenment, through the means of enhanced electronic playback. For me music is about emotions; trying to achieve a deeper form of communication with which the artist is speaking. The paradox: The more you invest and through review auditions, forced to listen critically, you ultimately want your system (at least I do) to step aside, letting the music speak directly to you. My audio system is but a vehicle for the exploration of those moments. My sensibilities favoring the coherent, ethereal, and romantic rather than the monolithic, monochromatic or mechanical. I listen in the near-field and consider low-level shifts in scale and timbre essential to my enjoyment.
My REFERENCE SYSTEM as used in this review, has principally remained intact. I’m looking to enhance dynamics, envelopment and treble vibrancy, w/o losing the lush and airy presentation. My reference system, far from an absolute standard, is a delicate balance of vision and instrument. I have attempted to maintain as clean and direct a path for the signal as possible. In my evolution as a listener, I’ve discovered my bias deviates away from absolute, clinical neutrality and in fact is colored, colored to suit my tastes. My goal is to realize the vision I can only imagine, enhancing all aspects of system performance while maintaining the delicate balance of resolution and smoothness: By assembling components into a cohesive, inter-dependant union that makes music rather than mechanically renders electronic artifacts. My objective is to compose a system that will captivate my attention; enabling longer and more pleasurable listening sessions. I know what I like and have successfully, if not completely, fine-tuned my system to stroke my aural desires.
The REVIEW METHODOLOGY employed for power cords is identical to that used for all product types. Using live, unamplified music as my reference I observed deviations from this absolute, while identifying colorations and sorting those differences into a meaningful order. My primary interest is the interpretation of aesthetic stimulus for my enjoyment and enlightenment. I do explore scientific explanation, but only to confirm my observations and only to a degree that satisfies my curiosity. During my ongoing upgrade, I have experimented with over 17 different after-market power cords before settling on my quartet of Shunyata power cords, (2) Black Mambas and (2) Sidewinders. As an inmate on AA, humorously pointed out, I’ve “gone completely Shunyata.” The other cords I own are the E.S.P. “Essence”, Synergistic Research a/c master line coupler and Electra-Glide Fat Boy. The Viper belongs to The Cable Co. and the co-subject of the review, the KC, is on loan from a personal friend. Regarding the other cords, while certain aspects of their performance were pleasing and suitable to specific applications, none of them (IMO) demonstrated themselves (IMS) to consistently improve upon the musicality of the Shunyata cords.
The REVIEW PROTOCOL comprised the use of long term listening for pleasure, along with direct a/b/a comparisons using short sound bytes from a regulated and revolving selection of source material. I actually put more credence on casual listening, preferring to accept my prejudices then try to artificially listen around them-quoting another inmate, “long-term satisfaction cannot be tested, it must be lived”- however you choose to invest your time, money or allie your allegiance I wish you success in your endeavors. During my power cord upgrades, I’ve found the most dramatic results were principally achieved from the source downstream, meaning transport or CDP first, then pre-amp/dac, amp...therefore both review cords have seen duty via the IEC facility on the out-board power supply of my Audio Alchemy dds.pro transport. Which in turn is plugged into one of the discrete digital receptacles on my API Power Wedge 116 MK II power line conditioner.
DISCLAIMER: My observations should not be misconstrued as irrefutable fact or universally applicable claim, rather represent an individual hobbyist’s findings. My goal is not to win your allegiance, agitate or rescue anyone from their particular discipline or preference. My objective is to report - sharing - my observations w/the audio community at large, not just those that may adopt my enthusiasm or viewpoint; cultivating the opportunity for a cordial exchange of information. Rather than create an opportunity to segregate our members - inspite of our differences - we can find common ground to embrace our shared passion. The manner that my system deviates from absolute neutrality reflects my understanding on what works for me, as to your preferences, that my audio brothers (perhaps) still awaits you on the road to find out.
PHYSICAL DESCRIPTION: (Viper v2): Cable length is 6 feet. Cable diameter is 1.25". Current / voltage rating is 15-20A /125- 250V, depending on connector option. Conductor diameter is .111". Dielectric rating:600/+200 degree C. Connector options are: IEC/down angle/Hubbel 20A/Neutrik powercon. PowerSnakes are constructed with conductors that are capable of delivering 30-40A, which exceed the standard 15A household circuit. All PowerSnakes use UL and CSA approved IEC 60320 connectors, while the new Viper v2 and KC v2 have upgraded the gold Watt-A-Gate ac plug for a NEMA approved, heavily-plated silver plug.
BURN-IN PROCESS: I principally used my standby, GTA SE-40 amp for burn-in, along with a (150 WATT) light source equipped with a male IEC connector. In the Shunyata product literature, it states that PowerSnakes typically go through a dormant stage during there lengthy (300-600 hour) burn-in process. Sounding lifeless at first, then better, then worse, then incrementally improving with burn-in. Even then I’ve sensed my other PowerSnakes to fully blossom at some later point before stabilizing. I found this, once again, to be the case with the v2. As the Viper sounded worse at 100 hrs than it did at 5 hrs. No sweat, I just let her cook till the 200 hr mark before further sampling. Perhaps a consumer w/o this knowledge may have concluded the audition at that point, unimpressed. A case where prior product experience was invaluable.
BODY OF REVIEW: Upon delivery I sat down & listened one last time to my reference system with the Black Mambas & Sidewinders in place. On power down, I pulled the Blk Mamba feeding current to my dds.pro transport and installed the Viper v2 pc. After sufficient (30:00) warmup, I noted my initial impressions. I recognized a pattern consistent with the other power cords I’ve burnt-in; there was a hardness to vocals with an excess of sibilant splash that was not present w/the BM. The bass was lazy and M.I.A.-sounding coincidental rather than an integral, fundamental component of the sonic structure. Space, especially in the navigation of depth of field was not convincing. My system, while still enjoyable (?) took on a less involving, homogenized quality that obscured the essential nature of the music. After 5 hours, the system sounded appreciably better, equaling the presentation with the Blk Mamba & did something unique to all components auditioned in my home - the stage presence expanded, vertically. This impression was a casual observation, w/o direct comparison to the other cords. My preliminary score card read Viper v2 one, KC zero.
200 hr mark: My system, sounded markedly better w/the v2, evoking more fleshed-out timbres and dimensional images reminiscent of the KC. But the Viper is more vivid with greater micro-dynamic contrast or jump factor, that (IMO) recreate the illusion of live music. With the Viper, Shunyata appears to have married smoothness with resolution - qualities of the KC - while embracing dynamics, precisely what my system needed. Resolution, an analytical quality and smoothness, a musical quality are admittedly polar in nature and elusive for any one (1) component, yet are goals I set for all of my equipment adoptions.
KC notes: The KC reminds me of my Mullard cv4024 12at7 input tubes (“old logo”, not later production vintage); providing a softer, more recessed midrange that draws you in. Like a person speaking in a hushed tone, it invites, entices you to lean forward, rather than having an up-front, in your face presentation that can cause your ears to shut down, resulting in listener fatigue. When either the Mullards or KC are residing in my system I can listen for hours-both addicting, intoxicating and transcendental. During this review the unavoidable temptation was to both the Viper and the KC together, which I did on occation. The result: The sense of listening to live musicians was less fraudulant; the organic decay of a rim shot, the fullness and body of acoustic instruments, the sense of bloom surrounding images, the recreation of space, whether inside a venue or the resonance of air vibrating within an instrument. Listening to Coltrane’s 1957 “Trinkle Tinkle” [Rhino r271255], you can hear, clearly, the sense of dimensionality, of air vibrating within his hollow tenor sax. The impression is one of cancelling much of the subtractive thinning of the harmonic structure - the unwelcomed by-product of digital sound.The slight leanness my system exhibited is absent when either the Viper or KC are in attendance. Listening to Guy Clark’s Boats to Build [Asylum 61442-2], my inner ear experienced a phenomenon know as “Threshold Shift”, as the sustained sound levels - punctuated by an organic, physical presence - caused a rise in the rooms barometric pressure. When the KC or Viper are hooked up I find myself “swimming in sound”. In case you’re wondering, my average listening levels are between 60-85 dbs. As my system has become more refined, I can listen comfortably to louder levels but with the enhanced micro-dynamics and lowered noise-floor of products like the v2 I find myself enjoying less gain w/o loss of intensity or involvement. The attendant noise found in systems without AC treatment causes you to listen to higher SPLs to overcome background (AC) pollution, much like when speaking or spoken to in a noisy environment. References of a blacker background or lowered noise-floor are the antithesis of this condition. The sound stage doesn’t so much expand in front of you, it immerses you within it. Acknowledging my Sonatina speakers and premium quality e80cc n.o.s. Amperex’ contribution in this performance parameter, the Power Snakes embellish rather than inhibit this sensation: The sense of holographic envelopment with the KC was not as prominent with the v2. Recalling my Cobra / KC audition, I remember finding the self-effacing KC as thee most difficult component to describe, sonically-speaking. I feel only the best equipment has this, transcendental quality; unlike anything else which to compare against. Only after spending time with the v2 was I able to come to terms w/ the KC.
300 hr mark: The subtle differences are growing between the Viper and KC, the v2 displaying a stronger personality than the unobtrusive King Cobra. But rather than sounding like technology, the v2 gave me hope that perhaps my system was capable of more than simply dissecting sound and could provide insight into the musical essence; the sorrow, the joy, the magic. Lush still, like the dreamy and detached KC, the v2 engages you with the flow of the music. It’s more organic and vibrant, the KC more distant. One area where the Viper edges out the KC is in the recovery of low-level information. Another area of strength w/the Viper is its variety of tonal color, timbral shading and texture. On the fabulous 1969 Spaces album [Vanguard vmd-79345], John Mclaughlin and Larry Coryell blaze extended solos on their respective acoustic guitars, each in their own distinctly personal styles. Punctuating their telepathic call-n-response with immense accuracy and detail, the v2's contribution was its ability to weave their discrete styles into a believable and cohesive aural fabric. Midrange presentation was effortless, the v2 presenting detail with an absolute openness and clarity; capturing the breathiness / vibrato / remorse of Rickie Lee Jones’ singing on “Coming back home to me” [Geffen gefd-24426], with such resolve I felt her swaying in front of me. As I have suggested that the Viper associates itself with more absolute audiophile qualities. I would further describe it’s midband signature as paralleling solid-state characteristics while the panoramic, full-bodied, harmonically-rich KC possess’ traits associated with vacuum tube amplification. With this exception; much like analogue reproduction, the Viper was able to recapture the slightest shift in intensity or scale, that for myself is essential in simulating the magic of music.
400 hr mark: As the review progressed I found myself less inclined to formally critique the Viper, as I was more interested in rediscovering my musical library, pleasantly surprised to find many more selections measuring up to the standard I perceived worthy of my considerable (system) investment. On Jeff Beck’s Who Else [Epic ek67987], there is this live track that clearly shows off the v2's ability to replicate depth of field. While casually listening I heard a whistle from outside my window or so I thought. I hit the 10 second repeat on my transport and heard it again. So life-like and palpably positioned within the sound stage that I actually got up and looked outside, the v2 recreated the illusion of someone perhaps 40 feet away... unbelievable. That day as images extended beyond the boundaries of my 20x14x9 room, I was (seemingly) transported to the raucous concert venue. Recalling my initial disappointment with the v2's bass performance; the lower registers remaining dormant like a sleepy, old dog. Listening to Johnny Hartman’s 1972 recording, For Trane [Blue Note cdp 7243 8 3534622], the transformation was complete, as Yoshio Ikeda’s (bass) playing was solid / taut & propulsive. Absolutely natural sounding, the v2 let me visualize the thump / slap of fingers on strings & the body of his instrument. Far from wanting, I did sense, in direct comparison to the KC, the v2's deep bass attack lacking in sheer weight and mass.
Viper v2 sent packing: Paul from the The Cable Co. called saying he needed the v2 back NOW! The wait list on the Vipers had grown long and the natives restless. So, I thanked him for asking me to do the burn-in (allowing me to get a sneak peak) and reluctantly sent her back.
BM notes: No need to pout, that evening I put my BM back on my transport, let the rig warm up for a few (hours) and sat my butt down to observe the effect. IME, a products true character is drawn into sharper relief after substituting it for the original component or configuration. The BM still projected it’s laid-back nature, even more evident after my date with the lively Viper... but the BM, which by my own admission was exceptionally musical, with a balanced, seamless presentation now appeared evasive. Not only did low-level resolution suffer, the music became less open and airy, adopting a congested and mechanical quality. On my audiophile checklist the Viper was clearly superior but more important I felt less connected to the emotional fabric of the music w/the BM. One of my audio buddies preferred an all-Black Mamba set-up to either the Sidewinder / Cobra / KC or Sidewinder / v2 / KC arrangement. Apparently, she found the demure BM’s more to her liking than the larger-gestured cords. I too, very much enjoyed my time with the trio of Black Mambas. So, BM owners don’t lament or lambaste me, our cord is special. Just take my comments in the context in which they were spoken; vs the more expensive review cords. In direct comparison, the BM’s are well-heeled compared to stock cords or even well-received after-market varieties.
CROSSROADS: After spending (all but) 3 weeks w/the Viper, I found it to be clearly preferred to my BM’s. But at a cost: The BM retails for $700.00. The KC $2000.00. The Viper v2 $1000.00. The (now discontinued) Cobra $1200.00. My solution: Exercise my option to have my BM’s factory upgraded to Viper v2 status for $350.00 (each). Seeing how I didn’t pay retail - I shop around / haggle - and knowing the potential of my cord, it's an easy decision (IMO) for BM owners. So off she went, back to Caelin. Some may find my decision to upgrade premature due to my short stay with the (still) maturing v2. My experience w/PowerSnakes told me this cord had already gone through it’s dormant or degenerative stage and was only going to sound better. It’s sonic signature or personality had already been established and revealed to me. Thus the decision to upgrade.
2 weeks later: After taking delivery of my Blk Mambas, upgraded to Viper v2 status (serial# vao-121/122), I resumed my review after noting they exhibited identical characteristics to the Viper I had previously test driven. To maintain review integrity I borrowed a used BM to finish my review with the same ensemble of cords that I began.
500 hr mark: Treble excursions never exhibited any whitish, digital artifacts, instead presenting a realistic palette of tone & color. Guitar strings had more zing and cymbals shimmered with a degree of delicacy and airy decay I cannot ever recall experiencing (IMS). Treble aberrations were never apparent on Tsuyosti Yamamoto’s wildly dynamic 1974 Midnight Sugar [Tbm-xr-0023] audiophile-grade recording. The ability of the v2 to replicate space, air or harmonic decay was evident on The Beatles Anthology Vol. III [Capitol cdp 724383445226], with Paul’s singing on “Junk”, a good example of the Viper's imaging prowess. Rather than projecting him as a fixed object you can clearly “see” his movement about the microphone. Especially interesting is when he pivots right or left. The PowerSnakes lower noise-floor enables the recovery of these subtle movements, his voice appearing to emanate from a round human orb as opposed to a flat, 2-dimensional caricature.
You may have noticed I found the v2 / KC to share similar qualities, and though each stamps its signature separately on the sound, one of those similarities is that each steps out of the way, allowing the listener to focus on the musical presence, not frequency behavior. The KC does this more in a impressionistic light, w/a slightly softer, surreal almost dream-like focus, while the Viper chooses a more precise exposure, projecting more absolute audiophile qualities. How Margo Timmons voice outlines, with precision, the cavernous atmosphere of the Holy Trinity church. Imagine walking into a large, dark opening then flipping on a light source so the space is now illuminated, that is the recreation of ambience your system should provide (given the recording) that I refer to as projecting a believable sound stage. Just to set the record straight; all this talk of lush, dreamy images floating into outer space, blah, blah... my system is hi-rez, referring to the way it can peel back layers of electronic artifact(s) to get at a degree of absolute truth: You can hear, clearly, the A/C rush through the vents on the Trinity Sessions or the bus pass outside the church on TK 10 of the Stereophile Test cd 3 [Stph 006-2] at exactly 4:54. The detail is there, just peripherally noted, never hyped-up or over-whelming.
MULTIPLE SNAKES: As when I used the Cobra / KC combo, I found the best results were found when both were in the system together.The additive effect of running both Vipers simultaneously was addictive and non-condusive to the timely processing this review. There accumulative affect was as musically satisfying as any upgrade I’ve experienced in my home. My preference leans toward maintaining cable-family integrity but using the same cable or cord through-out your system can sometimes push the balance too far in one direction. While using a variety of cable brands, can result in positive shifts in tonal or frequency balance, I’ve found this approach to often inhibit system integrity and with it long-term listener involvement. The later favoring absolute audiophile values and the prior embracing overall musicality.
CAVEATS: While my overall preference leaned toward the Viper... If you like a more recessed presentation, say mid-hall or prefer a softer focus, then the KC may be desired. The KC has more of an intoxicating, dreamy quality; in my delicate and darkish system, utilizing the soft-sounding and romantic (xf2) EL-34 n.o.s. Mullards, the verve and punch of the Viper is welcome. I’m a tube-head, admittedly in deep doo-doo love with my V.a.C. amp and (partially) based on its triode valve topology I found the v2 to compliment my architecture. Those with solid-state gear may prefer the KC for its seductive and all-together ravishing qualities. I’ve found with products the pedigree of either the Viper or KC, it is not necessarily an issue of right or wrong or one better than another, more a matter of system compatibility coupled with listener sensibility. Either one could be preferred over the other and in other applications I could also understand a preference of another manufacturers cord to the PowerSnakes reviewed here. Of the cords I’ve have sampled I found the voicing of the Shunyata cords to best stroke my aural desires. Other manufacturers I would recommend for your exploration include Electra-Glide, JPS Labs, FIM / NBS, BMI & Suhuaro.
ORIGINAL vs V2: I think it would be safe to say the new Shunyata cords do sound different. The traditional Shunyata family-sound is one of upmost musicality and frequency continuity coupled with a smooth, soothing flow. With the introduction of the dynamic and exuberant Sidewinder, I sensed that Caelin was (IMO) perhaps moving in another direction. Now with my experience with his latest cord, I feel it does appear the voicing of the Viper is very much a progression based on the Sidewinder. Caelin expressed to me that the old cords (in hindsight) romanticized the sound a bit, he wanted his new cords to favor neutraity. Because the new cords are more revealing of upstream irregularities, I feel they are at their best when mated with systems / components that are not overly colored or analytical in a fundamental way. The original cords are “better” at hiding anomalies. You may ask, what might one expect descending the line from the KC? Without exposure to the KC v2 - acknowledging the different nature of the old vs new sound - I would summarize the difference as one of control or poise. The KC is more refined, if not as dynamic or detailed, as the Viper. The Blk Mamba I would also characterize in a similar vein to its younger sibling, the Sidewinder.
KC owners: I understand you may be unhappy that your benchmark cords may have been supplanted by the KC v2. But if you enjoy your cord, be it King Cobra or for that matter O.E.M., then what is the problem? If you’re comfortable with your particular resting point on the never-ending journey to audio nirvana then perhaps it best you not audition the v2-considering its performance, especially in relation to other cost-no-object cords. Once pampered, its difficult to enjoy listening to lesser components again. After being cautioned about the (stunning) KC, I too was haunted by it’s memory and till now, musically unsatisfied. If it seems I’ve tarnished the reputation of your favorite, don’t concern yourself. I’m just one guy, with one opinion. The long-term musical satisfaction your system (or individual components) affords you can not be questioned. I suggest you demo the Viper v2 yourself and If your findings concur with mine, well there is always that factory KC v2 upgrade available. My suggestion for all auditions; turn the lights down low, spin some fave tunes and the one that lets you forget about the analytical reviewing process is the one I would pursue.
O.E.M. vs AFTER-MARKET: Going from a less extravagant after-market pc (Sidewinder) to a typical o.e.m. cord (Belden 14awg) was both dramatic and unsettling. The overwhelming result was a loss of composure; harmonics lost there richness and variety of color. The soundstage collapsed, while the air surrounding individual images - within - evaporated. Frequency extremes were compromised; treble aberrations overlaid vocals with an up tilted, whitish quality while lower registers lost there foundation and rhythmic sense so fundamental to music. The opaque Belden cord buried detail, as a dirty window obscures your vision.
To be continued...
