http://www.stereotimes.com/cable110107.shtmlThe Power Providers
When I initially compared the Absolute power AC cords to the Gargantua IIs, I wasnt really sure if Acoustic Zen didnt make a mistake when they shipped me the Absolute cables. The diameters and the weight of the two cables are very similar and to make things even harder to distinguish between the two designs, Mr. Lee uses the same high-quality male and female IEC connectors on both the Absolute and Gargantua II power AC cords. The only noticeable physical difference is the decorative silver fibers that he uses on the outside of the Absolutes as opposed to the gold threads that are used as accents for the Gargantua IIs. But internally there is a significant difference between the two cables. The Gargantua IIs are made of 70% copper and 30% silver. The Absolutes on the other hand are made of 80% silver and 20% copper. Silver in its raw form is a better conductor than copper but that doesnt mean that cables that are made from silver are guaranteed to sound better than copper. Yet in this case they do.
After plugging the Absolutes into the system it was obvious that Mr. Lees top of the line power cords sounded better than the Gargantua IIs, but it was only after I had played them in the system a number of hours that the cables began to demonstrate some superb qualities. As a member of the Acoustic Zen family the Absolute power cords exhibited that familiar trait that is synonymous with Mr. Lees cables: extremely detailed sound with great extension and solid bass. But the first thing that was striking was that the music seemed much louder with the Absolutes installed than with the Gargantua IIs. I noticed it immediately because the Bel Canto Pre3 preamp employs a digital display and the volume level remained unchanged. Still, it was quite easy to discern that the music seemed louder and thus more life-like. For me, the benefit to having louder and less constrained music is it is easier to hear sounds that emanate from the background. Not only is it easier to hear little nuances from the back of the stage but the musicians have a more realistic stage presence. As you read further youll find out what I am talking about. And that isnt just true for the power cords, its prevalent throughout the Absolute line.
One of my tests of how well a system recreates the musical experience is how well ordinary red book CDs and vinyl records purchased from places
Wal-Mart, Amazon, or my local record store sounds on my system. I know that most audiophiles only have top quality recordings in their collections and would never consider anything that is in the bargain rack (just kidding). But whenever I can find some good music at great prices Ill generally add them to my collection. Courtesy of a Tower Records liquidation sale, I did just that and picked up a CD for less than three dollars. The name of the disc is This is Billy Mitchell [Smash Records SRS 67027]. The first track, J&B lets you know right away that this is a major talent. Mitchell might not be a household name but the man can really play the tenor sax. With the Absolute power cords installed, the soundstage expanded significantly.
Besides the soundstage improvements the Absolute power cords also add more presence and body to the performers. With Billy Mitchell playing tenor sax, the presentation was much more personal and it seemed as though I was listening to the performance from just a couple chairs away in the studio as opposed to from afar. The notes from his horn also seemed to come from an exact spot in the soundstage and I could almost imagine music coming out the bell of his horn. Otis Finch on drums helps to maintain the pace and with the Absolutes I was able to enjoy the cymbal work from this early 1960s recording without any unwanted sizzle or hardness (usually associated with these excellent but otherwise dated recordings). Because the drummer was much closer in proximity to the other musicians it seemed
he was an integral part of the group and not way off in the background, an effect which helped the presentation sound more realistic due to better integration.
The Interconnects
Appearance-wise the Absolute interconnects definitely look different from the Silver Reference IIs. It is also fairly easy to tell the difference between the two designs simply by touch. The Silver Ref II has an outer grey Teflon covering that is somewhat stiff but not so stiff that you cant bend it, work with it, or end up getting frustrated while trying to install the interconnects between components. The Absolute interconnect has a black Teflon covering with silver accents and is extremely flexible and light in weight compared to the Silver Reference IIs. The Silver Reference II is composed of 97% seven nines silver and 3% copper. The Absolute is made from silver too; 99% silver and 1% copper. According to Mr. Lee even the addition of a small amount of copper will smooth out the sound. The Absolutes can be terminated with custom designed RCAs or Neutrik brand XLRs.
Initially, I started listening to the system with the Absolute interconnects that were terminated with RCAs but since Im using a balanced preamp and amplifier I switched to the XLR cables.
One of the complaints that is sometimes made about cables that are made from silver is that the sonic signature leans toward brightness and sometimes can have a softening effect on the lower bass. With the Absolutes the tonal balance is centered toward neutral with plenty of detail, low end authority, and a naturalness that can be associated with cables that are made from copper. Silver is known to exhibit extreme speed with exceptional attack and the Absolutes excel in this area.