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Harman Kardon release three Bluetooth speakers

Harman Kardon  release three Bluetooth speakers

Harman Kardon  Release Three Bluetooth Speakers 

Aura Studio 4, Go + Play 3 and Luna for 70th anniversary

During the Montreux Jazz Festival in Switzerland, Harman Kardon presented three Bluetooth speakers at once, which will be released on the occasion of the company's 75th anniversary. The first is Aura Studio 4, which can please not only with sound, but also with light. The Aura Studio 4 is powered by a downward-facing 5.2-inch woofer, complemented by a circular array of six drivers. The color show is created by 324 LEDs with crystals at the base of the transparent top of the case.

All together, according to Christian Schluender, Harman's senior vice president of global design, "lets the speaker's charming ambient light dance to the beat of Harman Kardon's beautiful sound." Moreover, the backlight works according to several algorithms, or rather, the topics that their names speak of: “Polar light”, “Galaxy”, “Rainy night”, “Cloud” and “Fireplace”.

Already known in previous iterations, the Harman Kardon Go + Play 3 Bluetooth speaker is now improved externally and internally. Its tempered glass top features built-in touch controls. The fabric grill, plastic speaker frames, and even the aluminum handle are all recycled. It is essentially a three-way stereo system with a common downward facing woofer.

Go + Play 3 is able to adjust the sound to the acoustics of the room, work as a hands free and powerbank, and it is completely autonomous for approximately eight hours.

Another novelty, Harman Kardon Luna, received a soft-touch case under a fabric lining. The top panel is made of anodized aluminium. Inside, these are two-way acoustics, and a pair of Luna will be able to work in full stereo mode. The body is IP67 dust and waterproof, and has a battery life of up to 12 hours. All three new Harman Kardon products will be on sale by mid-September.

In Europe, the price of the Harman Kardon Aura Studio 4 speaker is 330 euros, the Go + Play 3 is 350 euros and the Luna is 180 euros.

Goldmund Tethys - double-shell aluminum Speakers


Goldmund Tethys - double-shell aluminum Speakers

Goldmund Tethys - double-shell aluminum Speakers

Swiss company Goldmund said its new floorstanding speaker, Tethys, "represents the culmination of craftsmanship, innovation and an unwavering commitment to delivering the most realistic and immersive sound imaginable." If Tethys is compared with the well-known Goldmund floorstanders, then these speakers can be considered quite compact: their height is less than 110 cm and weighs 67 kg, and these are two gray aluminum cases with a proprietary “mechanical grounding” system.

The Tethys bottom cabinet is essentially a passive subwoofer with a 9-inch ventilated woofer. The top cabinet houses a 7-inch midrange driver and a soft dome tweeter. All this is united by an improved (according to the manufacturer) crossover. The result is a frequency response of 43 Hz to 25 kHz with -6 dB flatness.

Goldmund Tethys - double-shell aluminum Speakers

To connect a branded speaker cable, LEMO connectors are used, which can be considered the company's corporate standard (the same connectors are present on most Goldmund monoblocks). The company claims that each piece of Tethys is "carefully handcrafted by experienced craftsmen to ensure the utmost precision and attention to detail."

In the UK, a Goldmund Tethys order will cost £62,500.

Yamaha's True X Dolby Atmos Family: From Bluetooth Speaker to 4.1.2 System


Yamaha's True X Dolby Atmos Family: From Bluetooth Speaker to 4.1.2 System

Yamaha's True X Dolby Atmos Family: From Bluetooth Speaker to 4.1.2 System

Yamaha's True X Dolby Atmos Wireless Surround Sound System builds on the firm's successful soundbars such as the YAS-209 and YAS-207 , but now the possibilities are greatly expanded. Its main components, the True X Bar 50A and True X Bar 40A soundbars, received upward-firing Atmos speakers.

In total, these soundbars have six emitters: in addition to Atmos speakers, there are also a couple of forward-facing full-range speakers and two woofers. For their free placement, it was necessary, according to Yamaha engineers, to sacrifice the center channel speaker.

Both new products are compatible with the voice assistant Amazon Alexa, provide streaming Spotify Connect, AirPlay 2, Tidal Connect and, of course, work via Bluetooth. For control, in addition to the remote control, you can use the proprietary Sound Bar Controller application. It, in particular, will allow you to switch sound modes - "Film", "Stereo", "Standard" and "Game", in addition to which you can still apply two sound options - Clear Voice (Clear voice) and Bass Extension (Bass Extension). The older model, True X Bar 50A, is additionally equipped with a subwoofer. The SW-X100A subwoofer can be purchased separately for the soundbar with the 40A index.

Yamaha's True X Dolby Atmos Family: From Bluetooth Speaker to 4.1.2 System

Another highlight of the new line is the True X Speaker X1A wireless surround speakers, equipped with a 55mm full-range driver. They work with True X Bar 50A and True X Bar 40A soundbars as rear satellites. In addition, these are portable Bluetooth speakers with IP67 water and dust resistance rating, providing 12 hours of listening time before the next full charge via USB-C. And True X Speaker X1A is easy to mount on the wall.

Thus, Yamaha True X Dolby Atmos components can be used to assemble a variety of surround sound systems, from a Dolby Atmos stereo soundbar to a 4.1.2 home theater set. Three finishes are available, from black to light grey. New items will be on sale by September 2023.

European prices for new Yamaha products look like this: True X Bar 50A - 900, True X Bar 40A - 600, True X Sub 100A - 350, True X Speaker 1A - 170 euros.

Open 45 Credenza by Geology Studio - Display Vinyl Rack


Open 45 Credenza by Geology Studio - Display Vinyl Rack

Open 45 Credenza by Geology Studio - Display Vinyl Rack

Los Angeles-based Geology Studio has created the Open 45 Credenza, a facility that brings everything about vinyl together in a way to use and contemplate. The first word in the name means the openness of the contents of this rack for storing and displaying records, a turntable and everything vinyl in its owner's house.

Open 45 Credenza is a modular, flexible design in which sections and partitions can move to form compartments and compartments of the required capacity. A separate cable channel runs along the entire length of the product, and it can be about 5 m or 2 m 10 cm long - to choose from. The legs, in brass or black finish, are available in two heights, so that the structure will be about 70 cm high or just over 50 cm high.

Open 45 Credenza by Geology Studio - Display Vinyl Rack

The body of this piece of furniture, which includes the entire vinyl collection, turntable and necessary accessories, is made of wood, the species of which, for example, white oak or walnut, can be ordered. In the same way, you can choose the finish - varnished surface, oiled, etc.

It is clear that the abundance of options for sizes and finishes of the Open 45 Credenza did not allow Geology Studio to talk about any exact price for the new product. It all depends on the preferences of the customer, who is invited to find out all the details by e-mail.

Sharp launches CP-LS100 SumoBox Bluetooth speaker in collaboration with Devialet


Sharp launches CP-LS100 SumoBox Bluetooth speaker in collaboration with Devialet

Sharp launches CP-LS100 SumoBox Bluetooth speaker in collaboration with Devialet

The Sharp CP-LS100 portable Bluetooth speaker is made in the design of a professional device, and special stands allow you to use the novelty even as a floor monitor. The manufacturer promised "a bass line that will blow you away like a sumo wrestler."

To do this, SumoBox (that's a separate name) is equipped with two 20 cm (8-inch) woofers, complemented by a pair of two 5 cm (2-inch) tweeters. The result was a stereo speaker with a total power of 120 watts. The French company Devialet took part in the creation of the Sharp CP-LS100, providing proprietary Speaker Active Matching (SAM) technology. The technology allows you to enhance the bass in a closed case.

At the same time, the speaker itself is capable of mixing signals received at 2 combined TRS / XLR inputs, one additional input and Bluetooth 5.0 - it is quite possible to broadcast a “minus”, supplementing it with your own vocals and accompaniment. In Duo mode, two SumoBoxes will provide True Wireless Stereo playback, and a daisy chain connection will allow you to assemble a battery of speakers.

The battery will provide SumoBox up to 10 hours of playback, and in order not to waste time charging it, a quick replacement is provided. And the portability of the novelty is provided immediately by three carrying handles - one on top and two on the sides.

In Europe, the Sharp CP-LS100 Bluetooth speaker (SumoBox) costs 400 euros.

Marantz Celebrates 70th Anniversary with New York Show


Marantz Celebrates 70th Anniversary with New York Show

Marantz Celebrates 70th Anniversary with New York Show

Marantz celebrates its 70th anniversary. In New York City, the occasion is celebrated with a special exhibit that offers 650 square meters of Marantz audio and home theater access, museum tours, and "a glass of wine from a list compiled by a master sommelier, a fine espresso and enjoy a one-of-a-kind coffee blend roasted to celebrate the brand's 70th anniversary."

The massive cinema wall shows a film called "The Pursuit" dedicated to the 70-year history of Marantz. This is a retrospective starting from 1953 when Saul Marantz created his first audio console.

Marantz Celebrates 70th Anniversary with New York Show

Joel Sietsema, Marantz Brand President, said, "Marantz is a respected brand built on inspiring innovation and exceptional quality, and seven decades of that rich history are embodied in everything we have planned for our 70th anniversary."

Events dedicated to the 70th anniversary of Marantz are held on July 10, 11 and 12.

SVS SB-3000 subwoofer review

SVS SB-3000

SVS SB-3000 subwoofer review

SVS Inc., a leading subwoofer company since 1998, now offers a wide range of models at various prices and to suit a wide range of needs - each of their subwoofer lines has sealed and ported designs, and some include designer barrel models. A series of small closed-type devices is called SB, large ones are called the PB (Powered Box) series, plus their counterpart is the Powered Cylinder (PC series). 

I have been a fan of SVS subwoofers for a long time. I have three, an older PB NSD-10 used in my home theater system and two SB-4000s in my dedicated two channel system. Last month for SoundStage! Access, I wrote about my experience integrating the first and then the SB-4000 into my two-channel system. To say that I am pleased with their sound is an understatement.

When I bought my second SVS SB-4000 ($1499.99), I also received a SB-3000 ($999.99) from SVS. The SB-3000 hadn't been used in a few weeks while I was working on integrating a second SB-4000 into my two-channel system, but in the end it was time to find out how it stacked up with its big brother. Does the SB-4000 really cost 50% more?


The SB-3000 and PB-3000 have a 13" driver driven by an 800W class D amplifier. The PB-3000 costs more - $1399.99 in premium Black Ash (Gloss Black not available) - and measures 21.9" x 18.3" x 26" (HxWxD). The SB-3000 measures 15.6" x 15.2" x 17.8" (HxWxD) (with grill) and weighs 54.5 pounds - almost 28 pounds less than the PB-3000. And each of my SB-4000s is 30% bigger and almost twice as heavy as the SB-3000.

For the SB-3000, SVS defines a frequency response of 18-270 Hz ± 3 dB with applicable extension up to 10 Hz. SVS says they are using a brand new 13" long-throw STA-800D2 long-throw driver and amplifier module in the 3000 series, which combines "high current MOSFETs and class-D circuit efficiency." The motor system consists of a flat edge-wound voice coil and a massive 25-pound double ferrite magnet. The 800W RMS STA-800DS amplifier is claimed to be capable of producing 2500W peak power. The brains of the SB-3000 is Analog Devices' 50MHz high-resolution audio engine, which SVS says is the most advanced digital signal processor (DSP) ever used in a subwoofer.

As with most active subwoofers, the inputs and controls are on the rear panel. There are six buttons, three above and three below the 11 small white LEDs. The buttons labeled "+" and "-" are used to adjust the volume, phase and cutoff frequency of the low-pass filter (LPF), each of which is selected using its own button, respectively labeled Vol, Phase, Low Pass. For example, to adjust the volume, press the Vol button, then "+" or "-". The sixth button is Auto / On. In auto mode, the SB-3000 recognizes the incoming signal and wakes up automatically.

SVS SB-3000

11 LEDs indicate the status of volume, low-pass cut or phase, depending on which of these buttons is pressed. The scope is obvious; to cut the low-pass filter, the frequency scale with a range of 30-140 Hz is located above the row of LEDs; below the LEDs is a 0-180° phase scale.

To the left of the buttons there is a set of unbalanced inputs and outputs of the line level of the left and right channels (RCA); the right channel input is also labeled LFE for low frequency effects. Integrating the SB-3000 into a two-channel system is easy—no Y-splitters or dual pre-outs required. Above these inputs and outputs is a USB Type-A connector for updating firmware or powering a USB device, such as the optional SoundPath SVS Wireless Audio Adapter ($119.99) for convenient wireless installation. Below is a 12V trigger input and at the bottom of the rear panel is the main power switch and IEC 120V input for a detachable power cord (supplied).

While it seems necessary to provide manual controls, as SVS did, I suspect few SB-3000 owners will use them. The SB-3000 is SVS's cheapest subwoofer offering control of all its functions via a smartphone app. The SVS Subwoofer DSP app is available for free on the Apple iTunes App Store and for Android users on the Google Play Store; it communicates with the subwoofer via Bluetooth. I have already downloaded and installed the app for use with my SB-4000 and the setup and operation is very easy.

The Subwoofer DSP app is well thought out, intuitive and detailed. On the first screen, Home / Volume, you can adjust the volume and choose from three presets. (At the bottom of each screen, swipe up to save any changes you make to a given preset.) On the next screen, you can adjust the low-pass filter from 30 to 200 Hz in 1 Hz steps, as well as select the slope of the crossover: 24, 18, 12, or 6dB/octave. There is a switch to disable LPF control, to enable LFE mode when the SB-3000 is part of a home theater system and is operating in LFE mode, or when a subwoofer is connected to the LFE output of a two-channel preamp that also controls bass.

SVS SB-3000

The next screen allows you to adjust the phase in 1° steps in the range of 0-180°; The next screen presents a switch that simply reverses polarity 180°. The next most useful feature for those who use the SB-3000 without an external EQ is a three-band parametric EQ with 1Hz resolution, +6/-12dB boost/cut in 0.1dB steps, and a Q range of 0 .2-10.0.

After all this, a screen appears with a switch to enable or disable room gain compensation with frequency settings of 25, 31, and 40 Hz. This feature is designed to optimize the low frequency extension and output of the SB-3000 to reduce bass bloat in small spaces. The last four screens are dedicated to naming or renaming three presets, as well as auxiliary items such as standby, contact information, and a tutorial. Like I said - this app is comprehensive.


The SB-3000 was easy to unpack - its small size and weight made it easy to pull it out of the box yourself. Includes instruction manual, detachable 6" power cord and black metal speaker grille. My subwoofer was in lacquer black - I didn't see any blemishes or scuffs on the beautiful mirror finish.

My listening space is a separate, windowless, soundproof room, 15'L x 12'W x 8'H, in the basement of the house, carpeted on a concrete floor. The SB-3000 comes pre-installed with small hard plastic floor spikes. For wood base customers, SVS offers additional SoundPath Subwoofer Isolation System feet ($49.99/four) to reduce acoustic energy transfer from the base to the floor.

My reference SB-4000 subwoofers are located along a long wall, to the right of my left speaker and to the left of my right speaker, and exactly 5' from each side wall. In my listening comparisons, I only used one SB-4000.

SVS SB-3000

I set the built-in LPF on the SB-3000 and SB-4000 to 130Hz with a slope of 24dB/octave and used my own balanced passive high pass filter (HPF) between preamp and amp (120Hz, 24dB/octave) when moving from subs to my reference speakers, a pair of Bowers & Wilkins 705 S2s. I corrected the bass sound in the room with the SVS and seamlessly blended their outputs with those of my B&Ws in the Dirac Live software that is built into my miniDSP DDRC-22D room correction processor using the target frequency response curve. The DDRC-22D only works in the digital domain - on the rare occasions when I'm using an analog source, I use the SB-4000's built-in parametric equalizers to manually adjust low frequency peaks and nulls.

The SB-4000s are connected to a McIntosh Laboratory C47 preamp via balanced interconnects (XLRs), and the SB-4000's balanced outputs feed my Marchand Electronics XM446XLR-A high-pass filter, the outputs of which feed my McIntosh MC302 power amplifier. To compare the SB-3000 and SB-4000, I defaulted to my preferred subwoofer evaluation method in my two-channel system, replacing the right channel of the SB-4000 with the subwoofer in question, and using Dirac Live, calibrated the system separately for each sub.

To compare settings with a single subwoofer, I connect the left and right balanced outputs of my preamp to the left channel of the SB-4000. Incorporating the SB-3000 into this system does not require any modification to these connections because my C47 preamp has a second set of switchable variable outputs - to which I connected the left/right RCA inputs of the SB-3000. This made it quick and easy to switch between subwoofers: turn on the SB-4000 subwoofer and turn off output 2 on the C47; then change that to listen to the SB-3000 - remembering to switch to the appropriate Dirac Live filter for each configuration.


In my relatively small listening room, the SB-3000 held up an inch - not even a millimeter - to its much larger, more expensive sibling, the SB-4000.

I selected three tracks and listened to all three through my system, first with the SB-4000 and then with the SB-3000, their output levels matching an SPL in the mid 90dB with a C-weighted load. First up was "Run-Around" from "Blues Traveler's Four" (16-bit/44.1kHz FLAC, A&M), chosen not for its bass output, but for the speed, rhythm, and drum timing throughout the track. Both SVS subwoofers delivered fast, tight bass that felt so sharp in my chest without losing control of the timing. I felt like I was reaping the benefits of the big and small woofer cones at the same time: pop and pressure, and nimble speed.

SVS SB-3000

The next track was "Perfect" by Ed Sheeran. At the 2:12 mark, this track ends with a very serious, deep, room-filling bass. Again, both SVS subwoofers were good, allowing me to really feel the lowest notes. The steady decay of the lowest notes never released me from their hold until the actual recording called for it. This combination of intense punch with a sense of low frequency extension made me turn up the volume - and it was an exhilarating experience no matter what subwoofer was used. I wish I could tell you where one subwoofer is ahead of another, but I can't.

Finally, I played some hip-hop - the bass in many hip-hop tracks is deep and powerful. Lil Wayne  's "She Will" from " Tha Carter IV " (16/44.1 FLAC, Cash Money) has a solid foundation for throbbing, ultra-low bass notes, complemented by a rhythmic thump in the lower midbass. If the SB-4000 ever beat the SB-3000, I thought it would be with this track.

No - the SB-3000 didn't soften. Both subwoofers played "She Will" with ultra-low bass, my entire listening chair pulsing with music. The bass hits had the same weight through both subwoofers, hitting my chest with authoritative air pressure, repeatedly sustaining the fast punches on the leading edges of the bass notes. As the SB-3000 continued to fill my room with bass, I couldn't believe what I was hearing and one day got up and touched the SB-4000's cone to confirm that it was indeed off. And he was off.

SVS SB-3000

That's not all

Before anyone jumps to the conclusion that the SB-3000 is as good or better than the SB-4000 ($500 cheaper), that's not exactly what I'm talking about.

Functionally, there are two differences between these models that are important to me. My room has balanced XLR cables running in the wall from the listening position to the front of the room where the subwoofers and amplifier are located - the SB-4000 has balanced inputs and outputs, the SB-3000 does not. Secondly, as a reviewer, I usually use different presets on my SB-4000s and their front panel displays let me see at a glance which presets are loaded. The SB-3000 does not have a front panel display. These are the only functional features of the SB-4000 not found in the SB-3000.

SVS SB-3000

The SB-4000 is able to output more sound, even if the SB-3000 lived up to its performance in my room. To provide a counter to my listening observations, I've taken measurements that show the SB-4000 can indeed play lower and louder with less compression than the SB-3000, which may make the SB-4000 a better choice for larger rooms.

I placed a calibrated UMIK-1 microphone 10 feet away from the SB-3000 and used the Room EQ Wizard (REW) to generate a frequency sweep from 15 to 200 Hz. I took five measurements, each time increasing the volume of the subwoofer by 3 dB. I started with a normalized sound pressure level of 100 dB at 50 Hz for both subwoofers. The graph below shows that the SB-3000 exhibits strong compression—meaning its measured power no longer tracks volume increases—at 20Hz with its two loudest inputs. As the top two graphs show, when I raised the SB-3000's volume setting by 3dB, I was still effectively measuring the same SPL at 20Hz.

Compare this to the SB-4000 measured at the same subwoofer and microphone positions. Graph 2 clearly shows that at 20Hz the top two graphs still closely track the 3dB increase in volume, meaning there is little to no compression. I would have kept turning up the volume on the SB-4000 and measuring the results, but REW warned me that I was approaching the mic cutoff point.

Bottom line: In a room large enough to require an SPL of 100+dB at 20Hz at 10' or more, the performance of the SB-3000 will noticeably drop compared to the SB-4000.


In my relatively small room, the SB-3000 matched its big brother, the SB-4000, in all aspects of soundproofing, and for significantly less money. However, in a much larger room, this is likely not the case.

SVS SB-3000

The SB-3000 delivers exceptional value at a relatively low price of $999.99. Featuring a comprehensive, intuitive SVS app, it gives the wearer complete control over all performance parameters including phase, room gain compensation and a precise three-band parametric EQ. And for those who can't find a way to hide wires in their rooms, SVS offers an optional Bluetooth wireless transceiver for $119.99.

I was so impressed with the SB-3000 that I purchased it. It works just as great in home theater as it does in my two-channel system.

Related equipment

Speakers - Bowers & Wilkins 705 S2

Subwoofers - SVS SB-4000 (2)

Power Amplifier - McIntosh Laboratory MC302

Crossover - Marchand Electronics XM446XLR-A adjustable 120Hz balanced high pass filter at line level (between preamp and amp)

Preamp DAC - McIntosh Laboratory C47

Room correction - miniDSP DDRC-22D with Dirac Live (between digital sources and DAC)

Digital sources - Rotel RCD-991 CD player, Bluesound Node streamer, Windows 10 laptop, Roon

Analog sources - Pro-Ject Debut Carbon Esprit turntable and tonearm with Ortofon 2M Red cartridge

Speaker cables - 12 gauge copper, oxygen-free copper (universal, lockable banana plugs)

Analog interconnects - AmazonBasics (RCA), Monoprice Premier balanced (XLR)

Digital Communication - AmazonBasics Optical (TosLink)

Signal Projects Andromeda Golden Sequence

Signal Projects Andromeda Golden Sequence

Signal Projects Andromeda Golden Sequence

 Signal Projects Andromeda and Golden Sequence Statement Series power cords

The "Statement Series" from the Greek-British manufacturer Signal Projects enables sound tuning of a fine, but perhaps decisive kind with the "no-nonsense" cables Andromeda and Golden Sequence. Plug in, play in briefly and enjoy not huge, but decisive improvements.

The eye listens. Also and especially with those system components that a high-end device neither can nor wants to hide: device connections and power cables. Signal Projects, a company based in Greece, recently sent something particularly fine: power cables from the Andromeda and Golden Sequence premium model series. They look incredibly good and can do a lot in terms of sound.

These fat "power cords" come in sturdy wooden cases with sliding lids that run smoothly. Inside are golden-brown (Golden Sequence) or shiny black (Andromeda) "constrictors" in helix strands, about as thick as the forearm of a ten-year-old child, five feet long and quite heavy or stiff. The splendor is assembled with IEC and Schuko plugs, some of which embody an in-house design: the contact pins come from Oyaïde OEM according to Signal Projects specifications, the housings of the plugs are manufactured in-house. The result feels extremely solid, which also applies to the "plug-in feeling".

Signal Projects Andromeda Golden Sequence

The Athens-based company, which has a second location in Manchester, has been working on making cables better for a number of years, which applies equally to signal and power conductors. Lead developer Nick Korakakis, who studied at the University of Sheffield, remembers the days when he designed his first products in a sparse studio with old equipment and struggled with a multitude of distortions. "As the studio equipment got more sophisticated, some of the annoying distortion remained," says Korakakis. One reason to investigate the causes and to consciously tweak some parameters, such as the cable structure. And to "add a few pages to the endless book of music history," as Korakakis confidently notes.

The goal that he and his team were pursuing was to create uncompromising products that should "correspond to the greatly increased quality level of audio and video equipment". In short: Since high-tech with the best sound can now be found even in the lower price ranges, you should not use bell wire strips to connect the devices.

The solution à la Korakakis is a clever mix of materials in all areas, be it the actual conductors, the insulator material or the shielding. High-purity metals in a sound-enhancing mix, above all well-known good conductors such as copper, silver and gold, ensure low resistance and high conductivity in Signal Projects cables. "One of the things we use is copper with a purity of 99.99997 percent (6N)," explains the developer. The source material, which comes from well-known cable manufacturers worldwide, has "also gotten better and better in recent years," enthuses the Signal Projects boss.

Signal Projects Andromeda Golden Sequence

The contact pins come from Oyaïde OEM according to Signal Projects specifications, the housings of the connectors are manufactured in-house.

The twisted cable structure, similar to that of a genetic material helix, ensures low inductance in conjunction with a capacitance that is also reduced as far as possible - and you can hear that, even with mains cables, which actually have no other function than transferring electricity from the socket to the socket with as little loss as possible Consumers, i.e. bringing the devices to the plant.

Of course, a power cable can always be a gateway for interference frequencies, whether they come from cell phone networks or are emitted by various radio stations and other radio sources. That's why Korakakis and Co. attach great importance to efficient insulation (“unfortunately, there is no perfect insulator, so we use a mixture of different materials”) as well as cleverly designed shielding and its grounding. "This is much more important than it was a few decades ago, because there are now many more interference frequencies on the road," says Nick Korakakis.

Especially with the latter there are a number of possible variations: Should the shield be grounded on both sides, only on one side of the cable or not at all? The solution is implied to be printed on the cold device plug: "Passive Shield Discharge System" can be read there. The potentials that build up in the shielding are therefore discharged via the grounding. Elsewhere, a defined charge is placed on the screen in order to "bias" it electromagnetically and thus accelerate the discharge of interference frequencies. Nick Korakakis considers this unnecessary. "There are a few other cable manufacturers who use a kind of active shielding, for example with batteries," says Nick. 

On the one hand, this serves to give the interference voltages caught in the shielding a direction and, on the other hand, to discharge them at a defined speed at a defined point. “However, we at Signal Projects believe that it is significantly more efficient to use said 'Passive Shield Discharge System' instead of an active solution, because it gives us the opportunity to achieve the same goal just as safely and, importantly, without changing the cable parameters ' says Korakakis. For this purpose, special coil wires, such as those found in some old radio receivers, are used as shielding over the entire length of the cable. Korakakis is convinced that these have “the ability to attract interference voltages just as efficiently as active shielding,

Signal Projects Andromeda Golden Sequence

The Greek-British manufacturer specifies the capacity in picofarads (pf) per foot (ft) (1 foot = 30.48 centimeters). The Andromeda is 9.97 picofarads, which, according to Uwe Klose from the German distributor Applied Acoustics, is over the counter for 3500 euros in the 1.5-meter version. With the Golden Sequence, which is priced in significantly higher at 5000 euros for the same length, it is 9.77 picofarads. The resistance of the power cables is 0.97 (Andromeda) and 1.02 (Golden Sequence) milliohms per foot. And the all-important inductance is listed as 0.39 and 0.37 millihenrys per foot. The struggle for constant improvement, even in the decimal area, is noticeable. 

Care is also taken to have consistent resistance at both ends of the cable. This allows giving the interference currents a defined direction, even with the passive solution, and ultimately dissipating them via the earth, “safely and quickly”, as Korakakis emphasize. In addition, the cables are twisted in a special way. On the one hand, this makes them measurably less sensitive to high-frequency interference such as radio transmitters. On the other hand, it opens up the possibility of ideally insulating and shielding all conductors and keeping them at a clearly defined distance, which should lead to significantly lower inductance and capacitance values. In addition, the symmetry of the frequency response improves significantly. On the one hand, this makes them measurably less sensitive to high-frequency interference such as radio transmitters. 

The immense development work is paid for, whereby Signal Projects does not only vote according to measured values, but also by ear.

Ever since FIDELITY tested the highly effective isolating transformer Signal Projects Phoenix, we in the editorial team have known about the highly serious approach that Signal Projects takes. What Nick Korakakis and his team are bringing to the market is good for understandable sound improvements. Now, power cords don't make giant leaps, and they can't turn a mediocre collection of gear into a world-class chain. 

But if the basic requirements are right, then the elaborately made, optically and haptically appealing strips can provide exactly the fine tuning that was missing: the bass becomes a little blacker, fast impulses are a bit more precise, the musical events seem more orderly overall and that timing more consistent. Whether you hear the price difference between Andromeda and Golden Sequence - the latter uses somewhat purer metals for conductors and shielding than for the Andromeda - is a decision that every high-end user has to make for themselves. valuables supplied. 

By the way, they should have a stable stand and/or a reasonable mass, because Signal Projects power cables tend to simply pull lightweight components off the rack. You can't do anything wrong with it, there is always an improvement effect. By the way, they should have a stable stand and/or a reasonable mass, because Signal Projects power cables tend to simply pull lightweight components off the rack. You can't do anything wrong with it, there is always an improvement effect. By the way, they should have a stable stand and/or a reasonable mass, because Signal Projects power cables tend to simply pull lightweight components off the rack. You can't do anything wrong with it, there is always an improvement effect.


Signal Projects Andromeda power cable

Capacitance: 9.97 pf/ft

Resistance: 0.97 mΩ/ft

Inductance: 0.39 mH/ft

Maximum current: 48 A/230 V

Price: around €3500/1.5 m

Signal Projects Golden Sequence power cable

Capacitance: 9.77 pf/ft

Resistance: 1.02 mΩ/ft

Inductance: 0.37 mH/ft

Maximum current: 48 A/230 V

Price: around €5000/1.5 m


Applied Acoustics

Uwe Klose

Brandensteinweg 6

13595 berlin

Telephone +49 30 4614874