ANSUZ Signalz D2
Interconnects
Like the Ansuz Signalz C2 is the Signalz D2 a showpiece of modern technicistic design of interconnects. The black and grey of braid is complemented by translucent copper that gives the cable its depth of colour and premium look. Like the C2 also D2 relies on custom-made connectors that use gold-plated hollow pins, and it is directional.
Function and form
The main difference is a unit that splits the cable approximately in 1:2 and that provides low voltage supply to the cable’s dielectric. The system should improve the sound quality by polarizing the insulation and provide the reference ground for the cables. This happens through an outboard unit, Ansuz Powerbox. The Powerbox is a sizeable black anodized aluminium box that is powered from mains and connects to the Ansuz interconnects and speaker cables via thin conductors that are part of the D2’s packaging. If you do not want to spend your money for turning these interconnects and speaker wires from passive to active operation just don’t do it, the D2 cables will work anyway. Consider the Powerbox an icing on the cake.
Bass management
The Ansuz Signalz D2 builds its bass in a different way from the C2. It is perhaps not so explosive, it further refines its control over the lows, however. A solo acoustic bass on Stereoplay Bass Sampler as if was closer-miked: you hear more string resonances and the bass is tighter and drier. That’s why the D2 sounds as clean and quick on the very bottom octaves as on the top end. In fact the D2 provides the most informative type of bass I have ever heard from any cable. Read further.
Clarity & delicacy
Now, allow me to make a confession. I was disappointed when I inserted the Ansuz D2 interconnects in my system. All the Ansuz C2´s virtues that won me over, that is amazing clarity, seismic bass and unconstrained dynamics – were simply not on a par through the D2. I got back to auditioning the D2 a week later, letting it cook on Blue Horizon ProBurn device in the meanwhile. Then I was there, sitting at my sweetspot and editing another review, when my ears triggered a subconscious alarm. I looked up and was like How does it come that the strings sound so luscious?
It was not the sound but the colour and shape of the violin sound that made me stop writing. Coincidentally just previous Tuesday I attended a string quartet recital in Prague Rudolfinum´s smaller Sukova Hall settings. I was just two meters from the performers, call it a microphone position. The instruments had usual spectacular dynamics and the colourful resonant structures of their bodies sounded so unforced, so natural, yet everything was crisp and almost translucent. And I realized that just five days later I was staring at an invisible string quartet behind the speakers in my own listening room. Was the difference made by the extensive burn-in? Uninvolving yesterday and scary real today? No problem, I still had the Ansuz C2 interconnects on hand so I got down to lengthy comparisons, album by album, track by track. Then another attribute emerged that describes the Signalz D2 the best: sophistication and timbre fidelity.
Tonal accuracy
Through this sophistication the midrange of the D2 had first-rate resolution with natural and vivid tonal colours. Nat King Cole’s vocal on Analogue Productions SACDs had wonderful articulation, with very accurate ‘f’ and ’s’ consonants, accompanying strings were very smooth and silky, and soft touches on piano were sweetly delineated in their quietness. Also my favourite sound – the sound of pink noise from Sheffield Lab’s test disc – had very neutral balance, which means that I could hear no spikes or colorations, and more importantly, the wall of noise was a kind of ‘textured’ from the very low octaves. This texturization ability shone also in the genres that are a polar opposite of Mr. Cole. The drum sequences and synth basslines on Shifting Through The Lens (Front Line Assembly, Mindbase, Wind 165) were warm and tight, penetrating and resolved to the last byte. The sophisticated intricacy also penetrated Fear Factory’s Invisible Wounds (Hatefiles, Roadrunner RR 8398-2) that happened to be mastered by Ted Jensen and George Marino of Sterling Sound. The edge, read aggression, was slightly tuned down and the sound more polished, but it’s only me who listens to such stuff on a high-end system, I guess.
Spatial resolution
While the Ansuz C2 excelled in macro-dynamics, the D2 bettered it in micro-dynamics. Like in Rachmaninov’s Prince Rostislav poem (Chandos, CHAN 10104, Russian State Symphony Orchestra and Valeri Polyansky). This lyrical piece with undulating strings and evocative horn melody transcended into a majestic cinematographic-like score and the D2 underlined very well the menacing drama with expansive soundstage and muted exchange of strings and winds, both conveyed with microscopic textures. There was a lot of lows that induced earthquake sensations deep in my stomach and the movement ended with a rolling drum and a harp glissando, both delicately “performed” by the Ansuz D2.
The D2 builds wonderful depth of image. You´ve got the sense of the vast recording space in concert halls, and the sense of intimate connection to the performance in a small club or studio settings. The depth does not have the ‘layers’ per se, rather it lets you experience front-to-back continuum in the best turntable fashion. Laterally the imaging is great, its width is a bit less competent than with the best cables I heard. For example, when I listened to Beethoven pieces on Evgeny Kissin’s recordings (RCA Red Seal label) the Steinway grand was stunningly portrayed in the depth perspective, slightly spatially constrained left to right. This subjectively pushed the piano further back in the sound field, as if I was listening from 15th row in a hall which was not the case as these sonatas were digitally recorded in a studio. Yet the piano colours – and I am not talking about piano black - were amazing and close to what I use to hear live. So were the saxophones that I found on Jazz Ambassadors CD. The D2’s presentation was much nuanced with soft delivery of details and a bit reticent sound, yet with very fine colours that bordered a live gig.
THE REVIEW IS A PART OF THE SHOOT-OUT BETWEEN ANSUZ SIGNALZ C2 AND D2 AND NORDOST VALHALLA V2 AND ODIN INTERCONNECTS.
Recommended resellers
RP Audio, Ostrava, +420 737 366 831
Manufacturer's website: http://www.ansuz-acoustics.com
Associated components
- Sources: Accuphase DP-720, SPL Q2048 Mastering Equalizer, McIntosh MCT500 SACD/CD transport + integrated DAC C2600
- Amplifiers: TAD-M2500 MkII, Luxman C-900, Bespoke Audio, McIntosh pre/power C2600/MC611
- Interconnects and speaker cables: Audioquest Redwood, Audioquest Wild, Ansuz Speakz C2, Tellurium Q Ultra Silver, Tellurium Q Silver Diamond, Vovox Sonorus XL, Nordost Valhalla V2, InAkustik Referenz, Nordost Odin, ZenSati #2, Tara Labs The Zero Gold G2
- Loudspeakers: TAD Evolution One E1, Sonus Faber Olympica III
- Power conditioning: Shunyata Research Denali, Nordost Valhalla, Ansuz Mainz C2, Pangea AC-9SEMKII, Roth Audio Orfeo + Roth Audio prototypes, Synergistic Research Atmosphere Level 2, Synergistic Research Euphoria Level 3, AudioQuest Hurricane, Synergistic Research Tranquility Basik
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