October 2005

GutWire Audio MaxCon Xtreme Power Conditioner and Power Clef ² Power Cord

by Jason Thorpe

There’s a ceiling above which a luxury item becomes cost-no-object, and this type of product requires -- no, demands -- specific care and feeding. When your Aston Martin Lagonda needs tires, do you send the butler to Costco to get them fitted? Although the Aston would still drive just fine with a pair of Yoko all-season radials, that solution just wouldn’t sit right with an owner who’s discerning (and rich) enough to purchase that car in the first place. Besides, when you’re talking about an exceedingly high level of refinement, the smallest change, especially in such a sensitive area as tires, will be immediately noticeable. And when you’re paying that kind of coin for a car, you want to squeeze every iota of performance out of it, especially when a relatively low-cost item such as tires may render a worthwhile improvement.

The same holds true for audio. Go take a look behind your mono amplifiers. You’re not using the stock power cords, are you? And for heaven's sake, please tell me that you're not plugging them straight into the wall! I know they work with the electricity from the wall -- there have never been any current-limiting problems or anything -- but that’s not the point. You’ve laid out long green for those amps, and most likely you want the butler to squeeze every last molecule of sound quality out of them. And even if you weren’t overly concerned with sound quality, what would people say if they knew you skimped after you splurged?

I've used an automobile analogy to help rev you for the GutWire MaxCon Xtreme power conditioner and Power Clef ² power cords that are the topics of this review. When you first lay eyes on the MaxCon Xtreme and the Power Clef ², the comparison with the Aston Martin will seem apt. These are definitely luxury products that aren't aimed at the Rega/NAD buyer. At $3999 USD for the MaxCon Xtreme and $999 for each Power Clef ², they are priced in the upper quadrant of power products, and they certainly look the part.

The Power Clef ² comes nicely packaged, wrapped with fuchsia tissue paper in a manner befitting a Gucci pump. Gently peeling back the layers reveals the Power Clef ² coiled within, its scintillating pearl-white mesh glimmering. And it's a thick, juicy sausage of a power cord. Comprising 234 discrete 0.188"-diameter multi-strand, high-purity, oxygen-free copper conductors, the Power Clef ² is designed for use with high-current amplifiers. Each conductor is triple-shielded and insulated. All connections are crimped rather than soldered, which is the method of connection that GutWire believes sounds the best.

The outermost shield of the Power Clef ² cord is floating, and can be grounded via the attached alligator clip to the equipment to which it is connected. There are three other shields in the Power Clef ² that, GutWire claims, provide 98% coverage against EMI and RFI. The connectors are Wattgate and Hubbell high-current hospital-grade connectors.

Even regular visitors to my listening room, who have become inured to the constant parade of audio equipment, are unprepared for the first impression wielded by the MaxCon Xtreme, especially after I tell them that it’s a passive power-filtration device. This product registers a build quality verging on the obsessive. This is a solid, heavy, inert bar of aluminum that is quite possibly overkill for its task. The MaxCon Xtreme is CNC-milled from aircraft aluminum and is equipped with four Hubbell hospital-grade receptacles, two of which have isolated grounds. The input to the MaxCon Xtreme is a 20A Hubbell IEC connector, for which GutWire supplies one of its own power cords.

As I stated, the MaxCon Xtreme performs its filtration duties via passive methods, employing GutWire’s proprietary "GutWire Electron Rectification Processing improved" process (otherwise known as GERPi), which achieves its goals without using coils or transformers. Instead, there is extensive use of natural minerals such as SiO2, tourmaline, peridot, and microcrystalline quartz. These, according to GutWire, can release negative ions and far infrared (FIR), which help to improve the flow and cleanness of AC current. Due to all this, claims GutWire, the MaxCon Xtreme doesn’t limit current or induce transient delay.

GutWire claims that in order to limit resonances and absorb EMI and RFI, the MaxCon Xtreme makes use of the same specially formulated cellulose high-molecular polymer gel as used in the company’s Notepad and Soundpad damping devices. Judging by the significant weight and utter freedom from any form of resonance that I could notice, I would guess that the entire chassis of the MaxCon Xtreme is either potted or otherwise completely filled with some sort of damping material. Topping off its deluxe appearance, the MaxCon Xtreme and GutWire logos are deeply engraved in the front of the otherwise featureless but tasteful faceplate.

System

The GutWire products saw duty in a number of system iterations. My own Sonic Frontiers SFL-2 preamp and SFP-1 Signature phono stage did their usual good work, while an Ayre P-5xe phono stage and Blue Circle BC3000 Mk II preamp also saw use. Amplifiers were the Blue Circle BC202 that I wrote about in July, my own Anthem P2 Statement, and a vintage Eico HF-81 EL-84-based integrated (which really benefited from the MaxCon Xtreme, let me tell you!). Speaker duties were shared among Verity Audio Parsifal Ovations, Focus Audio FS-888s, my own Hales Transcendence Fives, and Mobile Fidelity OM-2s.

The analog source (no digital!) was a Shelter 501 Mk II cartridge, which was mounted on a Pro-Ject RPM 9 turntable/tonearm combo and topped with the overachieving HRS Analog Disk record clamp. The turntable communicated with the phono stages via Kimber Timbre interconnects. Acoustic Zen Satori did speaker-cable duty, while Analysis Plus Solo Crystal Oval balanced interconnects shuttled signals between source, preamp and amp.

With the MaxCon, I used the included power cord, which doesn't have a name and isn't shown on the GutWire website as a separate product. I had a pair of Power Clef ² cords, which I swapped around and used with the preamps, power amps and phono stages I mentioned above.

Sounds of silence

When inserting new components (other than speakers and turntables) it’s not uncommon for me to fail to notice any instant differences in sound quality. Instead, I rely on the passage of time and many LPs to acquaint me with the sonic signature of a new piece of equipment.

Imagine my surprise (and pleasure, because this most assuredly makes my job easier) when I plugged all of my gear into the MaxCon Xtreme and noticed an immediate and positive change in the sound of my system. It was apparent to me that the MaxCon Xtreme wasn't adding any kind of sonic signature to the music. True to its design, it honestly did seem to act as a noise filter, allowing more of the inner meaning, detail and beauty of the music to shine through.

Right from the start I felt more relaxed, more at home, more welcome, while music was playing. Because the Anthem P2 Statement amplifier entered my life and proceeded to bully every speaker it has been told to drive, I’ve been blessed with dynamics that are pretty darn close to those of live music. I was initially concerned that the MaxCon Xtreme might be smoothing the leading edge of transients, which might have explained this newfound feeling of ease. A closer listen proved that this worry was groundless.

I’ve been relying quite heavily on Keith Jarrett’s work for evaluating dynamics these days. While there are plenty of audiophile-approved barnstormers out there that could likely do a better a job than an olde-tyme piano trio, I can’t stand to listen to most of them more than once, and they end up gathering dust on the shelf. Jarrett, on the other hand, especially when backed up by his good buddies Jack DeJohnette and Gary Peacock, never fails to satisfy. "This Masquerade is Over" from Standards Vol. 1 [ECM 1255] is a beautiful, lyrical piece that also happens to just flat out rock. Jarrett’s busy in the background, humming away as usual, but he attacks his piano as though it’s a drum kit, and the leading edge of the key strikes speaks volumes about the MaxCon Xtreme’s performance. Via the MaxCon Xtreme, the Anthem P2 rendered the initial attack of each note with every last scrap of the dynamic intensity that I know it's capable of. What's more, the music was imbued with that sense of peace I hinted at earlier, and this allowed me to turn up the volume a couple of notches above my normal listening level. Although I thoroughly enjoy loud music, I’m often limited by any sensation of glare in the presence region (midrange to upper midrange), and it’s in this range that the MaxCon Xtreme performed much of its work. Listening at louder levels via the MaxCon Xtreme reminded me of my first exposure to a really good stereo system. I remember my surprise at how I was able to listen at viciously high SPLs without the ear strain that I was accustomed to enduring from inexpensive rack systems.

While the MaxCon Xtreme didn’t inflict any overt frequency-response changes, it did subtly change the overall character of the midrange via the removal of a small amount of residual upper-midrange crispiness. I’ve been listening to and loving the magnificent Verity Parsifal Ovation speakers (Feature Review forthcoming) for a few months now, and these satisfying but incredibly revealing speakers have been telling me things about my system that have previously been obscured. The Parsifal Ovations have never been anything other than delightful to listen to, and they’ve rewarded me at every turn, both musically and by alerting me to the presence of a superior component anywhere upstream.

By removing a small amount of residual upper-midrange grit, the MaxCon Xtreme gave my system the final push needed to integrate the Verity speakers thoroughly. With the MaxCon Xtreme in the system, the Parsifal Ovation's midrange and treble drivers worked as an even better team. Prior to the arrival of the MaxCon Xtreme, I was subconsciously bothered by a small discontinuity between the midrange and treble, certainly not enough of an issue to outweigh the otherwise glorious sound, and if I hadn’t had access to the GutWire conditioner I most likely wouldn’t have noticed it, or have mistakenly laid the blame at the feet of the Verity speakers.

Once again, I turned to a distinctly non-audiophile recording. I'm not a huge fan of the Clash, but I just love the first side of Sandinista!, which is home to such splendid tracks as "Hitsville U.K." and "Magnificent Seven" (who can resist lyrics such as "vacuum cleaner sucks up budgie"?). On "Magnificent Seven" the image of the high hat gained a solidity and presence that verged on the visual. Before the application of the MaxCon Xtreme, the overtones of the high hat had a slightly blurry vagueness that didn't so much irritate as it did obfuscate.

Enter the Power Clef ²

Although the MaxCon Xtreme's virtues were apparent almost immediately upon insertion, the Power Clef ²'s contributions were more subtle and required an extended period of break-in and listening to reveal themselves. Whereas the MaxCon Xtreme was all about quietness, peace and calm, the Power Clef ²'s calling card was speed and purity. While there was absolutely no additional brightness or grain (on the contrary -- the Power Clef ² continued on with the MaxCon Xtreme's grit-reduction mission), the Power Clef ² presented the music with a subtle but worthwhile boost in clarity, bass tightness, treble extension and dynamics.

Rob Doughty, the musical avatar at Applause Audio, my local stereo hangout here in Toronto, has been advising me on software purchases for years. Every once in a while he'll hand me an album and tell me that I'd better give him twenty bucks if I know what's good for me. I've learned to trust his intuition as he's usually bang-on with his musical recommendations. Recently Rob forced Eleni Mandel's Country for True Lovers [Heart of a Champion HoC-011] into my hand, and for that I thank you, Rob. This album of mostly original, straightforward country tunes is beautifully recorded, and Mandel's equally straightforward, clear voice and competent, tasteful backing band exemplify what the Power Clef ² does best. The bass firmed up, the aural cliché that is the pedal steel was more firmly defined in space, and Mandel's voice retained all of its clarity and gained an extra helping of body.

Are the Classic Records Duke Ellington reissues audiophile albums? While the sound quality that Classic has managed to dredge out of these late-'50s recordings is nothing short of astounding, lumbering them with that dreaded moniker just isn't fair. In my opinion, these records are for music lovers first and audiophiles a distant second. If you want to see what I mean, drop Jazz Party in Stereo [Columbia/Classic Records CS 8127] onto the platter. While just about any track is a joy, cue up "Hello Little Girl" and be amazed. About halfway through, Dizzy Gillespie goes pretty much berserk, and with the help of the Power Clef ²'s clarity and dynamic resolution I could better track the manic intensity of this solo. Jimmy Rushing's vocals also benefited. There's a naturally abrasive aspect to Rushing's voice on this track, and that edge in his voice was faithfully presented by the Power Clef ², bringing him to the forefront and putting him physically in front of this large, crackling band. Good stuff indeed.

I must stress, though, that these improvements took a good 100 hours to manifest themselves. Before that time, the Power Clef ² actually restricted dynamics somewhat, adding a closed-in, pinched quality to soundstage. After that, this power cord was a pleasure to listen to.

Comparison

While the GutWire products come from a far higher-rent part of town than my Chang Lightspeed CLS 6400 ISO power conditioner ($565) and Cardas Hexlink Five power cords ($230), the comparison may well be informative for someone who's looking to upgrade.

First off, let's get this out of the way: The MaxCon Xtreme blows the doors off the Chang Lightspeed. With the significant price differential it bloody well should, but the degree of difference that I experienced was unexpected. The Chang removes a bit of residual grain, and the MaxCon Xtreme removes more. The Chang adds a slight amount of air to images, but the MaxCon Xtreme floats them free in space. Everything that the Chang Lightspeed does, the MaxCon Xtreme does better. Enough said.

The Cardas Hexlink and GutWire Power Clef ² power cords sound like they come from different planets. Where the Hexlinks soften, enrich and round out the sound, the Power Clef ² goes in the opposite direction. Agile and muscular, the GutWire cords make the Cardas cords sound fat and lazy. In comparison, the Hexlink cords do seem to alter tonality. By enriching the lower mids and lower treble, they make the highs sound slightly soft. This description might make you wonder if the Power Clef ² is suitable for a system that's already slightly on the bright side.

As I've stated, the Power Clef ² and the MaxCon Xtreme don't change the tonal balance at all. In both cases they just seem to clean up hash. While this could make overly bright gear sound slightly crisper, I can't imagine it causing a reasonably neutral system to change any way other than for the better.

Conclusion

Both the Power Clef ² and MaxCon Xtreme share a common trait in that they don't seem to add any sound of their own. Instead, they emphasize certain things of which your system is already capable. However, they do what they do in different but complementary ways. Whereas the MaxCon Xtreme's most obvious trait is its deletion of grit and addition of a feeling of ease, the Power Clef ² cords enhance dynamics and speed.

Used as a pair, the MaxCon Xtreme and Power Clef ² had a natural synergy. Over the course of my evaluation I used several amplifiers and preamplifiers of varying topologies, and several different speaker systems, and the result of the application of the GutWire combination brought consistent results. When considering suitability in varying systems, I know of nothing about either of these products that would preclude recommendation -- other than price considerations. These are certainly not budget products, but they are significant ones.

If you already have an extreme system and you want to take it to the next level, the GutWire MaxCon Xtreme and Power Clef ² are products that can do it.

...Jason Thorpe
jason@soundstage.com

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