In the last few months I’ve reviewed the Pass Labs XS300 monoblocks, the Tannoy Canterbury GR speakers, and the Bricasti M1 Stereo DAC (review to come). In some cases these different components’ reviews overlapped one another, and for a short time all three were used together. The constants during all these reviews, however, were the various cables that connected and powered them, and include in that group of cables were the Acoustic Reference Technology (A.R.T.) Super SE cables.
Comparison Cables
I am lucky to have two reference interconnects that I could use for comparison, as well as several excellent step-down ICs. The reference ICs were the Tara Labs Zero Gold (MSRP $16,000) and the Silent Source Music Reference (MSRP $7,600), both of which are, in my opinion, at or near the pinnacle of interconnects. I also have the Silent Source Silver Signatures (MSRP $1,800) and the Lessloss Tunnelbridge System ICs (MSRP $2,500, plus $2,600 for the special power supply), both of which are very good cables, and much less expensive that the Zero Gold and the Music Reference. The A.R.T. Super SE (MSRP $5,650) comes in at the same price point as the Tunnelbridge, though the Tunnelbridge’s power supply unit handles up to 4 interconnect pairs.
My speaker cables are two separate pairs of the Silent Source Silver Signatures (can’t recall the exact MSRP for the silver signatures, which don’t appear to made anymore, but estimate $2,500 per pair) for biamping, used together with two sets of Walker Audio Eliminators (MSRP $450 each) and multiple Z-Sleeves (MSRP $200-400, depending on configuration). The A.R.T. Super SE speaker cables don’t fit into the Z-sleeves, so I could not compare them to the Silver Signatures with the Z-Sleeves. The A.R.T. Super SEs come in at an MSRP of $9,750.
My own power cords are Isoclean Super Focus and Lessloss DFPC Signatures. Both of these are excellent power cords, very clean and extended, with good body. Both are also in the middle/upper middle of their manufacturers’ range of offerings. From a pricing standpoint we are comparing PCs that have MSRPs of $3,000 (A.R.T. Super SE), $1,150 (Lessloss DFPC Signature) and $2,100 (Isoclean Super Focus).
Listening and Comparisons
Super SE Interconnects. The Zero Gold was consistently at the top of the heap when comparing individual characteristics, as well as in overall presentation. This is as it should be, given that the Zero Golds list for more than twice as much as the next most expensive competitor. However, I was struck by how good all of the ICs sounded overall. Just to get a reality check, I went down to my storage area and pulled out several of my old cables from the early days of upgrade fever – ICs in the $75-250 range. Substituting these for any of my high end cables immediately confirmed that there is indeed a reason why we sometimes spend insane money for a cable.
So how did the Super SE compare in specific ways? Let’s start with pace, rhythm and timing (PRAT). In this respect Silence Source interconnects are my reference, being among the 2 or 3 most lively interconnects I’ve ever heard. As expected, once my comparisons began, the Silent Source interconnects, both the Music Reference and the Silver Signatures, conveyed the best sense of speed and PRAT, with the Zero Gold the slightest bit “slower”. The Super SE was in turn slightly “slower” than the Zero Gold, but provided a much fuller bass with greater body and bloom than the Silent Source Silver Signature. The difference was not huge, but nonetheless obvious with careful listening. Now I want to be clear here: these are all excellent interconnects, and if you weren’t running head-to-head comparisons you might not even notice the difference. The Super SE has very good PRAT and you will be tapping your toes on lively music.
Moving on to bass reproduction (which is often closely tied to PRAT because it affects the perceived “speed” of the music), the Tunnelbridge was my preferred cable by a hair. However, all three of the Super SE, Zero Gold and Music Reference were so good at bass reproduction that this was clearly only personal preference and (possibly) system synergy.
In the all-important midrange the Super SE really shines, and I mean that almost literally. The most distinctive trait of the A.R.T. Super SE was a “sheen” that made voices and the midrange have an inner glow. I have a memory of a similar experience listening to a BAT preamp and amp many years ago. I thought that there was a quality to the music that made it seem as though it was illuminated from within. I know that’s a poor description, but I’m a bit at a loss to come up with something better. It did not feel as though something artificial was being added to the music. Rather, it felt as though some quality of the music that was always there was being revealed. Ok – I know that sounds like mumbo-jumbo, but it’s the best I can do.
Compared to the $16,000 Tara Labs Zero Gold XLR interconnect, the Super SE holds its own very well. It required attentive listening to identify the differences between the two cables. Though there is an slight loss of dimensionality, the chief difference between the Zero Gold and the Super SE was the Zero Gold’s ability to vividly portray nuances and tonal pallets. Otherwise, in terms of all of the other audiophile characteristics the two cables are remarkably close, despite the large price difference.
Super SE Power Cords. This was a very tough comparison for me. I only have one Isoclean Super Focus. On the other hand, I had two Super SE Power Cords, and it is clear that use of multiple Super SE’s is very synergistic. (In fact, using all the Super SE’s – interconnects, power cords JD speaker cables – together was very synergistic. More on this later.) As a result, I could only compare a single Super Se with a single Super Focus. Since I run monoblocks amps, this would not lend itself to comparison. Consequently, I alternately used the Super SE and the Super Focus on my DAC and then on my preamp. In both cases I had a distinct preference for the A.R.T. Super Focus, which created a smoother tonal palette without loss of any dynamics. The Super SE had more body, and though the Super Focus initially seemed more “neutral”, closer listening led me to the conclusion that it sounded a tad sterile compared to the A.R.T. Super SE.
The comparison with the Lessloss DFPC was also complicated. The Lessloss power cords’ effects are maximized when they are used with the Lessloss Firewall power conditioners, so using other manufacturers’ power cords with the Firewalls can create some questionable comparisons. Consequently, the reader must take into account that the results may be biased because the Lessloss Firewalls were in each test system. In this comparison I used both A.R.T. Super SE’s to feed either the Pass Labs XS 300 monoblocks, the Electrocompaniet Nada monoblocks, or the Electrocompaniet Nemo monoblocks. When used with the Pass amps the Super SE’s were powering the entire frequency range. When used with the Electrocompaniet amps the Super SE’s powered the either the Nada’s handling the midrange and treble, or the Nemo’s handling the bass range.
In my system the Lessloss DFPCs are neutral and produce a very clean but organic sound, without any sense of artificial softening, etching, tonal imbalance or any other characteristic that calls attention to them. I believe that the clean sound is due in no small part to the extremely low noise level that comes through these cables. The Super SE’s were also extremely quiet, though by employing a very different technology. The Super SE’s exhibited a bit more body and weight, but were also a bit slower, erring more on the side of weight than on the side of speed. In particular, I thought the Super SE worked better with the Nada, which is a slightly “faster” amp than the others. I preferred the Lessloss with the XS 300, and could not really choose between the two when they were used with the Nemo monoblocks. I have to emphasize that the differences were small, and I found it very difficult to express a preference, especially in light of the fact that the cords all ran from Lessloss Firewalls to their respective components. All I can say is that I’ve been an ardent admirer of the Lessloss PCs, and the Super SE is clearly a top power cord.
Super SE Speaker Cables. The interconnect comparisons were straightforward, but like the power cords, the speaker cable comparisons were complicated by various factors that made them more difficult to evaluate. Let me explain. Most of the time I biamp my speakers, and thus need to use 2 pairs of speaker cables. In addition, my Vivid G-1 speakers’ terminals are recessed in and under the rear of each speaker and have a smallish opening for the speaker cables. This is no problem for my Silver Signatures, but can be a significant issue for stiffer speaker cables with larger diameters. That proved to be the case with the A.R.T. Super SE speaker cables. I simply could not fit both pairs of speaker cable through the Vivid’s opening (A.R.T. Sent me two pairs because I told them I am biamping), so I eliminated the most direct comparison of biamping with both the Super SE and the Silver Signature. I also could not use the Z-Sleeves with the Super SE, though this actually proved to be a great way to show how good the Super SE is at shielding against stray signals in the air.
I did most of my reference system listening with the Pass Labs XS 300 amps driving the Vivid G-1s. As a second reference point, I also installed the extra pair of Super SE cables in a secondary listening room that featured Sonus Faber Venere 3.0 speakers, Electrocompaniet Nada amps and Pass Labs XP-20 preamp.
The Super SE speaker cables clearly bested my Silver Signatures in direct head-to-head comparison. They had greater body and nuance and nearly equal speed and PRAT. Even when I added the Z-sleeves to the Silent Source the Super SE speaker cables demonstrated their superior shielding and produced an extremely clean but full-bodied sound. When I added the Walker Audio Eliminators to the mix when using the Silver Signatures the sound became much closer, but I still preferred the A.R.T. Super SE’s.
When I used the Super SE cables in my secondary listening room that featured Sonus Faber Venere 3.0 speakers, Electrocompaniet Nada amps and Pass Labs XP-20 preamp I was comparing the Super SE’s to an old $500 bi wire cable from Audioquest. I expected an improvement, but I was totally surprised at the extent of the improvement. Absolutely everything improved in a really obvious way – treble extension and smoothness, bass extension and control, midrange body and articulation as well as dimensionality and soundstaging. This was another good reality check because, after all, we’re dealing cables that are more expensive than most peoples’ complete stereo systems. It was comforting to prove that we’re not totally insane.
Synergistic Effects. It is important to describe how use of all of the A.R.T. Cables reinforced all of the strong points of each of the cables. In one configuration I used all of the A.R.T. cables (including the excellent jumper cables) except for one pair of speaker cables with the Electrocompaniet Nada monoblocks, so that the preamp sent its signal to the Nada’s via Super Se interconnects, the Super SE power cords powered each monoblocks and the Super SE speaker cables and jumpers drove the Vivid G-1s. Now I could hear the full extent of the SE’s ability to powerfully present the music with excellent body, power, speed and nuance. A.R.T. Emphasizes that use of their cables together has a synergy that has a cumulative effect. I can verify that that is true, in spades. If you can afford them, employing a complete complement of the SE’s will let you enjoy the SE’s qualities to the fullest.
Conclusion
The bottom line is that these are very, very good cables in a highly competitive segment of the uber cable business. They had an excellent ability to deliver tight, yet meaty and nuanced bass. The highs were extended and never shrill (unless the music actually demanded it), and the midrange had a warm sheen that melded extremely well with each set of amps and speakers I used. It was totally impossible not to like what they did for the music. If you are choosing between very high end cables like these your ultimate decision will depend on your personal taste and the size of your pocketbook, but rest assured that you’ll be getting cables that are among the best available.
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