MasterBuilt Ultra interconnect audition
When I attended the Chicago Axpona Audio Fest in March 2013, I was fortunate enough to be offered a pair of new MasterBuilt "Ultra" two meter balanced XLR interconnects from Delphi Aerospace to audition. When pressed for details on the Ultras, the only comment I could get from the gentleman from Delphi was "they're something special we've been working on". So, I don't have details on their composition, configuration, or manufacturing process. My comments will necessarily be limited to my listening impressions.
As background, I began my system's conversion to the MasterBuilt series two years ago. I'm currently running a full set of MasterBuilt Signature interconnects, speaker cables, and power cords. The result has been improved timbre of musical instruments and voices; an ability to maintain individual instruments' identity in complex passages; coherence of transients with mid and lower frequencies; and an extremely deep bass extension. Given that I was coming from a perspective of being very satisfied with my system's cabling, I had no expectations of what the Ultras might bring to the table.
I inserted the cables at the amplifier input and, well, the change was dramatic. The already large sound stage to which I was accustomed grew wider, deeper, and more transparent. Throughout the audio range there was more detail, more going on. It took me a while to realize that many of the improvements were all attributes resulting from an additional degree of micro-dynamics. Some examples...
On piano recordings you can now hear that felt hammers are being thrown against the piano wire. That the piano is a percussive instrument is certainly more obvious now. More of the sounds from the keyboard mechanism are also now audible.
Guitars have clearer resolution of plucked strings and a better sense of the acoustic character of different instruments and playing styles. You sense the quality of the wood resonating, even to a better sense of the relative thinness of the guitar body.
The bite of horns is another area where the Ultras excel. In recordings ranging from jazz groups to full orchestras, all the different types of horns and playing techniques were more easily identified.
Vocals now include more nuances and sound more relaxed on everything from Callas to Sinatra. The qualities of a voice as it matures over the years in recordings become more obvious, for better or worse with the strain accompanying the older performer exposed. On the plus side, the quality of a singer in their prime is all the more magical.
Recordings that I always thought were muddy now have bass to mid-bass that resolves to a rich, yet transparent hall ambiance. The first stereo recording of the Wagner Ring cycle (the 1955 recording on Testament) is a poster child for this improvement.
The top end of the audio spectrum now has an extra degree of openness as I’ve only heard before on plasma tweeters. Cymbals now have more complexity from the initial strike to the shimmering decay which now has a longer duration and can be heard at lower levels. This is not a brightness in the higher registers, but a sense of airiness and delicacy.
Buena Vista Social Club "Live at Carnegie Hall" demonstrated something I hadn't previously experienced. I found that as I reduced the volume level, it had the effect of placing my listening position further back from the stage, even to the point where the volume was at a level corresponding to being in a room away from the main venue. However, and to me this illustrates the crux of improved low level resolution, the sense of realism of the performance was still there. On any other system I've heard, at low volume settings, the sense of aliveness diminishes. My suspicion is that this is another result of maintaining the signal integrity at very low voltages. By the way, live performances also take on a much more "you are there" quality with the Ultra's increased resolution and spatiality when you set the volume to what would be natural at the event, right up to a setting for front-row-center.
Where a recording session continues between performance sections, considerably more latent hall sound is audible. This includes ventilation systems, furniture creaks, movement of audience members, and, when nothing else is going on, the latent acoustic ambiance of the recording venue. These are just more examples of low level detail being preserved.
Regarding ambiance retrieval, in a recording of a piano recital there was a long pause between performance sections during which the recording continued. I was able to hear the various ambient sounds I mentioned above. Then, just before the continuation of the performance, I heard a distinct change in the acoustic field, where a portion of the reflected hall sound appeared more localized and closer to the microphones. Immediately after that the music began. It would be unlikely that a person would have been passing close to the piano at that point, but the change in ambiance was definitely near field to the microphones. I'm convinced that what I heard was the change in the sound field as the pianist leaned forward into the keyboard to articulate the first notes.
To summarize, the Ultras recover more information from the signal. Immediately you hear a myriad of details that illuminate the essential character of instruments and voices. This effect isn't achieved by making the cables brighter. On the contrary they sound very neutral. Instruments just sound more like what you remember from live events. Then, once you've had your fill of noting how specific instruments now sound "completed", you notice that there is significantly more low level information and hall ambiance. Finally, when you focus on the overall performance, you hear wider dynamics (think "jump factor"), a sense of effortlessness, and fully fleshed out detail.
If you audition just one pair, my recommendation is to try them first at the input of the power amp(s). This is because at that point the signal has been attenuated by your volume control and much important information is then at a very low voltage which the Ultras will deliver. Of course, using the Ultras throughout the interconnect chain would be preferred.
I've now disconnected the Ultras and sent them back to their creators at Delphi. After using them long enough to become accustomed to the “new normal” they brought to my system, their contributions, now absent, are made all the more obvious. When the Ultras are released and you consider an audition, be forewarned that the longer you have them, the more difficult it will be to remove them. As my samples were prototypes, pricing was not available.
When I attended the Chicago Axpona Audio Fest in March 2013, I was fortunate enough to be offered a pair of new MasterBuilt "Ultra" two meter balanced XLR interconnects from Delphi Aerospace to audition. When pressed for details on the Ultras, the only comment I could get from the gentleman from Delphi was "they're something special we've been working on". So, I don't have details on their composition, configuration, or manufacturing process. My comments will necessarily be limited to my listening impressions.
As background, I began my system's conversion to the MasterBuilt series two years ago. I'm currently running a full set of MasterBuilt Signature interconnects, speaker cables, and power cords. The result has been improved timbre of musical instruments and voices; an ability to maintain individual instruments' identity in complex passages; coherence of transients with mid and lower frequencies; and an extremely deep bass extension. Given that I was coming from a perspective of being very satisfied with my system's cabling, I had no expectations of what the Ultras might bring to the table.
I inserted the cables at the amplifier input and, well, the change was dramatic. The already large sound stage to which I was accustomed grew wider, deeper, and more transparent. Throughout the audio range there was more detail, more going on. It took me a while to realize that many of the improvements were all attributes resulting from an additional degree of micro-dynamics. Some examples...
On piano recordings you can now hear that felt hammers are being thrown against the piano wire. That the piano is a percussive instrument is certainly more obvious now. More of the sounds from the keyboard mechanism are also now audible.
Guitars have clearer resolution of plucked strings and a better sense of the acoustic character of different instruments and playing styles. You sense the quality of the wood resonating, even to a better sense of the relative thinness of the guitar body.
The bite of horns is another area where the Ultras excel. In recordings ranging from jazz groups to full orchestras, all the different types of horns and playing techniques were more easily identified.
Vocals now include more nuances and sound more relaxed on everything from Callas to Sinatra. The qualities of a voice as it matures over the years in recordings become more obvious, for better or worse with the strain accompanying the older performer exposed. On the plus side, the quality of a singer in their prime is all the more magical.
Recordings that I always thought were muddy now have bass to mid-bass that resolves to a rich, yet transparent hall ambiance. The first stereo recording of the Wagner Ring cycle (the 1955 recording on Testament) is a poster child for this improvement.
The top end of the audio spectrum now has an extra degree of openness as I’ve only heard before on plasma tweeters. Cymbals now have more complexity from the initial strike to the shimmering decay which now has a longer duration and can be heard at lower levels. This is not a brightness in the higher registers, but a sense of airiness and delicacy.
Buena Vista Social Club "Live at Carnegie Hall" demonstrated something I hadn't previously experienced. I found that as I reduced the volume level, it had the effect of placing my listening position further back from the stage, even to the point where the volume was at a level corresponding to being in a room away from the main venue. However, and to me this illustrates the crux of improved low level resolution, the sense of realism of the performance was still there. On any other system I've heard, at low volume settings, the sense of aliveness diminishes. My suspicion is that this is another result of maintaining the signal integrity at very low voltages. By the way, live performances also take on a much more "you are there" quality with the Ultra's increased resolution and spatiality when you set the volume to what would be natural at the event, right up to a setting for front-row-center.
Where a recording session continues between performance sections, considerably more latent hall sound is audible. This includes ventilation systems, furniture creaks, movement of audience members, and, when nothing else is going on, the latent acoustic ambiance of the recording venue. These are just more examples of low level detail being preserved.
Regarding ambiance retrieval, in a recording of a piano recital there was a long pause between performance sections during which the recording continued. I was able to hear the various ambient sounds I mentioned above. Then, just before the continuation of the performance, I heard a distinct change in the acoustic field, where a portion of the reflected hall sound appeared more localized and closer to the microphones. Immediately after that the music began. It would be unlikely that a person would have been passing close to the piano at that point, but the change in ambiance was definitely near field to the microphones. I'm convinced that what I heard was the change in the sound field as the pianist leaned forward into the keyboard to articulate the first notes.
To summarize, the Ultras recover more information from the signal. Immediately you hear a myriad of details that illuminate the essential character of instruments and voices. This effect isn't achieved by making the cables brighter. On the contrary they sound very neutral. Instruments just sound more like what you remember from live events. Then, once you've had your fill of noting how specific instruments now sound "completed", you notice that there is significantly more low level information and hall ambiance. Finally, when you focus on the overall performance, you hear wider dynamics (think "jump factor"), a sense of effortlessness, and fully fleshed out detail.
If you audition just one pair, my recommendation is to try them first at the input of the power amp(s). This is because at that point the signal has been attenuated by your volume control and much important information is then at a very low voltage which the Ultras will deliver. Of course, using the Ultras throughout the interconnect chain would be preferred.
I've now disconnected the Ultras and sent them back to their creators at Delphi. After using them long enough to become accustomed to the “new normal” they brought to my system, their contributions, now absent, are made all the more obvious. When the Ultras are released and you consider an audition, be forewarned that the longer you have them, the more difficult it will be to remove them. As my samples were prototypes, pricing was not available.
