POSITIVE-FEEDBACK.COM :: ISSUE #39
Recession Tweaks: Five tweaks for under $500
by Ryan Coleman
Audio Magic Pulse Gen ZX
MSRP $400
www.audio-magic.com
The Audio Magic Pulse Gen ZX is simple to install across the hot and neutral terminals of the component's IEC, but its size may make for some troubles; some components don't have the 2" by 2" of spare real-estate inside. That's too bad as this is a product that simply must be tried inside digital sources.
I'd have to say that no product ever flummoxed me more nor made me question what I was hearing than this one. It seemed I was hearing more and less at the same time.
This product concentrated its impact on the midrange and treble areas. While it seemed the treble range was shelved down by a couple of decibels, I was confident that more information was coming through at the same time: piano decays, horns, guitars, cymbals, bellsyou name it. The higher in the frequency balance, the more consistently it sounded a little quieter in the mix versus the rest of the frequency spectrum, but with more information being resolved.
However, I did say that it also impacted the midrange and here (much like the treble range) it was also delivering more information
lots more. Vocals especially were revelatory; part of the failure of home stereos is their inability to capture all the minute harmonic fluctuations that occur in sound (recorded or not). Nowhere are we more sensitive to this than with vocals, as we're constantly listening and talking (unlike music, which few of us are involved in on a daily basis). The Pulse Gen ZX resolved those gentle harmonic fluctuations; the pitch inflections that take a person from ideal overly homogenized recorded voice back to being a human that was recorded and thus making the vocal reproduction more lifelike.
Here's another head scratcher. I was consistently able to listen at a louder volume with the Pulse Gen ZX in the rig than without. As for why, I point to my findings on the treble region. It's not the bass frequencies that lead to listener fatigue; just think about those goofy bass-boom car stereos that people drive for hours with. It's the treble that causes fatigue, and with the treble slightly attenuated (but while resolving additional information), I found myself listening louder and with less fatigue which meant more involvement with the music.
At this point I had to question all I knew. It is inherently contradictory to hear more information within a frequency range that's attenuated at the same time. But I think I came to a theory that explains it. The Pulse Gen ZX is designed to eliminate self-generated noise within a component. It seems to me that self generated noise (EMI/RFI) manifests itself as a distortiona glare in the treble range that the ear can perceive (as we're sensitive to this frequency range, per my earlier comment on listener fatigue); one that we're so used to hearing that we simply assume its correct. By removing it we're actually forced to reevaluate all our prior conceptions of recorded music in this frequency range. Much like your first pair of eye glasses, your standard of what is accurate will change.
Another analogy from photography: when a photo has a flash that is too aggressive or uneven, the central part of the face will be too bright (the nose protrudes and is thus closer to the flash) and the neck and perimeter of the face which are further from the flash will appear noticeably darker. The contrast in shadings between the two areas of the face is obviously wrong. That sums up digital without the Pulse Gen ZX. The insertion of the Pulse Gen ZX is like getting a good flash where all areas of the face are more consistently lighted. It's more lifelike and more pleasing to look at. It's just better.
The insertion of the Pulse Gen DX results in what one initially thinks is treble attenuation, but is actually the removal of a pervasive distortion that we've been living with since digital was forced upon us. The retrieval of more information throughout the treble and midrange is evidence that this distortion, which previously masked information encoded on the disc, is removed. So many CDs are poorly mastered and too hot on top, that the Pulse Gen ZX was an unmitigated improvement on them. On a few CDs (maybe 10% of those I own) I found it a trade-off between the reduced treble emphasis which sounded a bit too soft in the mix versus the benefit of the additional inner detail that the Pulse Gen ZX consistently delivered upon. But given its benefit on 90%+ of CDs and the promise of more inner detail off of every CD, that's a tradeoff every audiophile should be willing to make. One of my friends summed it up when he said "it sounds more analogue." Indeed it does. If digital SOUNDS LIKE THIS (don'tcha hate people shouting in text?), the Pulse Gen ZX says "go ahead, turn it up, I won't bite."
(I had every intention of trying this product in my preamp and amps, but my preamp didn't have space, and after loaning out a few Pulse Gen ZXs for insertion into some very expensive Esoteric digital gear, I found all I got back was a promise that the owners would pay for them. However, I suspect that its benefit, much like the Acoustic Revive RGC-24, will be most audible and beneficial in the source, and its effects downstream will grow increasingly questionable. However, that's just a hunch; Jerry, care to send a few more?)
What can I say? Highly recommended for any digital component you are using. If you're using digital amps, do try this thing and drop me a line.