REVIEW: Acoustic Zen Matrix & Silver Reference Interconnects

[jude]

Acoustic Zen Matrix Reference and Silver Reference Interconnects:
Acoustic Zenhancement

• Description: RCA-terminated, analog interconnect cables.
• Dimensions: One-meter pairs.
• Price: Matrix Reference, US$ 498.00 for one-meter pair. Silver Reference, US$ 898.00 for one-meter pair.
• Manufacturer: Acoustic Zen Technologies. Telephone: (760) 471-4899. Web: http://www.acousticzen.com

I subscribe to Stereophile and The Absolute Sound, buy import hi-fi magazines from the bookstore, and also make weekly audio web site rounds -- Soundstage Network, TNT Audio, Audiogon, Audio Asylum, Enjoy The Music, Stereo Times, etc.; and, without fail, I find ads for, and read reviews of, cables from new cable houses that I had not previously heard of. Apparently, the desire to make and sell audio cables is pandemic; but of all these new cable companies popping up weekly, very few will actually earn a solid, longstanding reputation. One relatively new cable house, however, stormed onto the audiophile landscape, quickly earning almost universal accolades, praise, and a favorable reputation that most of the newbie cable companies will never see the light of. The recognition for this company didn't come behind the wave of a heavy advertising campaign, but, rather, good word of mouth and a modest web advertising effort. This company is Robert Lee's Acoustic Zen. Some of you may know Robert Lee as the man behind another cable company, Harmonic Technologies. Harmonic Technologies' cables quickly became one of the industry's favorites, regularly making Stereophile's "Recommended Components" list, and serving as a frequent reference cable in their reviews. So maybe it shouldn't be too surprising that, after Robert Lee left Harmonic Technologies, his next cable venture would also catch on quickly and positively with audiophiles.


Zero Crystal Clear

Almost every cable company makes impressive claims about the purity of the metal(s) they choose for the conductors. It used to be impressive enough just to read "OFC" (oxygen free copper) in a cable's description. Then companies started promoting the purity as a percentage value. 99.99% pure copper ("4N", which stands for four nines). 99.9999% pure copper (6N). And just when you thought that claims about conductor purity were reaching their limits, along came Harmonic Technologies (and now Acoustic Zen) claiming high purity and low crystal count. How low? Try one. Through a process of continuous casting, they claim a single crystal of copper can be drawn out to 125 meters in length, minimizing crystal barriers in a given length of wire. According to Acoustic Zen's literature, “crystal barriers hamper the flow of electron transmission through the cable, which results in distortion and loss of harmonics in sound.”

Acoustic Zen calls their long crystal wires Zero Crystal wires -- no doubt a funny moniker, but Harmonic Technologies already trademarked the name Single Crystal. Acoustic Zen's conductors are all made of either Zero Crystal 6N copper, Zero Crystal 7N silver, or a blended formula consisting of a mixture of 96 parts Zero Crystal 6N copper and four parts Zero Crystal 7N silver. Acoustic Zen sent me one-meter, RCA-terminated pairs of their Matrix Reference and Silver Reference interconnects for review. The Matrix Reference uses the blended formula for its conductors, and the cable retails for US$498.00/meter/pair (RCA-terminated). The Silver Reference conductors are all Zero Crystal 7N silver, and the cable retails for US$898.00/meter/pair (RCA-terminated).

Outside, the Acoustic Zen cables have a very distinctive appearance. First of all, as far as interconnects go, they are quite thick. Measuring approximately 9/16" in diameter (and even a little thicker at the strain relief just aft of each RCA plug), they are portlier than a few audiophile power cords I've used. The Matrix Reference is sheathed in an attractive (if not somewhat funky looking) woven, purple outer jacket; and the Silver Reference in a more conservative, dark gray version of the same jacket.

Both cables have a very light-reflective fiber woven throughout the outer jacket in an eye-catching, uniform grid pattern. I think most would find these cables very attractive, and, when I had either in my rig, they frequently fetched positive comments from guests on appearance alone. The cables do get a little too groovy looking for my tastes when direct lighting is pointed at them, as the reflective fiber grid makes the cables appear to glow like neon tubes. Every flash photograph I took of my rig with either of these cables installed made it appear as though I might be opening up a discotheque behind my desk -- these are flashy cables that can't be easily flash-photographed. But if you like attention-getting appearance, you'll love the way these cables look under any lighting conditions.

The Acoustic Zen interconnects were the stiffest in the first group of interconnects being reviewed. They're not so stiff as to be unmanageable, but if your components butt up to a wall really close (like a couple of inches), then you'll have to consider pushing your equipment further away from the wall, or considering other, more flexible interconnects. Also, the thickness of these cables might be a problem if your RCA jacks are very close together. My Sony SCD-C333ES's analog output RCA jacks are the standard 9/16" apart on-center, and the Zens fit, but it was a pretty tight squeeze -- so tight that the cables' strain reliefs are touching. My HeadRoom Max's Cardas RCA jacks are spaced with ample distance to keep the cables from touching each other behind the Max.

The locking RCA plugs on the Zens are very beefy, and, according to Acoustic Zen, are also made of Zero Crystal copper. These plugs do have very good fit-and-finish, and, even upon close inspection, appear to be of high quality, which should be expected on cables with retail prices of around US$500 and US$900.

Overall quality of construction of both models appears to be very good.

NOTE: For more information on the construction of these cables, as described by Acoustic Zen in their product literature, please see the Appendix at the end of this article.


The Sound of Matrix

Aside from the Stealth PGS (review forthcoming), the Matrix Reference is the warmest sounding of all the interconnects in this first series of cable reviews. From the bass through the entire midrange, the Matrix Reference exhibits a heavier body than most of the others. This heft can be a blessing, as with the awesome opening bass cannonade played by Michael Arnopol (Head-Fi member mikejazz) on “Use Me” on Patricia Barber’s Companion (Blue Note / Premonition 72435-22963-23). The Matrix Reference brings to the fore the snap and intensity of each note struck by Michael with tremendous solidity.

The midrange emphasis can also pleasantly inject extra verve into pianos and stringed instruments. On the popular, catchy (and somewhat over-produced sounding) title track of Train’s Drops of Jupiter SACD (Columbia CS 69888), the Matrix Reference’s mild midrange bloom gave proportionately mild emphasis to what I consider one of the nicest string arrangements in a pop/rock song in recent times. By bringing the string section closer to the front, resolving it into its individual elements -- violins, violas, and cello -- was almost as easy to do with the Matrix Reference as with my new reference Cardas Neutral Reference interconnects. This is no mean feat, considering that this recording doesn't emphasize the string section as much as a typical classical string recording obviously would; and, in this performance especially, it might otherwise be buried under this busy pop/rock band in full swing.

The heft, however, can also be a bit of a burden, especially in combination with this cable's subjectively mellow highs. Though it provides more detail across the board than my very affordable Tara RSC Reference Gen 2 interconnects, the Matrix Reference’s overall resolving power seems a bit weighed down by its bass-to-midrange emphasis when compared to several of the other upper-echelon cables I’m reviewing. The Matrix Reference’s treble is also a bit too soft for my taste, missing that last bit of treble extension and detail I want in my rig. In “The Battle” (Track 3) of the Gladiator soundtrack (Decca 289 467 094-2), the cymbals sound fairly distant, but are still an important part of that track’s strong dynamics and drama. The Matrix, however, seems to set the cymbals even further back than several of the other cables, making them more subdued than I would prefer.

One thing the Matrix Reference does as well as its more expensive sister cable (the Silver Reference) is soundstaging. Maybe more than any other cable in this first review series, both Acoustic Zen cables cast gigantic, airy, and seamless soundstages that are priceless with well-constructed live recordings. On Miles Davis' The Complete Concert: 1964, My Funny Valentine + Four & More (Columbia/Legacy C2K 48821), the Matrix Reference reaches clearly into the far corners of the Lincoln Center’s Avery Fisher Hall. With the Matrix, the airy sounds of the shuffling audience (and its occasional applause) waft low through the space as a living, breathing canvas on which Miles, George, Ron, Herbie and Tony musically paint this magically classic jazz concert. Remarkable stuff.


The Sound of Silver

The Silver Reference was a big surprise to me from the get-go, because in researching cables to review for this first series, a lot of what I’d read about silver conductor cables was that, in general, they tend to be overly bright, ringy, and bass-light. In the first review group are three cables with all-silver conductors (one with gold-plated silver conductors), and Acoustic Zen’s Silver Reference exhibited absolutely none of these characteristics in my rig (or any other setup I used it with).

Tonal balance of the Silver Reference in my main rig is subjectively (and by the finest of hairs) on the trebly side of neutral. Bass extension is deep and the presence strong; although with a more natural weight (and so more agile sounding) than the Matrix Reference. Each note of Michael Arnopol's bass at the beginning of "Use Me" (mentioned earlier) is complete, but with a little less heft, and a little more breathing room in between each (which ain't much to begin with, as Arnopol is, at one point, strumming those strings faster than a Riverdance cast member can click his heels). There's also less bloom in the mids than the Matrix serves up, but, as with the bass, I found the midrange weighting with the Silver Reference more natural, and so more nimble and detailed through this range.

The Silver Reference's treble is, to my ears, one of two areas in particular that this cable sets itself apart from all the others in this first set of cable reviews (the other being soundstaging). Benefits of this cable's copious details in the highs were never diminished by any sense of splash or ring, and never came off as overly clinical in the least -- never bright. That is, plentiful treble detail and extension, but very smoothly delivered and never fatiguing (unless the recording is fatiguing). The cymbals in “The Battle” on the Gladiator soundtrack that were somewhat muted with the Matrix Reference came through with greater enthusiasm when the Silver Reference was in place, without bringing the cymbals too far forward. And if it was your first time hearing it, the opening moments of “So What” (the first track) on Miles Davis’ legendary Kind of Blue SACD (Columbia/Legacy CS 64935) might give you the impression that you’re listening to a warmer, bloomier recording -- which is quickly dispelled when Jimmy Cobb comes a'gently tappin' on his cymbals 35 seconds into the track. Cobb's touch here is delicate, and it takes good, grain-free treble presence to give it the body of being there -- the Silver Reference accomplishes this handily.

The ability to convey microdynamics adeptly -- an exquisitely soft touch -- is one of the elements in the overall sonic balance that most audiophiles hold dear to their ears. On material where softness and subtlety is the hallmark of the presentation, a challenge of any rig is to differentiate light shade from dark shadow, and everything in between, without the aid of the more prominent sonic chiaroscuro of livelier performances and recordings -- and to do this without betraying the touch. Hel-LO, Silver Reference. Conveying finespun, delicate details is a forte of this cable, with Joe Morello’s finest percussive touches on “Three To Get Ready” on Dave Brubeck Quartet's Time Out SACD (Columbia/Legacy CS 65122) conveyed as feathery as he likely intended them to be, yet still possessing an I'm there concreteness. And on the first movement ("Grave--Doppio movimento") of Chopin's "Piano Sonata No. 2 in B-Flat Minor, Op. 35" on the Vladimir Horowitz: Chopin, Schumann, Rachmaninoff, Liszt SACD (Sony Classical SS 6371), Vladimir Horowitz barely tickles the keys with his left hand for a short section beginning at 16 seconds into the track, while his right hand lays down the much more prominent layer. Hearing the very gentle left hand part, and the miniscule differences in the force of each note, is a smidge easier for me with the Cardas Neutral Reference; but it seems like I'm closer to feeling and understanding the shadings of the passage through the Silver Reference. It’s like a left brain / right brain sort of thing -- microdynamically, the Silver Reference is more right brain to the Cardas Neutral Reference’s left brain presentation. In this specific way, I prefer the Silver Reference to the Neutral Reference for general listening.

In terms of macrodynamics, both Acoustic Zen cables were very good, but not possessing the stratospheric floor-to-ceiling expanse of the Tara Labs RSC Air 1, and especially the Cardas Neutral Reference (which, in my rig, is unrivaled in this regard so far). A rather dramatic macrodynamic demonstration track is Weinberger's "Polka and Fugue" from Schwanda the Bagpiper on XLO/Reference Recordings' Test/Burn-In CD (XLO/Reference Recordings RX-1000). This track will tell you many things about your rig, and is as fun to listen to as it is a test of your gear. Ample use of bass drum explosions, thundering pipe organ pedals, and very enthusiastic wind and brass combine to make this track a rousing show of aural pyrotechnics. Though the Silver Reference doesn't put a crimp on this jovial track, there's less high drama (macrodynamically) with it than the Neutral Reference or the Tara RSC Air 1.

As mentioned earlier, the Silver Reference’s soundstaging is brilliant. Fed with a good live recording, the setting is usually more grand and enveloping, and more seamless, than any of the other brands or models in this first review group with my rig. Whereas the Tara RSC Air 1 tends to more precisely set instruments and vocals in a very full soundstage, the Silver Reference (and Matrix Reference) eases up on placement a bit, projecting a more airy virtual venue in my head. Some would prefer the RSC Air 1’s style of more precision soundstaging, and some the Zens’ more ethereal approach. It was a close call for me, but, as far as my general listening enjoyment goes, I’d give the edge to the Zens in this regard.


Zenthusiastic Summary

At US$ 498.00/meter/pair, the Matrix Reference faces very stiff competition in this review group and comes up roses for the price, outperforming my previous reference cable, Tara’s RSC Reference Gen 2. For my tastes, though, the Matrix Reference is a little too bloomy in my rig, and, in this price range, I’d likely opt instead for the more neutral Tara Labs RSC Air 2 or the sometimes-too-high-precision Cardas Neutral Reference. If you’re currently cable shopping, and your rig tends toward the bright side and/or your rig’s midrange is a little too laid back, then I’d recommend you add the Matrix to your audition list.

The big star of this show was, without a doubt, the Silver Reference, with its wonderful soundstaging, exquisite microdynamic presentation, just-the-right-weight mids, and smoooooth, extended highs. For pure listening pleasure (as opposed to a supremely neutral review reference cable), it was, overall, my favorite interconnect in this first review group. And, unless the second review group of interconnects includes something I find more listenable in my rig, I will likely order another pair of Silver References from Acoustic Zen (another Head-Fi moderator/reviewer ended up purchasing the pair used in this review).

Robert Lee and Acoustic Zen came to market swinging for the fences, and, as far as I’m concerned, they hit it out of the park -- especially with their top-of-the-line Silver Reference. If my experience with their products is any indication, Acoustic Zen is definitely not a fly-by-night’er. I’m quite certain this is one newer cable house that is very much here to stay.


Associated Equipment

• Digital Source: Sony SCD-C333ES SACD/CD player
• Headphone Amplifiers: HeadRoom Max (2001 model); McCormack Micro Integrated Drive (modified by Steve McCormack); Brand X portable tube amplifier
• Headphones: Sennheiser HD-600, Etymotic ER-4S
• Cables: Interconnect (other than Acoustic Zen Matrix & Silver Reference): Tara Labs RSC Reference Gen 2, Cardas Neutral Reference, Tara RSC Air 1, Tara RSC Air 2, Stealth PGS, Stealth SCR, Stealth M-7 Signature. Headphone: Cardas HD-580/600 cable, Stefan AudioArt Equinox for HD-580/600. AC: Acoustic Zen Tsunami, BPT C-7, Tara Labs RSC Air, Cardas Twinlink.
• Miscellaneous: Price Wheeler Brick Wall PW8R15AUD series mode surge filter / power conditioner. Balanced Power Technologies (BPT) BP-3 dual balanced power isolator.

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Appendix

Construction descriptions from Acoustic Zen product literature:

All Acoustic Zen cables use….multi-stranded conductors of less than 22 AWG solid silver and copper conductors with proper individual insulation. They are also arranged to eliminate electromagnetic interference from each other….

….Acoustic Zen Technologies only use….Teflon, air-injected polyethylene foam (dielectric insulation), and air as our dielectric….

….Constant Air-Twisting….two multi-gauge group (positive and negative group conductor) conductors are in a constant twist on the outside of a twisted air Teflon tubing. Constant Air-Twisting….has a very high common mode rejection ratio that allows significant reduction in electromagnetic noise, but it also keeps the cable at extremely low capacitance….

….Constant Air-Twisting….protects the electrical signal in the cable from outside noise and interference….Acoustic Zen Technologies include additional double shielding for all low level interconnects cable designs.

….The use of 100% copper foil shielding and 90% covered braided shielding provides….high frequency shielding and protection of low frequency interferences….The combined effects of….double shielding and Constant Air-Twisting…reduces noise interference and signal degradation.

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Photos of the Acoustic Zen Matrix Reference interconnects:


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NOTE: To go to the original review thread with responses from forum members, click here.