For years I'd poked fun at individuals who claim rediscovery of their entire music collections after adding hifi accessories. This particular track was a good reminder that power cables can radically morph well-known playlists. Just two spins of "Prison Sex" from Tool's Undertow were all it took to hear which cord rendered its guitar line more upbeat and elastic, hefty and raw and which didn't go as far to instead emphasize instrumental mass and textural pigmentation. The two comparator cords proved similarly capable on background blackness, canvas width and overall meticulousness but then all else set them apart including speed and impact. These cords simply weren't from same league.Īlthough up to this point the D-TC Supreme would seem groomed for a fully open quick controlled delivery smooth beyond belief and amazing on imaging, it offered far more than this brief psych profile which didn't yet cover its greatest asset. It was lovely in its own right but the Dane's take on the vocals, soft yet remarkably pronounced edges and hefty treble that decayed for ages had me sold. The C-MARC was as shout-free as its rival but cloudier and less developed on image specificity to steer the song into a somewhat distant, darker, rounder, dreamier and more picturesque direction. The D-TC Supreme sounded properly full to make the usually thin piano pleasantly gravitational. Most components won't tolerate these flaws. These are the reasons why I don't listen to it often. Once more the Ansuz rendered the singer more specific, direct and lifelike yet wasn't stingy on heft and color and kept at bay sharpness in the upper vocal range which is typical for this track. The voices of Veloso and Cohen introduced a firm spatial pattern which Lorde's "Writer in the Dark" from Melodrama reinforced further.
If the C-MARC prioritized textures over image outlines and ambient complexity, the D-TC Supreme had everything under its scope and in that sense profiled more evenly. His virtual silhouette felt more vivid and greater insight into layers behind him made space deeper, more organic and tactile. The former simply took a firm turn towards extra radiance, openness and hydration which rendered Cohen's voice more distinct and suspended within more tangible breathing space. Leonard Cohen's "Nevermind" mostly features a calm perfectly articulated vocal line which neither the Ansuz nor C-MARC had difficulties portraying as such.
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