Listening Notes:
As usual, my comments are arranged by the piece of equipment under which the footer was placed and the music to which I was listening.
RevOpods Preamplifier only:
Bill Evans Trio, “Waltz for Debby”, XRCD VICJ-60141 (digital)
With the RevOpodes replacing the Stillpoints, the bass sound is quite nice, my favorite for this recording, full-bodied and woody, closer to the real thing. Cymbals are similarly full bodied, which may seem an odd thing to say, but with cymbals there is a bottom as well as a top. Too often I don’t hear the richness of cymbals in a small group context, which is one place it should be heard, especially with a sensitive and generally softer player like Paul Motion. I hear it here.
Although I’ve been very fond of this XRCD, it is not the warmest presentation of this recording; an early XRCD. The attacks on the piano can be just a bit hard, but it did not seem that way this evening. Indeed, this was some of the more analog-sounding digital I’ve heard.
Vince Gauradi Trio, “Jazz Impressions of Black Orpheus”, Craft Small Batch Recordings (vinyl), Fantasy CR00503
This is one of those records that, if played too loud can be a bit uncomfortable. The piano could have been recorded more spaciously. Instead, it comes off boxy and somewhat congested (for some reason, the piano seems better on Side 2). The sound of the bass and the drums is quite good, warm-toned, and full-bodied. Overall, the sound profile of the RevOPods probably improved my impression of this record.
“Ibert Escales”, Martinon/French National Radio Orch., EMI ASD 3147
The sound is very clean with good depth, separation of instruments, imaging. “Escales” is particularly exotic and evocative. While the sound is not as warm as an earlier EMI might have been (this being late 60’s or so), the detail to a large extent makes up for it. At this point, I began thinking that the RevOpods were proving to be very competitive with other first tier vibration control footers, including the Stillpoints.
Oistrakh/Galliera Philharmonia,, Prokofiev, Concerto No. 2, Testament re-issue of EMI SAX 2304
These Testament reissues tend to be very good, usually quiet and clean. Sound is really first-rate. The presentation of early EMI orchestral sound, which can be top-heavy is excellent here with a very wide sound stage and excellent center fill. Instrumental timbres are fully defined, attacks warm and realistic, with no excessive edge. There is a good sense of space and excellent delicacy in quiet moments in the 2nd movement. In short, this is a very satisfying listen.
Preamplifier and EMM TX-1 Transport:
Bill Evans Trio, “Waltz for Debby”, Track 6 (digital)
The RevOpods are somewhat warmer but less detailed than the Ultra 6’s but what they do to the bass is quite nice. It is a bit fuller and more robust. Piano has less emphasis on attack and seems a little fuller. This is a minor effect, but perhaps more toward what pianos sound like in real life. Audience noise is still there…in other words, “less detail” is within a range – it’s still there. I can imagine that some people who are really obsessed with detail might want more and might find this less attractive, but this is not my reading.
Munch, Boston Symphony, “Debussy and Ibert Escales”, XRCD JMCXR-0003, XRCD (digital)
This XRCD is a nice transfer of the analog masters but leans in the bright, detailed, and even cold direction like the Classics LP’s. With the RevOpods, this effect of coldness is substantially lessened. The background is wonderfully quiet and dark. The individual instruments are clean but full, warm, and real seeming. The strings are not as warm as on the LP but are pleasantly non-digital. In fact, the overall effect is to cause this CD to have a more analog sound, in the most complementary way. This is very satisfying to listen to, very non-fatiguing, with good, solid bass. When the full orchestra gets going, there is no sense of congestion. Many of the instrumental colors are very realistic.
Debussy Preludes Book II, Alessandro Amara, Piano Classics PCL10210
This CD sounds great with lots of detail, although it contains substantial piano articulation – clear attacks, etc. It is still clean but on the warmer and slightly less detailed side. As such, it will certainly not become fatiguing, but I miss some of the “technicolor” effect from previous listens, although the current sound is very easy to fall into. The piano is still very much present in the room. Debussy, in certain pieces in particular, wanted the percussive effect of the attacks to disappear. Amara does a terrific job of that, and the RevOpods may be allowing me to hear that effect more like it sounds in the same room with the piano. The very deep tone of the piano on its lowest notes is extremely effective.
If I am hearing less of the attack and more of the note, this may be a good thing. The longer I listen, the more I like it, in part, because I can listen longer, more comfortably.
Switching to a Separate System with the RevOpods substituted for Cerabases under a Conrad Johnson Premier 17 Preamplifier:
At this point, I began to wonder whether substitution of RevOpods in a less expensive system would make sense, so I turned to a second system built around Conrad Johnson electronics and Avalon Eidolon speakers. The following comments represent the effect of substituting a single set of RevOpods for Cerabases under a Conrad Johnson Premier 17 preamplifier.
David Sylvian, “Dead Bees on a Cake”, Virgin 671 524—3 Tracck listened ‘Scent of Magnolia.’
With Cerabases:
The results were stunning. The sound was tonally excellent, with good balance with bass drum felt and heard, highs easy, but there. Placement of instruments was fine, but the stage width was not wider than speakers. There was also a bit of edge to the strings in their active chorus.
With RevOpods:
There was notably more bass, more detail in voice, in everything else for that matter. Enunciation was very clean and clear. Female voice was distinctly more delicate and sexier. The image now extends beyond the speakers. I can hear a simple piano line I hadn’t noticed before. Strings have no harsh edge. Bass drum is not just a thump, but a rounded tonality.
Compared to Cerebases, which were wonderful in their own way, the improvement gained with the RevOpods represents a step change.
Stravinsky, “Petrouchka”, Haitink/London Philharmonic Phillips 6500 458
With Cerabases:
Again, the sound was tonally very nice, not too bright, but with good balance. At this volume strings were slightly edgy when loud. Placement was very good though not holographic. The sound stage begins to push beyond speakers. Ideally, the sound might be better a couple of clicks down volume-wise. The low end of timpani was quite nice, center fill was good but not stunning.
With RevOpods:
Notably there seems no edge to the strings. Detail is enhanced significantly. It is important to note that with both records, the image moved backward away from the speakers. There is an enhancement to the musicality that is hard to describe: the edge of the attacks is cleaner, but less hard and more real, for example on the chimes, which figure prominently in this recording. I can hear the attack without it overwhelming the tonality, which was less clear and more confused before.
Debussy, “Iberia”, Argenta/Orch. Suisse Romande, London (blue back), CS6013
With Cerabases:
This exhibited the classic somewhat pinched winds of early Decca sound. There was a wonderful soundstage, all the way across but not quite outside the edge of the speakers, excellent tonality, and excellent detail. This was the best bass of the evening. Muted brass has some edge, but strings are fine. Imaging is not quite holographic.
With RevOpods:
There was an immediate difference in depth of image and detail, quite surprising. Muted brass was a little hotter and bass is deeper. Image stability and clarity were notably improved. Strings were very clear with no real edge. You can separate instruments better and can hear how combinations create distinctive sounds. You can also hear several tape splices I hadn’t noticed before.
Further Thoughts and Some Conclusions
As a reviewer, it is sometimes easy to convince yourself that any real improvements to your system can only be achieved by purchasing a new piece of pricey gear; however, inserting the RevOpods into my system was eye opening in that regard. This is not to say that they are superior to Stillpoint Ultra 6’s (which I view as their only real competitor), but at a fraction of the price they are certainly equal and, in many systems, will provide a more musical result. To my ear, the Ultra 6’s may be a slightly (and I do want to emphasize slightly) more resolving and certainly are balanced toward capturing the leading edge but are somewhat to the lean side of neutral in the warmth region and may somewhat truncate the tail following the leading edge. The RevOpods are clearly voiced to be warmer but never overly warm and to a certain extent favor the tail over the leading edge. In other areas, there is little to differentiate the two. They worked equally well on both the Finite Elemente and HRS stands.
These footers actually made a step change improvement when substituted for Cerabases elevating the sound of the Conrad Johnson Premier 17 preamp to reference level. This leads me to believe that in many instances, these footers would result in a more significant improvement than changing out a piece of equipment. Even in a very modestly priced system, these footers may significantly elevate the sound, i.e. these are not just for very expensive systems.
When I read a review, I am always curious whether the reviewer buys the product under review. The answer here is that I purchased the four sets sent for review and, intend to purchase additional RevOpods for use in my system.
Very highly recommended.
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