Bryon, more grist for the mill is the recent review last year of the Supreme3 fuses from Hi Fi Tuning in Positive Feedback by Greg Weaver (a very experienced reviewer). Please note the use of the word, transparency. Coincidence? Not to mention the word, astonishing.
"After a brief bout of quite to install all eight fuses, I re-fired all my components to let everything have some time to "run in." Over the next three to three and a half weeks, I heard some exemplary, if subtle, improvements.
While I had expected some slight advances here or there, in a few specific categories, I was treated to small but encompassing, readily distinguishable, sonic improvements to virtually every attribute of my rig. The overall improvement wrought by their insertion was simply astonishing.
What stood out from the first was the notable enhancement in overall timbre, especially through the lower to mid bass, and the upper midrange through lower treble regions. Bass runs, from the thundering electric bass licks of the "Ox" Entwistle, to the engaging and often nuanced cello efforts of Janos Starker, were weightier, "woodier" sounding, and more tonally balanced. Strings, horns, and cymbals further shed most remnants of that "white-ish" sonic tinge and were rendered in a more fluid and coherent manner.
Transparency enjoyed a wholesale improvement; slight, granted, but bettered without question. This comes in two forms as I heard it. First, through the reduction of a miniscule yet inclusive fine graining, offering a more liquid texture overall, and secondly, by contributing to a slight reduction of the noise floor.
Spatial recreation enjoys special attention. Dimensionality takes on a slightly more focused nature, and at the same time, instrumental lines are recreated with better delineation and seemingly more accurate and appropriate size.
Both microdynamic events and microdynamic shadings are more readily revealed, unleashing enhanced detail and offering enhanced perception of physical and emotional involvement."
"After a brief bout of quite to install all eight fuses, I re-fired all my components to let everything have some time to "run in." Over the next three to three and a half weeks, I heard some exemplary, if subtle, improvements.
While I had expected some slight advances here or there, in a few specific categories, I was treated to small but encompassing, readily distinguishable, sonic improvements to virtually every attribute of my rig. The overall improvement wrought by their insertion was simply astonishing.
What stood out from the first was the notable enhancement in overall timbre, especially through the lower to mid bass, and the upper midrange through lower treble regions. Bass runs, from the thundering electric bass licks of the "Ox" Entwistle, to the engaging and often nuanced cello efforts of Janos Starker, were weightier, "woodier" sounding, and more tonally balanced. Strings, horns, and cymbals further shed most remnants of that "white-ish" sonic tinge and were rendered in a more fluid and coherent manner.
Transparency enjoyed a wholesale improvement; slight, granted, but bettered without question. This comes in two forms as I heard it. First, through the reduction of a miniscule yet inclusive fine graining, offering a more liquid texture overall, and secondly, by contributing to a slight reduction of the noise floor.
Spatial recreation enjoys special attention. Dimensionality takes on a slightly more focused nature, and at the same time, instrumental lines are recreated with better delineation and seemingly more accurate and appropriate size.
Both microdynamic events and microdynamic shadings are more readily revealed, unleashing enhanced detail and offering enhanced perception of physical and emotional involvement."