New Omega E Mat from Perfect Path Technologies
Many of you own or have read of the highly-regarded PPT Omega E Mat, one of Tim Mrock’s revolutionary signal-enhancing accessories. Just prior to his untimely passing, Tim had finished developing a new generation of his Omega mat, soon to be available. Krissy Mrock has asked a few of us to introduce this new mat, here given the working title of The Double Omega.
In distinguishing the Double Omega, we know the original Omega, herein called the single, as a 7.5” by 10”, rather heavy and somewhat pliable mat, a bit more than 1/8” thick and with a vinyl-like feel. One face is glossy white, displaying the PPT logo and Omega name, while the other is black, smooth and magnetized. Sandwiched between these faces is the active material that causes components to reject the EMI that saturates everything in our surroundings. The Double Omega is much the same, with one important difference: the magnetized face has the finely-textured feel of around, say, 220-grit sandpaper. This texture, it is presumed, comprises yet a second active layer of EMI rejection. Presumed—because working details of the Double Omega are not well understood—better yet to know how to apply it.
With the understanding that the single Omega E mats generate field effects from both faces, mats have typically been placed under and over components and vertically over circuit breakers. How you apply the Double Omega will depend on best use and experimentation. In my case, I have removed two single mats, lying side-by-side, from the top of my large Wadia CDP and have replaced those with two Double Omegas. The Wadia is a one-box player that contains a pre-amp, so I wanted that second, strong field effect exerting downward as well as upward. I also have several singles placed underneath, just as before. Going straight to amps, this player is my only source, so I want it fully protected from EMI. Your priorities will differ.
As of this writing, I am only thirty-hours in on placing these Double Omegas, and I can already tell you they are powerful in their prevention of EMI within my digital source. Yet another veil has been lifted—all instruments and voices are even more sorted out in the aural space with new information heard within that space. There is much more decay heard against a new silence behind and between the musicians. I am already so pleased and excited about what the Double Omega E mats are doing. As Krissy told me, Tim was really stoked to have these new mats available. Rather than wait for the the fourteen-day window of improvement, I want to get this intro out so others can relay their experiences sooner.
Pretty apt new thread by Miller IMHO. Of course it will get destroyed PDQ. https://forum.audiogon.com/discussions/what-is-wrong-with-audiophiles |
There must be an art to posting contrary positions without getting your posts deleted. There are no "colorations" infused by the PPT products. They actually remove colorations caused by polluted AC coming through the house (The Gate) and into and through the electronics. It is pretty amazing to hear what is actually on the recordings once the grunge has been removed. Frank |
Newcomer here. I wonder why nobody has posted in the original E mat thread in a long time. I will copy my post to the new thread--New Omega E Mat from Perfect Path Technologies. My perspective is as a classical violinist who has performed solo in concertos with orchestra, chamber music, and as a listener who prefers the close up and bright sound of the 1st row of the hall. As a holistic MD who knows that we don’t know all the technical reasons for why certain treatments work, I have an open mind to what anyone claims in their personal listening experiences. I also respect the physicists like Geoff Kaitt who are seeking to understand the technical reasons for audio performance. That said, I am confused by many of the sonic observations made. Of course, YMMV, but here goes. There is not much mention of various types of electronics used in poster’s systems, but it seems that the majority is tube equipment. They like the fact that the E mat seems to make things sound rounder and more pleasant. Harsh sounding early CD’s seem to have less harshness and brightness. Kedoades said that he usually didn’t like his bright/edgy sounding Telefunken tubes, but after the E mat use, they sounded less bright. All this leads me to think that the E mat rolls off the high frequencies, or yields more emphasis on bass. On the other hand, these users claim that there is more detail and clarity heard, but is this mainly in the lower freq? What do the solid state accuracy and neutrality oriented users think? Usually, more accurate SS electronics reveals more HF than euphonic tube stuff, and exhibits less roundness and more harshness in lower quality recordings. I am curious enough to order these products and try for myself, but would just like some more clarity from the users. The new E mats may be a new ball game. Thanks to all. |
viber6 ... Thanks for the well-thought-out post. You’re correct in my case. Except for the CD player, all of my electronics were made by Audio Research Corp. The ARC gear in the system are known for neutrality and not for the lush tube sound of old. With the PPT products, I have not experienced any roll-off of the highs. In fact, the highs are extended in a natural way. I have noticed that some of the products will cause a degradation in the SQ temporarily. This is mainly noticed with PPT’s "Total Contact." The paste has to dry and that takes a few days. Once dried, the SQ comes back even better than before. When I first got the twenty "Stop-Its" installed throughout the house, I lost the mid-bass and a lot of the lower bass. I talked with Tim Mrock about it, and he said the ones I got were the very first ones and they weren’t cured (dried) yet. Well, that took about a week for things to clear up. Once dried, the "Stop-Its" improved the sound to a new level. Again, no roll-off of the highs. There is no softening of the sound. No roll-offs on the highs. And on the bass notes .. the system goes deeper, with more definition to the bass. Acoustic stand-up bass sounds as close to real as I’ve ever heard in an audio system. One of my grandsons is a concert level bassoonist. I’ve heard him play live many times. When I play his private recordings, the tonality is right on. On harsh CD’s ... well, the old adage that you can’t make a silk purse out of a sow’s ear still stands here. Strident strings still sound strident. Aged voices still sound aged. Bad recordings still sound like bad recordings. As a trained violinist, you will appreciate these products perhaps more than most. Nothing like a trained ear to recognize accuracy, that’s for sure. If you lived nearby, I’d love to play some Milstein or Heifetz for you. Oh, and I have some Ricci recordings you’d love too. Take care ... Frank |
