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(Jolida) Black Ice Audio Foz SS-X Sound Enhancement

I could find only a few reviews of this device and a few forum entries here. They were all favorable. I sorely needed the bass enhancement circuit for my Maggie 3.7s. I have a Marchand X.26 crossover handling them and the sub but the integration was not ideal. The pre and amps are Cary Audio Class A mono blocs. The source is transparent and very revealing. I did not want anything to upset the glorious sound of the tubes. I also needed something to offset my small-ish listening room. The Maggies ’stand watch’ but I can’t get the distance I need for them to bloom. The SS-X seemed to fit the bill - tube driven, clean specs and a solid designer pedigree. I respect Jim Fosgate.

I ordered the SS-X on the strength of his engineering expertise, particularly in tubes, viz-a-viz Jolida. Not having heard the device it could be considered a leap of faith or a plunge into disappointment. I held my breath.

Straight to the chase: Maggies now have a sweet bottom end, the sub has been dialed back and has disappeared and the top to bottom synergy is spot on and very satisfying.

But wait, there’s more...

The spatial imaging adjustment: Well, I listened to several of my favorite studio recordings. Clean, thankfully. I then put on a nightclub recording of the late Ben Webster live in Amsterdam. I nearly fell out of my chair. The speakers disappeared and I was looking around for the cocktail waitress. The drum kit, the piano, the double bass were all present in the venue with all of its ambiance and Mr. Webster was doing what he did so incredibly well: swinging the audience ala Ellington with that big smooth sax. You could hear everyone present as if you were sitting there.

I’m still waiting for the cocktail server. Incredible device and worth every penny and the anticipation.





128x128keesue
keesue's avatar
keesue OP
42 posts
 
The comment about bass was right on the mark. I noticed the same thing, subtle but there, and just recently began backing off the bass to about 10:00 for some recordings (most now that I think about it).

Appreciate the tip on the tube swap. I was thinking about that too before I found the 10:00 sweet spot. I have had good success over the years finding the right tube(s) and have found they make a good bit of difference from subtle to huge in coherency.

Fortunately the Foz doesn’t suffer from that in any meaningful way at all but the point about a different tube may be just the ticket to ‘kick it up a notch’ to pilfer Emril’s line.
keesue's avatar
keesue OP
42 posts
 
I would like to amend my last post. I should have been specific. I was referring to an alternate set of speakers I use from time to time that exhibit the slight ’thickening’ I mentioned. These speakers are no slouch but they are not my main speakers: Maggie 3.7s. I listen to these alternates solely for modern studio-recorded music with a lot of slam; i.e., electric bass and hard driving drums. Kinda hard to escape that need at times being from the inner city. :-)

I do not however, experience any thickening with the Maggies, which I listen to for jazz, live and acoustically-recorded music, which is my main stay. The Jolida is awesome with the Maggies. They are clear, transparent, crisp and articulate with that incredible texture, without the Jolida interfering with these qualities. I hear fingers on frets, keyboards, the tips of drum sticks on cymbals, the breath of saxophones and trumpets and the nuances of a singer’s vocal cords. The Jolida transports me to the performance venue, breathes space into live performances and makes studio music less studio-sounding which was an unexpected dividend. I would have tossed it rather than compromise the Maggie’s exquisite qualities.

In summary, the system is incredibly engaging with the Jolida in line. A different tube may help with the other speakers but I actually don’t care as it is a slight thickening and I don’t critically listen to them anyway, I just like their slam factor. Nothing does it like a cone but I don’t prefer them for anything else.

I thought it worth mentioning if others experienced this thickening issue, but I did want to make this distinction clear.

Sorry for any confusion and hope this helps...
bogbeat
46 posts
 
Hi everyone, I just joined the SS-X family. Picked up a used one to try out. Like zm, I am still in the play with the knobs mode!  I stream Tidal from MBPro via USB into Peachtree Nova 300 out to Canton Vento 830.2.  Room is  8ft x 10ft, speakers about 7 ft behind me. Mostly lower volume listening. 

In looking at this discussion some of you all have rolled in different tubes e.g:

Psvane 12AU7-S

Telfunken

Gold Lion ECC82

RCA

Bugera

I am a newbie to all this, and itching to roll.... so was wondering if I was to select 1 tube to start, what you all recommend as choice 1.  Any of these tubes 3d soundstage enhancing for example?

Much appreciated.

bogbeat
46 posts
 
FYI, folks were commenting on the bass and dimension control positions and resultant impact.  This from the manual FWIW:

  • BASS eq: Used to increase or decrease the bass or low frequency performance. In the 12:00 position, the EQ is in the null position or there is no effect. Turning the eq clockwise can increase the bass up to 9 db. Turning  the eq from the null position counter clockwise will reduce the bass up to 5 dB.  

  • Dimension control: This is the business end of the unit. In the 12:00 position, the Dimension effect is in the null position or there is no effect. Turning the Dimension control clockwise from the null position will increase the panorama effect or give a wider dispersion of the sound. Turning the Dimension control from the null position counter clockwise will reduce the panorama effect or focus the image. Set the dimension control to the position you prefer.


keesue's avatar
keesue OP
42 posts
 
^^^
Consistent with this, I have found that counter-clockwise appears to be better for studio recordings that are artificially wide.  It makes the sound stage more believable.  Just a touch can help in those instances - only when it suits you.  

I have found that clockwise is best for live recordings. I go full on with it.  I characterize the effect as "where is the cocktail waitress'.  It puts you right in the venue.  I was stunned when I first heard it. If I had the room for the Maggies to breathe, maybe I wouldn't need it but I gotta say, it is simply phenomenal.  It 'sucks' you in.  

It is a great tool and doesn't change the tonality or timber in any way.  If it did, it would have been long gone in short order.  For those who have the room and treatment, it may not be for them.  For me, after having lived with it, it is the sh*t.  :-)
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