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Audience forte V8 Power and forte f3 powerChord

Audience forte V8

Like me, you’re probably running short of outlets in your listening room. Where’d they all go? Looking back it was a lot simpler when source components were limited to a turntable or CD player. A couple of plugs, a preamp, an amp, and you were good to go. Digital media introduced a whole new level of demand for power outlets. From wireless modems, network routers, wall-wart plugin power supplies, computers, servers, DACs…arrgh! Sure, you can grab a scary-cheap plastic power strip at a big box store—it’s a free country. Or you can be a little more discriminating and opt for something that’s consistent with audiophile expectations, is unbreakable, and is not liable to break the bank.

The Audience forte V8 Power could be the ticket. It supplies eight precious AC outlets and offers first-rate construction quality, as have all the Audience products I’ve encountered over the years. Beneath its fetching ruby-red top plate is a chassis constructed of extruded aluminum and sporting a high-quality triple buss-bar system. The duplexes are top-notch hospital-grade, each separately wired to the buss bars in star-ground configuration. Audience uses high-purity, 14AWG, stranded-copper wire throughout. The entire electric circuit has been treated by cryogenics as well as a proprietary EHVP (extreme high voltage process).

The power cord connection is standard IEC, with Audience’s new entry-level forte F3 powerChord included. Flexible and ruggedly built, the f3 features 10AWG stranded copper and a conductor geometry that rejects noise. (If you’re leaning in the direction of upgrading your stock power cords, this is a great one to consider—competitive with my current econo-reference, the Shunyata Venom NR.)

The V8 includes standard Audience RF filtration, but for surge or overload protection you’ll need to consider Audience’s line of power conditioners. To that end Audience recommends plugging the V8 into an open outlet on any Audience power conditioner—like the aR6-T4 I’ve been using—for extra noise filtration, plus surge and overload protection. Connectors are cryogenically treated and enclosed with XLPE dielectric material in a PVC jacket.

My listening comparison included running a set of components directly from the stock wall outlets of my listening room and then running them again using the V8 Power from that same outlet. In this comparison it performed impeccably, with no discernible losses, changes, or degradations versus the wall outlets. If anything backgrounds seemed quieter and low-level transparency improved. I later ran the forte V8 Power out of the Audience T4 power conditioner and was a little surprised at how many of the T4 characteristics that I’ve always found alluring remained fully intact. Bass response firmed up and conveyed greater control,; there was a little more body and air to vocal images; soundstage dimensionality and ambience retrieval were enhanced, as well.

Specs & Pricing

Dimensions: 12.875″ x 4.125″ x 1.25″
Weight: 2.7 lbs.
Price: forte V8 Power, $895 (forte f3 powerChord included); forte f3 powerChord (prices begin at $199)

AUDIENCE
120 N. Pacific St., K-9
San Marcos, CA 92069
(800) 565-4390
audience-av.com

Tags: AC POWER AUDIENCE AV

Neil Gader

By Neil Gader

My love of music largely predates my enthusiasm for audio. I grew up Los Angeles in a house where music was constantly playing on the stereo (Altecs, if you’re interested). It ranged from my mom listening to hit Broadway musicals to my sister’s early Bob Dylan, Joan Baez, Beatles, and Stones LPs, and dad’s constant companions, Frank Sinatra and Tony Bennett. With the British Invasion, I immediately picked up a guitar and took piano lessons and have been playing ever since. Following graduation from UCLA I became a writing member of the Lehman Engel’s BMI Musical Theater Workshops in New York–working in advertising to pay the bills. I’ve co-written bunches of songs, some published, some recorded. In 1995 I co-produced an award-winning short fiction movie that did well on the international film-festival circuit. I was introduced to Harry Pearson in the early 70s by a mutual friend. At that time Harry was still working full-time for Long Island’s Newsday even as he was writing Issue 1 of TAS during his off hours. We struck up a decades-long friendship that ultimately turned into a writing gig that has proved both stimulating and rewarding. In terms of music reproduction, I find myself listening more than ever for the “little” things. Low-level resolving power, dynamic gradients, shadings, timbral color and contrasts. Listening to a lot of vocals and solo piano has always helped me recalibrate and nail down what I’m hearing. Tonal neutrality and presence are important to me but small deviations are not disqualifying. But I am quite sensitive to treble over-reach, and find dry, hyper-detailed systems intriguing but inauthentic compared with the concert-going experience. For me, true musicality conveys the cozy warmth of a room with a fireplace not the icy cold of an igloo. Currently I split my time between Santa Fe, New Mexico and Studio City, California with my wife Judi Dickerson, an acting, voice, and dialect coach, along with border collies Ivy and Alfie.

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