My first encounter with Shunyata Research products was about six years ago, in Issue 239, when I reviewed the company’s basic “starter system”—Venom PS8 power distributor, Venom Defender power conditioner, and Venom HC power cords. It was a great system for under $1300 (depending on the number of power cords enlisted). As I concluded then, “In as little time as it takes to plug in a couple power cords, I’ve gone from skeptic to believer. The Shunyata Venom system refined the voicing in my system to an extent I never would have predicted at the outset…for the dedicated among us (without a dedicated AC line) the Venom system represents a cost-effective, plug-and-play, real-world solution.”
Shunyata has just released a new generation of the Venom Series power cords along with its all-new more affordable reference—the Hydra Delta D6 power distributor from its Performance Series. I’m slated to be reviewing these in a forthcoming issue. For Shunyata this is the first time it has incorporated its best technologies into a package that promises to offer great value in its category. The Hydra Delta D6 is rated at a full 20 amps of continuous current for unfettered power delivery to complex systems, including those with high-powered amplifiers. Rather than using fuses or inferior thermal breakers the D6 sports advanced electromagnetic breakers in addition to massive buss-bars and 8-gauge proprietary ArNi conductors. This robust construction is said to provide exceptional dynamic contrast and bass impact. The Hydra Delta D6 includes Hubbell outlets that use a triple-wipe contact system with broad contact areas to grip a plug from three different sides for improved electrical integrity. The Hydra Delta D6 includes Shunyata Research’s Cable Cradle solution to alleviate the problem of heavy high-end power cables pulling away from an outlet. All chassis panels and internal structures are treated with vibration-dampening materials and many of its electrical components are treated in Shunyata Research’s own advanced computer-controlled cryogenics lab. The outlets are isolated from the chassis with vibration-dampening gaskets that reduce vibration conducted through the AC cables. All internal modules, filters, and electronics are encapsulated in a vibration-absorbent compound. Finally, Hydra Delta D6 retails for $1995 and comes standard with Shunyata Research’s vibration-dampening footers that may be optionally upgraded to SSF-38 stainless steel footers.
Turning to power cords, Shunyata’s new Venom series includes Venom NR-V12 ($350) with 12-gauge conductors designed for all components; NR-V10 ($450) with its larger 10-gauge conductors that are ideally suited for amps, preamps, DACs, and phonostages; and the Venom 14 Digital for powering digital products including DACs, clocks, and servers.
As with its original products, the Venom NR Series power cords are still affordably priced and contain many of Shunyata Research’s most advanced technologies and custom-manufactured parts. The Venom NR Series represents Shunyata’s lowest priced power cables to feature built-in filters that deliver measurably lower power-line noise. These new power cords also contain electrostatic shields to reduce radiated noise. The Venom V14 Digital is a spin-off from Shunyata’s medical division, Clear Image Scientific, which designs AC power systems for medical imaging equipment where reducing noise helps doctors to resolve the body’s tiny electrical signals. The Venom V14 Digital, which retails for $200, eliminates parasitic noise generated by components such as music servers, computer devices, and network peripherals. The result is a significant increase in the resolution of audio and video signals. Watch for my full review in an upcoming issue.
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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