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Reviewer: Paul Candy
Source: Cairn Fog v2.0 24/192 CD player, Audio Zone DAC [in for review], Stello CDT 200 CD transport [in for review], Pro-Ject 2 Xperience turntable w/ Nagaoka MP-30 cartridge [in for review], Pro-Ject 1 Xpression turntable w/AT95E cartridge
Preamp/Integrated: Manley Labs Stingray, Audio Zone AMP-1, Stello DP 200 DAC/preamp [in for review], Pro-Ject Tube Box phono stage, Graham Slee Era Gold Mk V and Gram Amp-2 SE phono stages [in for review]
Amp: Stello M 200 mono amps [in for review]
Speakers: Meadowlark Kestrel 2
Cables: DH Labs Revelation interconnects, Q-10 speaker cables and Power Plus AC cables, Audience Maestro interconnects, speaker cables and powerChord AC cables, GutWire Power Clef 2, Power Clef SE AC cables
Stands: Premier three-tier, filled with sand
Powerline conditioning: Blue Circle BC86 MkII Power Line Pillow
Sundry accessories: Pro-Ject Speed Box, Pro-Ject Speed Box SE [in for review], Gingko Audio Cloud 11 platform, Grand Prix Audio APEX footers, Walker Audio SST contact enhancer, Audience Auric Illuminator MkII, GutWire Notepads and SoundPads, Duende Criatura Tube Rings, AudioPrism Isobearings, dedicated AC line with Isoclean ICP-002 outlet, homebrew acoustic treatments
Room size: 13' x 17' x 8'
Review Component Retail: $1999

Until recently, I have experienced a love-hate relationship with power line conditioners (henceforth PLCs). While many have succeeded in audibly reducing hash and grain, most have either restrained dynamics or caused tonal aberrations that resulted in me doing without 'em. I suspect most of the adverse effects noted were predominately by-products of the resonant nature of most line filters. Series inductors and paralleled capacitors store energy and can interact unpredictably with the power supplies of connected equipment. Perhaps most of my disappointing sonic PLC characteristics were a result of this phenomenon. What I am suggesting might be heresy to some but I think most PLCs are -- for the most part -- nothing more than tone controls and highly variable and expensive ones at that.


Sure, I can appreciate the benefits of protecting gear from line surges and nasty AC noise components but not at the expense of dynamics and unnatural tonal side effects. One could easily say the same for some power cables too, especially those designed to act as low-pass filters. Therefore, I have for the most part stepped carefully around PLCs as a genre. Having said that, I was mightily impressed with Isoclean's pricey AC components. If there was any unnatural hanky-panky occurring, I'll be damned if I noticed it. The resulting effect on music playback was intoxicating to say the least. After I reluctantly returned the Isoclean, I wondered if I could reap similar benefits from a considerably less expensive product. Shortly thereafter, the man from Big Brown dropped off today's subject, the Audio Magic Stealth XXX.

Housed in a rather plain metal box and weighing no more than a few pounds, the Stealth contains 4 duplex outlets dedicated for low level and digital gear and 1 duplex solely for amplifiers. Both groups of outlets are completely isolated from each other. Also on the rear are an IEC power inlet and a reset button for the 20-amp circuit breaker. A blue LED and an engraved Audio Magic logo dominate the front. The Stealth comes standard with Audio Magic's Xstream power cable. My sample came with the considerably more expensive Illusion 4D cable. Audio Magic's Jerry Ramsey is rather tight-lipped about what is in his black boxes and would only list a few basic ingredients. The innards are cryo treated via a proprietary process Jerry calls "molecular stabilization treatment". All internal wiring is 10-gauge high purity silver and the casing is dampened to absorb mechanical resonances. Inside are six types of applied power line purification including something called a super filter as well as surge and spike protection plus the aforementioned 20-amp breaker.


As of January 1, Audio Magic has released updated versions of the Stealth, the Eclipse and introduced a completely new product called the Transcendence. All three include a patent-pending filter-matching circuit. This fascinating feature allows the end user to custom match filtering to each connected component via a series of front-mounted switches; 3 banks of 2 switches for each section (amp, low-level, digital). For example, the new Stealth XXX will offer 6 more filter arrays to allow the owner to optimize the filtering. What a great idea! As I alluded to earlier, PLCs can have unpredictable effects with certain components. This feature would be invaluable to obtain optimum performance. I had a recent phone conversation with Jerry and it was obvious that he is very proud and excited over this technology. I got the distinct impression Jerry is a relentless tinkerer who refuses to simply rest on his laurels. Therefore, he is compelled to experiment and improve his products when the opportunity presents itself. This is no doubt why he offers upgrades to all his PLCs. The manufacturer/customer relationship does not end with the sale of a box. As audiophiles are continuously looking for the next upgrade, so too is Jerry who offers an affordable alternative to companies that discontinue and introduce new products every few months, with little or no provision to upgrade existing models. Bravo.

My review sample arrived fully broken in. New units are said to require at least 500 hours before they can work their magic. Nevertheless, I immediately noticed significant improvements with my preconditioned loaner. Still, I left a CD on continuous repeat for a couple days before I sat down for a serious listen. The most striking characteristics I noted during the review period were the remarkable enhancement of space and air along with noise reduction. The soundstage opened up in all dimensions and I could easily peel back the layers in densely packed recordings such as Bernstein's thrilling account of Mahler's 3rd Symphony [DG 427 378-2]. I noted all sorts of previously obscured musical details; a trumpet here, a flute there or a subtle line of music danced into view.


The Stealth was also highly revealing of spatial relationships. I don't mean individual instruments and voices were spread out on an unnaturally jet-black, sonically dead canvas. Yes, there was less low-level muck but there was also a vibrant presence or something between the performers. This linked them together in a cohesive whole rather than sounding as if everyone were in isolation booths. Imaging was more precise, focused and dimensional. Instruments had a more natural and realistic timbre, too. For me, this all prevented Mahler's 3rd from turning into a lifeless HiFi caricature. This was vitally important musical information that made listening to recordings a far more rewarding experience. Noise and line hash disappeared to a degree similar to when I had the Isoclean system in the house. Moreover, I could not find any overt indication of tonal shift or highlighting in the frequency spectrum.


Bass had greater slam yet was tauter and more articulated. The mids opened up with greater delineation of low-level detail and texture. The treble was clean with greater sparkle and air but was completely devoid of glare or grain. Many PLCs seem to roll off the highs and dampen the music too much - as though a wet blanket was thrown over the speakers. The Stealth does no such thing. Music flows without impediment. In fact, transient speed, dynamics and timing seemed enhanced. I noted greater tonal color and a more extended harmonic envelop in which the decays of instruments trailed off longer than previously encountered.


Try as I might, I was unable to find a fault or shortcoming no matter how small or insignificant. Music just sounded more right with the Stealth. It had greater presence and palpability. Even on a pair of Stello 200-watt monoblocks, there was no loss of dynamics or PRAT. In fact, the reverse was true. Yet, I do not believe the Stealth "added" dynamics, slam or anything for that matter. Perhaps the Stealth lowered the noise floor to such a degree that previously obscured dynamic nuances were now more readily noticeable?


Pulling out the Stealth and plugging my components into the wall was an unnerving experience. While my system was hardly unlistenable, I did miss the rich tonal colors, enhanced dynamics, reduction of noise, and the deep, wide airy soundstage.
Under the remote influence of our editor, I have been exploring the world of Flamenco with its whip-like transients and quickly shifting dynamic swings. I expected the Stealth to slightly curtail the bite of Paco de Lucia's guitar on Cositas Buenas [Universal 024966066] as well as undermine the snap and pop of palmas and various percussive instruments but it just didn't happen. I certainly noted a reduction in glare and hash that previously gave this music a slightly hard edge at times and with certain equipment combinations. Alas, the Stealth did not round off edges or soften dynamics. What it did do was reduce line noise to such a degree that I could almost reach out and touch individual performers. The guitar with its rich harmonics was much more real and alive. Instead of sound spread across a canvas, I got living, breathing, three-dimensional beings playing their hearts out.
A favorite piano disc is Debussy's Preludes performed by Francine Kay [Audio Ideas AI-CD-006/7], recorded in a wonderfully reverberant church in Elora/Ontario. This interpretation intrigues me because of Kay's measured, more lingering approach which is completely different from Walter Gieseking's speedy classic recording [EMI 7243-5-67233-2]. With the Stealth, the decays of each note trailed off longer and inside a remarkably more dimensional space. I could hear the notes bouncing back and forth off the walls. I got deeper into this recording than I have in the past via other PLCs.
The supplied Illusion 4D power cable was an interesting beast, too. It excelled at speed, dynamics and vividness. I swapped it out with stock and various after-market power cables. The system sounded best with the Illusion feeding the Stealth from the wall outlet, even when stock cords then fed my components from the conditioner. In fact, the sonic signature or effect of each power cable was far more readily apparent in this position. It was clear to me that if I only had one fancy power cable to use with the Stealth, the wall duplex would be the ideal place to plug it into.


How does the Stealth compare with the Isoclean I reviewed recently? It is impossible for me to say as I did not have both on hand simultaneously. They are equally valid yet different. Take your pick. If you fancy mondo image density, weight and lush tonal colors, the Isoclean might be for you. However, I suspect this is an effect of using a transformer-based approach. One could argue that this may be an entirely unnatural artifact but I admit it sure sounded good to me. Nevertheless, I did not sense any of these traits with the Stealth, which was remarkably lucid and free of any sins of commission. If transparency, space, resolution of low-level information and visceral transient response are your poison, the Stealth could be the ticket. For me and in my system (and certainly my wallet), the Stealth better suits my listening bias.

I cannot tell you this is the finest power line conditioner available nor that it will suit every system. Nevertheless, if you are looking to maximize your current setup as well as protecting it from potentially lethal power surges, the Audio Magic Stealth XXX is definitely one to put on your audition list. The nondescript box from Colorado impressed me greatly and not for silly money either. Factoring in the built-in upgradeability, the $1999 price tag seems quite reasonable. The Stealth was not unlike the B2 Spirit bomber. It quietly went about its business without broadcasting its presence but packed a serious wallop.
If the Stealth has a sonic signature, I couldn't detect it. It simply allowed me to get closer to the music, be it Bartok [Hanssler CD 93.070] or Beck [DGC/Bong Load 25309], which is exactly what one should demand from a power conditioner if not every component. All I know is I want one and it's considerably cheaper and more relevant than a B2. I'm saving my pennies now. I just need to convince Jerry to let me try his filter-matching Stealth in the meantime.
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