LampizatOr's Pacific DAC responds extremely well to power accessories, decouplers and USB reclockers so was an instant pick for triangulations while the comparator cord would be LessLoss' 20 x more affordable Entropic-processed C-MARC reviewed here. Early on both connected to the Power Gate's regular Schuko outlets then went into my DAC. Although this generated enough data to pen a fair share, the LampizatOr seeing a wall outlet directly elevated both power cords and magnified their differences. By Danish standards using two wall connections (one component direct, one power distributor) wasn't ideal. To them even complex setups that rely on two or more power bars should cascade them to only use a single mains outlet. The most important cord after the wall/distributor connection is the one which powers the product to which all else connects. That's usually a preamp or integrated. By using the D-TC Supreme my way, I broke quite a few Nordic rules but all observations generated felt worthwhile to commit such unfathomable crimes. Although Ansuz' own distributor box was a mere email away, I saw no need for this detour. Today's cable did brilliantly on my DAC alone. Shortly after introductory courtesies all fond memories I had of Siltech's Triple Crown resurfaced but let's start with basics.
The key disparities between Ansuz D-TC Supreme and Entropic-processed C-MARC narrowed down to momentum, resolution, textural differentiation and image outlines. My DAC fronted by the Dane felt immensely powerful, direct and immediate to give me more of everything: wider dynamic contrasts, lower bass, more visible particles, higher oxygenation, deeper depth layering, higher clarity and an overall sportier demeanor. The Lithuanian's calmer, rounder, bloomier and darker disposition resulted in a more laid back, less intense and somewhat hooded voicing. More importantly, the obviousness of the sonic change after each swap implied bold leaps not tiny increments. That was a valuable takeaway. Ansuz charge so much for their top specimen because they're certain of blowing away seasoned enthusiasts. I'm not sure how many years I'd have to add under my belt to remain unfazed by this impressive product but I'm certainly not there yet; not even close. A proper crush developed just looking at this expensive date long before asking it for a dance.
The best cables in my roster don't impress with individual aspects tweaked one way or another but by altering how I perceive and feel about the music I listen to daily. If a well-known song strikes me as different and partially new after a mere cable swap, I view the hardware catalyst meaningful and potent. With the D-TC Supreme all tracks felt heavily reworked so noticeably better versions of themselves. Caetano Veloso's minimalist "Come As You Are" by Nirvana executed in atmospheric, vibrant and artful fashion by both contestants but trimming bass bloat made the Ansuz more composed. Interestingly this excess bass had previously remained below my radar so its reduction was new, instantly noticeable and highly appreciated. The Danish star shone brightest on three-dimensional images. It set these hyper distinct into a deeper more layered environment than the C-MARC for a more tangible and quite frankly spectacular here 'n' now effect. Personal tastes and voicing bias aside, a cable's ability to morph studio-like recordings into immersive lifelike acts felt like its own insanity.
To put this into context, my sound|kaos Vox 3afw monitors positioned close to the wall project images quite similar to other stand-mounts. Yet when distanced some two arm's lengths from me and crossed in, they become exceptionally convincing headphone-reminiscent staging monsters. The former setting was the C-MARC's approach, the latter reflects what the D-TC Supreme did. Here it's tempting to detail how this cable handled decays and produced more orderly, tighter and stronger pulses but its remarkable spatial input alone had a drastic impact on how Veloso's track felt. Whether we like it or not, a power cord capable of such profoundly superior imaging should be costly and our D-TC Supreme makers know it. Vessel's funky and twisted "Red Sex" opens with various noisemakers, drums and synthetic bass all set on a large soundstage. The D-TC Supreme dug noticeably deeper than the C-MARC and landed more powerful tighter low beats for more visceral speed and impact. This exercise alone was enough to track how both cables executed their bass. My reference cord again struck me as rounder, softer and bloomier to become less pronounced by contrast though normally it's anything but. It took a superior sparring partner to reveal how much more impactful, agile and tectonic bass can still be. The Ansuz also showcased drum tension and size more easily so was the more investigative. The Lithuanian too is inherently insightful but didn't stretch these differences and contrasts as wide to be less revealing.
