He claims zero dynamic losses as long as their iron is appropriately dimensioned to the task. He even claims dynamic gains. "Our impedance transformation ratio is very high to present your components with a very low-impedance power source. This creates conditions for improved dynamic range over gear which only 'sees' the utility company's step-down transformer often many kilometres down the spur to create far higher impedance." In principle this is similar to how valve amps use transformers to convert high tube impedance to low output impedance for superior energy transfer to the speakers.

Plixir's isolation transformer goes the extra mile by being wired for balanced power. Rather than a straight 230V to ground for Europe, it creates +115V and -115 of alternating current on either side, with the desired 230V appearing in the virtual middle. This has two benefits. Like balanced signal transmission's inverse phasing, it improves common-mode rejection because at ground, the equal and opposite reactive currents collide and sum to zero which means no hum. More important even, balanced power diminishes ground loop currents which plague all conventional unbalanced power systems. That correct implementation relies on costlier iron as sourced from specialty vendors is par for the course. So are potential gains of unlimited dynamics and optimal filtering without distortion. As always, the question in the hot seat was, how would theory transform into practice?

Installed ahead of Linn's streaming integrated, already first sampling hit upon results that were similar to the Tsakiridis Super Athena: more plasticity, obviously better spatial layering, more fluidic treble and more natural mids with better colour saturation. Getting critical, I made out no macrodynamic losses even when bassy techno and high SPL collided. In the low freqs, Plixir's Elite BAC 400's better definition had me hear a bit deeper into the recordings where cleaner playback did not equate to leaner sound for a change.

The biggest change and most definitive improvement however occurred in the upper mids and treble. I've routinely criticized a certain edginess or squareness which my small combo of Majik DSM and hORNS Mummy speakers suffers particularly on lesser productions which can prompt a reach for the remote to dial down the volume. With the Plixir, voices were slightly softer, percussive bronze and distorted e-guitar less nervy and small details previously obscured denser in appearance. This particular performance aspect reminded me of Furutech's FP-S022N power cord with FI-E 50 NCF and FI 50 NCF plugs.