Associated Equipment:
Analog
Front End
Digital Front End
Amplification
Loudspeakers
Cabling
Power Conditioning
Accessories
Virtual Dynamics “Nite” Series Cables

Some Stiff Competition

Dave Thomas

December 2003

Specifications

All Nite II Series Components Feature:
Electrolytic Tough Pitch Copper
Level Two UltraFine Dynamic Filtering
Speed of Light Technology
Seven dielectric layers with True Float Ground technology
Power Cable
Hubbell (M) and Marinco (F) Connectors
Cold Crimped Terminations
Starting Price:
$1100.00 [5 ft.]

Interconnect
Cardas RCA or Neutric XLR Connectors
Hot Fusion Terminations
Starting Price:
$1000.00[RCA] [1 m Pair]
$1400.00 [XLR] [1 m Pair]
Speaker Cable
Cardas Speaker Ends
Starting Price:
$1800.00 [BI-Wire] [6 ft Pair]
Address:
Virtual Dynamics
Box 4494
5104-49A St.
Barrhead, AB
Canada T7N 1A4
Telephone: 1-877-347-4489 (toll free)
Fax: 1-780-674-5638 (fax)
Email: info@virtualdynamics.ca
Website: http://virtualdynamics.ca/



So It Shall Be Written, So It Shall Be Done


You’ve got to give Virtual Dynamics’ President Rick Schultz several “cool-points” just for having the gumption and sense of humor to use the following biblical reference on his website to introduce his “Nite II” series of speaker cables, power cords, and interconnects: “God saw the light was good. So God separated the light from the darkness. God named the light day, and the darkness he named night. There was evening, then morning –the first day.” Genesis1: 4-5 Music sounds better at night? No. Music sounds better WITH Nite!

Rick is in fact a deeply spiritual man who freely credits God for his company’s success and direction. His personal ideologies and passion for pure, unadulterated electrical signal transfer are on full display in his new Nite II series cables.

Virtual Dynamics is a three-year-old Alberta, Canada based manufacturer of high-end audio cables. Schultz founded the company after owning his own audio shop and deciding that his true calling was to implement some of the cable design philosophies that had populated his mind for some time. Schultz has always felt that anytime you can remove unwanted vibration from the path of an electrical signal you can achieve significantly better sound. This is what has led to such innovations as using “cryogenics”, which he claims removes stress from particles within cables and allow the electrons to flow more freely. As described in a technology discussion on Virtual Dynamics’ website, “ … computer controlled deep cryogenic chambers freeze the cables so that the molecules of the conductors are restructured. This means the capacitance is lowered and bandwidth is noticeably increased.” Virtual Dynamics also uses magnets in its cables to produce what Schultz calls the “Speed of Light” circuit. “ … powerful magnetic flux lines which are laid on the conductors promote the rapid flow of electricity. AC resistance is dramatically reduced which creates more power for the system and in relation, increases throughput to the component.” Another equally effective technological advancement that they use is “Dynamic Filtering.” Schultz considers it, along with the Speed of Light circuit, among their most important innovations. “Dynamic Filtering utilizes specially designed spheres or particles as a mechanically-based circuit to displace vibration from the conductor via dampening,” said Schultz. This allows “Coulomb Friction” (the major cause of distortion) and any other forms of vibration-based energies that otherwise would dissipate as heat and static energies to be removed. This method allows us to functionally remove “distortion.”

Virtual Dynamics cables feature a build quality that borders on fanatical, yet there is more thoughtful ingenuity going into these products than the average audio consumer might realize. To eliminate the effects of oxidation and improve conductivity, Virtual Dynamics uses a chemical conductor treatment called Protex. It is an example of the company’s attention to detail that they would pay particular attention to the cleanliness of the component contacts, something that is typically taken for granted by most audiophiles. Protex has a chemical agent that leaves a fine carbon film that does not lessen conductivity and stays on the connector eliminating the need for further treatments. Also, Protex is guaranteed to work for life.

One final process that Virtual Dynamics puts its cables through is called “Cable Cooking”. As also described on the website, Cable Cooking (which is not to be confused with cable break-in) is “ … a process which adds linearity to small impedance frequency signals which allows the cable to enhance detail and timbre. Using the cables on an electronic motor driven with a compressor, Cable Cooking further conditions and relaxes the cable. While it does improve cable break-in you will still need to have the cables in your system for the usual 200-300 hours before they truly settle in and perform optimally. All Nite II cables are covered by a silver seven-layer polyethylene dielectric with “True Float Ground technology.”


Nite Of The Power Cords


On the first nite (cute huh?) of listening, I installed the power cords on my Electrocompaniet Nemo monoblocks, EC 4.7 preamp, and EMC-1 CD player. I decided to work-in each component gradually so that I could get what many of my audiophile buddies refer to as the “proper attitude” towards the effect that each cable has on the sound of my system. I had been using the wonderful Dynamic Design Platinum power cords but didn’t want to do a direct comparison between the two because that’s not the point of this evaluation. I would not suggest that anyone buy or not buy either of these fine products based on how they compare to each other but rather on how they improve the sound of a component or system versus stock power cords.

I had each amp plugged directly into the wall without the use of any line conditioning. The preamp and CD player were plugged into a Talon Audio modified American Power Company line conditioner. The impact of the Nite II was immediate and most stunning in their effect on the Nemos. The backdrop of the soundstage on my recordings became pitch black and deep. I began by listening to the SACD/CD hybrid of Isaac Hayes’ “Hot Buttered Soul” [Mobile Fidelity CMFSA2005]. The lengthy soul classic Walk On By had a huge presence in my listening room. Instruments were very finely etched and placed in easily defined spaces within the soundstage. Hayes’ voice came through as both melodic and powerful. Also, I was reminded of what a marvelous musician and conductor he was. He grooves through an extended solo and shows off his gospel organ-playing roots. The cleaner power transfer allowed more of this quality to come through with the Nite II power cords.

Nite Of The Interconnects


After a few days of getting used to the sound of my system with the power cords in place, I proceeded to install the Nite II interconnects into the system. I ran my system completely balanced from CD player to preamp to power amps. Again, I was replacing Dynamic Design cables, but this time I will discuss the differences. When I first installed the Nite cables I was doing some listening with my buddy Craig “Craiggy-G” Fitzpatrick. We were both surprised at what we thought was a slight improvement in the sound when using the Nite II cables. Using one of my favorite live recordings, Kurt Elling’s “Live In Chicago” [Blue Note], track 5, Night Dream sounded larger in scale and depth than it did through the Dynamic Design cables. We thought the same thing when we changed discs and put on Nardis from Patricia Barber’s “Café Blue” [Blue Note]. But a couple of nights later, just for grins, we put the Platinum back into the system. Suddenly, we were struck by what we thought was yet another improvement in the sound. Playing the same tunes the Dynamic Design cable sounded as though it had better image focus and slightly more detail and sharpness. The stage of the Nite II still sounded larger but overall imaging was better with the Dynamic Design.

This brings me to the issue of break-in. Regardless of what someone may tell you about cable break-in, I have yet to experience a cable that didn’t sound vastly better until after it had been in my system for at least a couple of months of daily playing. The Platinum cables had been in the system for about two months before the Nite IIs arrived, and I had only listened to them for a few days before listening and comparing them with the Platinum. So a fair comparison with the Platinum cables could not be done. Unfortunately, by the time the Nite II cables did break-in I had already sent the Platinums back to Dynamic Design. But what I can say about the Nite IIs is that after they break-in, they allow electricity to flow through your system as well as any cables I’ve ever heard. My system has never performed quieter. Image focus improved tremendously by the third month of use and I would say that it was at least the equal of the Dynamic Design.

One of the downsides of a system that becomes as highly resolved as the Nite IIs made my system, is that it starts to point the “finger of bad sound” squarely at the quality of your recordings. These are truly garbage-in/garbage-out, beauty-in/beauty-out cables. I had to run out and repurchase some of my old R&B favorites such as Parliament’s “Chocolate City” [Mercury/Casablanca] which, contrary to the real P-Funk mob, sounded laid back in its initial release. With the clear pathways provided by the Nite II cables, all of the great music of this All-Star band was realized. From the “naughty nonsense” preached by George “Starchild” Clinton, to the thumping bass of William “Bootsy” Collins and the keyboard wizardry of child prodigy-turned-Dr. Funkenstein, Bernie Worrell. The effect of the Nite II cables gave my old favorites a new place in listening rotation.

Nite Of The Speaker Cables


Finally, I installed the Nite II speaker cables. To be honest, after hearing the effects of the power cords and interconnects, I felt that the job of the speaker cables was simply to maintain this pure transference of the audio signal. This is exactly what they did. Just to be sure, I replaced the speaker cables with a pair of my old reference Vampire Wire ST-III speaker cables and played the same tracks mentioned above to see what would happen. As I expected, there was a definite reduction in scale of the soundstage and the sense of air and immediacy on my live recordings was lacking. I hurriedly put the Nite II cables back in place and the sonic order was re-established.

So now that I have a system that is completely wired with Virtual Dynamics’ Nite II series cables, what do I have? I have a system that is ultra-quiet, with a spacious soundstage, and cleanly delineated instruments and vocals. I also have a system that is without any distinct coloration or particular sonic signature. It simply conveys the musical signal as cleanly and realistically as possible and forces the listener to be conscious of the quality of recordings that are fed to the source components.

Good Nite


The Virtual Dynamics Nite II series of products are true reference-grade in every sense, especially price. Like the Dynamic Design cables and other high quality audio cables there is a definite price to pay for this level of quality. If price is a concern you may also want to consider Virtual Dynamic’s new “David” series of cables. They possess much of the same quality of the Nite IIs but at a lower price. One other thing that the Virtual Dynamics cables have in common with the Dynamic Design cables is their sometimes maddening and uncompromising stiffness. This is by design. The cables use conductors that are 10-gauge solid core copper. It is suggested that the cables be bent as little as possible so that the resistance remains the same throughout the cable. Their stiffness makes them a bear to deal with during setup but you are rewarded with sound that gets you ever so close to what I believe is the absolute truth in music reproduction. Highly recommended.

 

 

 


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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