Pulse Gen ZX Premier By Audio Magic
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Product Summary:
The Audio Magic Pulse Gen ZX Premier radiates a field inside the enclosure of a component that neutralizes low-level noise being emitted by the electronic components into your sound.
Click To Read MoreTrial Period
21 Days
Countries Shipped
Worldwide
Burn-In Time
20 Hours
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Price:
Audio Magic, Tweak Devices
Pulse Gen ZX Premier By Audio Magic
$600
The Audio Magic Pulse Gen ZX Premier radiates a field inside the enclosure of a component that neutralizes low-level noise being emitted by the electronic components into your sound.
Click To Read MoreProduct Description
The Pulse Gen ZX is a proven upgrade used in the renowned Jaguar Reference System, and it is selected as standard equipment in certain components from ModWright Instruments.
The latest Premier model delivers twice the output of the original version, offering even greater performance potential.
The review below outlines what you can expect when integrating the Pulse Gen ZX into your system. Installation is flexible: the unit can be connected directly to a component’s 120V or 240V internal power supply, or you can begin by attaching the leads to a standard lamp cord. Starting with a lamp cord setup makes it easy to evaluate the benefits across different components before committing to an internal installation.
For best results, experiment with placement in power conditioners, DACs, amplifiers, and preamplifiers to determine where it provides the greatest improvement in your system.
Note: The Pulse Gen should not be mounted inside components that get too warm, to avoid melting the plastic enclosure.
Reviews
Read the Pulse Gen ZX review, originally published in the online audio magazine, Positive Feedback:
Ah… yes the Pulse Gen ZX from Audio Magic. This is a small plastic box (1.75″ x 2.75″ x 1″) that is to be soldered (or connected however floats your boat) to a component’s internal IEC connection. That means it goes inside whatever you want, in order to hear whatever it does. I soldered alligator clips to the wire’s ends (you have a good 18″ or so to play with) allowing the ability to remove them for the audition (also allows for easy removal — the ol‘ in and out routine to assess their affect). Besides the Cary 306 and EMM CDSE both feature slide on style connectors for the AC wiring for the IEC, so I was not about to solder something in that may not be a winner.
Placement is rather moot as the Pulse Gen ZX is small enough to be located wherever it is out of harms way. Meaning that using some Velcro or whatever will hold it snug and that being plastic means it is not conductive, so worry about shorting something out. The actual placement though seems to have no impact on what it does to the component’s sound …err music being played. Though of course the lid needs to be in place so it can do its magic. Break-in is a rather short 30 minutes — now that is refreshing.
Jerry will not disclose what is inside or what is really going on with the Pulse Gen ZX. Jerry tends to not want to share what he has learned from years of experimenting in how to get things dead quiet. Can’t blame him for that as that is how he pays his bills, but what he will say is that they are designed to eliminate noise generated by a component’s circuit and whatnot; how is the $64k question. No, they are not the same as the RGC-24, in that the Pulse Gen ZX is clearly an active item — it runs off the AC, though they might be out to do similar things (EMI/RFI eliminators). And no, it is not an AC filter. The need for AC connection is to provide the Pulse Gen ZX with juice to generate a field that is supposed to neutralize any RFI/EMI being generated inside the component. Of course the question is, do I still need to use something like the Shakti Stones, Quantum Physics’ Noise Disrupter, or even the RGC-24? Well… according to Jerry, the Pulse Gen ZX only works on what is going on on the inside, so the other three can address then what is going on on the outside. After all there is a boatload of RFI/EMI flying around in the free air …something has to clean that up too! Oh, and you still need to clean the AC!
What I do know is that when placed inside the EMM CDSE, things get really, really good. The EMM takes on a fuller, richer sound with no hint of an aggressive nature—something that the EMM tends to possess to an audible degree. If you read my review of the EMM, you will find that I had some reservations; simply put, the player lacked a richness in tonal color as well as a desirable (by me at least) ease or naturalness to the music — all found in the Cary 306. Yes, it is a stellar player — I own it and use 50% of the time (the other 50% is with the Cary 306)—but it tends to be more ever-so-slightly viscerally upfront than I prefer. Too many discs just don’t move me as heard from the Cary. On the other hand the Cary lacks the speed, dynamics, slam, and …well the visceral-ness of the EMM. Even so, Carol loves the EMM over the Cary, and with the Jena Lab One AC cord on the EMM, it is now much closer to what I want 100% of the time.
In comes the Pulse Gen ZX and WOW …Cary on steroids. Music is smoother (in the sense of being more naturally resolving as opposed to being slightly overly so), less edgy or aggressive, but with no sonic fallbacks. What I mean is that the player’s strengths are still there; it is still the EMM CDSE with all that that brings to the table (can you say tonal neutrality and linearity?). See, with the Pulse Gen ZX there is nothing being taken away sonically. Well, actually no, the Pulse Gen ZX does take away the crap that was holding the EMM back. With the Pulse Gen ZX, the EMM is as good as the Cary is in how the Cary is so very, very good. No, it does not sound just like the Cary; the EMM still retains its own inherent character, it is just that its strengths are magnified and any weaknesses or shortcomings are cleanly obliterated. Music now has a greater sense of natural quietness while still possessing a beguiling expressiveness — it swings and sings. For lack of a better word, this sense of calm and quiet within the music allows it to be way more open and expansive. The midrange is richer and fuller: there is now more color to them bones. This is simply way better. Stupid better actually. Wow.
Hey let’s try one in the Cary and see what happens., but the problem is that while it warms up the EMM by giving it more tonal color and naturalness, what worries me is that sonically that is not what the Cary needs. Those qualities are the player’s strengths. Move the Cary further in that direction and we are in trouble here. No, what it does is to simply make the Cary sound like a way better Cary 306. With the Pulse Gen ZX, there is less obstruction of the details and whatnot that was keeping us from hearing it all — that is you get more resolution; something that many criticize the Cary of not having enough of, especially when compared to the likes of the EMM CDSE. With the Gen ZX, the Cary portrays music with less of the player’s inherent tonal darkness that is heard by some as an overly rich tonality or in being too warm-ish. Yeah, the Cary is now better; you get way more of the Cary’s strengths and way less of what was in the way. It is faster, more visceral, and with more quietness-ness and calm between the notes — just like I hear in the EMM. You hear more of the Cary and less of the crap.
In listening to these two components with the Pulse Gen ZX, it is really difficult to put into words what is really going on. I have communicated as clearly and as succinctly as I can what I, and others, have heard from the EMM and Cary players with a Pulse Gen ZX. The problem is that the Pulse Gen ZX is not additive, meaning it is not adding anything into or onto the sonic tapestry. It does not change how your stuff sounds by adding to, or modifying anything in, the signal. The Pulse Gen ZX requires a new vocabulary in how it is ultimately subtractive — in what it takes away from the sonic tapestry. There is a greater sense of emptiness and space between the notes and frequencies, there is simply way less of the crap and stuff that hinders a component from sounding as it really should sound. You get to hear the music, all of the music. Well, all that the component is capable of reproducing. I don’t see the Pulse Gen ZX being a fix-all for something that simply does not sound that good to being with. It simply ain’t going to fix any character flaws by cleaning up the EMI/RFI that is mucking up the play. On the other hand, it will reveal the ultimate beauty being hidden in truly stellar products. If you think your gear sounds good now, well …you got to hear it with a Pulse Gen ZX. I am going to try these in the Claytons and the Cary SLP-05 as soon as I can get my hands on three more, but till then the Pulse Gen ZX is highly recommended.
–By Dave Clark, positive-feedback.com
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Product Description
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The T+A HA 200 is a flagship headphone amplifier and DAC designed by T+A for listeners seeking uncompromising performance from their headphone system. Combining advanced analog amplification with sophisticated digital conversion, the HA 200 is engineered to explore the full potential of high-end headphone listening.
At the heart of the design is technology derived from T+A’s T+A HV Series, featuring powerful Class-A output stages capable of driving even demanding headphones with ease. The amplifier provides adjustable output impedance across its headphone outputs, allowing users to better match the amplifier to different headphone designs and personal sonic preferences. A selectable crossfeed function can also be activated to create a more natural soundstage positioned in front of the listener rather than inside the head.
Separate power supplies for the analog and digital sections—each supported by dedicated toroidal transformers—provide ample power reserves for stable and consistent performance.
Advanced DAC Architecture
The digital section of the HA 200 incorporates proprietary conversion technology developed by T+A. It features the company’s T+A True 1‑Bit DAC, capable of handling extremely high-resolution DSD 1024 bitstream playback, along with a quadruple 32-bit / 768 kHz PCM converter architecture for PCM signals.
Like other current T+A digital components, the HA 200 uses a completely separate decoding architecture for DSD and PCM, ensuring each format is processed using an optimized signal path for maximum accuracy and fidelity.
Amplifier Section
The analog amplifier stage is a critical part of the HA 200’s design. Inspired by principles used in the HV Series, it employs a pure Class-A analog circuit with carefully selected MOSFET transistors. The signal path avoids operational amplifiers and integrated amplifier chips, focusing instead on discrete components for precision and transparency.
Volume control and loudness adjustment are handled through gas-tight encapsulated gold-contact relays, which help maintain signal purity and reliability over time. These relays are integrated directly into the circuit design to keep signal paths extremely short and minimize potential distortion.
Because headphones can vary widely in impedance—from around 10 to over 1000 ohms—the output stage is engineered to handle both high-current demands from low-impedance models and stable voltage requirements for high-impedance designs.
Monitoring & Control
Operating the HA 200 is designed to be straightforward despite its extensive functionality. A combination of front-panel controls and a menu system allows users to configure settings easily.
Two precision QPPM (Quasi Peak Programme Meter) VU meters provide accurate visual feedback similar to professional studio equipment. These meters can display parameters such as input level, output level, temperature, and signal quality. The high-resolution display also shows key operating settings including volume, selected input, output impedance, oversampling filter type, data rate, and crossfeed status.
Display brightness, LED intensity, and even the meter color can be adjusted to suit personal preferences. All functions can also be controlled via the included T+A FM8 Remote Control.
Premium Construction
The HA 200 features a robust chassis built entirely from non-magnetic aluminum. The front panel is machined from solid metal, while the top, bottom, and rear panels are constructed from precision-cut aluminum plates. The heatsinks are manufactured using custom extrusion tooling to ensure efficient heat management.
With more than 2300 components inside and the sophisticated HV-based circuitry, the HA 200 is larger and heavier than many headphone amplifiers. The solid construction helps ensure excellent mechanical stability and effective heat distribution for optimal operating conditions.
Extensive Inputs & Outputs
The HA 200 is equipped with a wide range of analog and digital connections, allowing it to function as a central component within a high-performance headphone or desktop audio system.
Designed for Reference Headphone Systems
While the HA 200’s primary role is to serve as a high-performance headphone amplifier, its broad range of inputs and advanced DAC architecture also make it suitable as a standalone digital hub for various audio sources.
By combining advanced Class-A amplification, proprietary DAC technology, and a wide array of connectivity options, the T+A HA 200 is designed to deliver exceptional performance for serious headphone enthusiasts and demanding audio systems.
Reviews
HiFi Knights Poland
“The HA200 is a fantastic device for music connoisseurs, and you definitely should listen to it also with the excellent Solitaire P. This is an absolutely outstanding set! It’s expensive, you may say. True, but with these new products the T+A simply targets those looking for the best performance in the most feature-packed and great-looking audio components for whom price is not a deciding factor.”
http://hifiknights.com/reviews/amplifiers/ta-ha200-2/
HiFi and Music Source
“It is hard to fault such a fine piece of equipment, so I won’t. It is, simply a masterpiece of headphone amplifier loveliness. With such a high degree of flexibility, it will be difficult to find a pair of headphones that wouldn’t benefit from the dynamic control from this Class A product. It is the easiest 5 star of the year, what an outstanding headphone amplifier.”
https://hifiandmusicsource.com/2020/05/ta-ha-200-headphone-amplifier-hifi-review/
Stereo-Magazine
“A Perfect Pair – There is not really a more spectacular or successful way to enter a new segment than T+A did with their Solitaire P headphones – with this first model, the German company succeeded in crowning a new king of headphones. Now the matching HA 200 headphone amplifier aims to perform the same feat. “
HiFinews
“You can quibble about what it doesn’t do – I’d prefer built-in network and USB HDD playback, and analogue line outs – but what the HA 200 does, it does to sensational effect. Explore all its flexibility, wondering at the design and build, or treat all that as over-engineering, plug in a good pair of cans and let the music take you. If you take hi-fi headphone listening very seriously, you’re going to love it. “
https://www.hifinews.com/content/ta-ha-200-usbdac-headphone-amp
Stereophile
“My experience with other products by mainstream amp and speaker manufacturers “getting into headphones” has been mostly disappointing. French loudspeaker company Focal is the shining-star exception: Their best headphones are as good as any other company’s best headphone. After spending a couple of months with the Solitaire P and HA 200 amplifier/DAC, I think T+A has beat the odds: Their first-try headphone products played with the best of the world’s best, at the uppermost point of the gold-tipped asteroid. Bravo T+A! “
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Specifications
Analog section
- Frequency response +?0?/???3?dB: D0,1 Hz?–?200?kHz
- Signal/noise ratio : 110/114?dB
- THD ?/ ?Intermodulation: <?0,001?%?/?<?0,001?%
- Channel separation: >?108?dB
- Class A operation: up to 700 mA
- Loudness: switchable, adjustable on the speaker efficiency
- Sound control: switchable, channel separated. Bass and treble -6 dB to + 8 dB
- Headphone outputs:
- 6.3 mm plug, 4.4 mm Pentaconn, XLR-4 pin
- Impedances: 8, 12, 18, 25, 40, 80 Ohms
Analog inputs
- High level (RCA) / balanced (XLR): 250 mVeff … 4,5 Veff / 10 kOhms | 500 mVeff … 9 Veff / 20 kOhms
- Channel separation: 110 dB
Digital inputs
- 1 x AES-EBU 32…192 kHz / 16-24 Bit
- S/P-DIF: 2 x Standard Coax, 2 x optical TOS-Link 32…192 kHz / 16-24 Bit,
- 1 x BNC 32…192 kHz / 16-24 Bit,
- 2 x USB DAC: Device-Mode 44,1 … 768 kSps (PCM) and up to DSD1024*, supports asynchronous data transfer.
- *DSD 512 and DSD 1024 with Windows PC and appropriate driver installed or Linux PC with Kernel 4.4 or higher only. Supports DoP up to DSD 256 (0x05/0xFA Marker).
- 2 x HDMI IN, 1 x HDMI OUT with ARC (as an option)
- Bluetooth : A2DP (Audio), AVRCP 1.4 (Control) / aptX® HD, SBC, AAC
D/A converter section
- PCM: Double-Differential-Quadruple-Converter with four 32-Bit Sigma-Delta D/A converter per channel
705,6 / 768 kSps conversion rate - DSD: T+A-True-1Bit DSD D/A converter, up to DSD 1024 (49,2 MHz), native bitstream
- Upsampling: T+A signal-processor – synchronous upsampling with four selectable oversampling algorithms. FIR short, FIR long, Bezier/IIR, Bezier, NOS (non-oversampling))
- Analog filter: Phase-linear Bessel filter 3rd order, switchable with 60 or 120 kHz cut-off frequency
Mains / Accessories / Dimensions
- Mains: 100?–?120?V or 200?–?240?V, 50?–?60?Hz, 100 Watts
- Standby: < 0,5 Watts
- Dimensions (H?×?W×?D): 10 ×?32?×?34?cm, 4 x 12.6 x 13.4 inch
- Accessories: Remote control FM8, power cord, USB-cable for charging RC,USB cable 2.0 for DAC, RCA cable
- Weight: 6,5?kg, 14.4 lbs
- Finishes: Alu silver anodized (43), Alu black anodized (42)
Reviews
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