SITTING DOWN IN FRONT OF A NEW DEVICE, we never really know what to expect. We may have some vague ideas and expectations, prejudices and preliminary impressions, with our thinking guided by stereotypes. That’s normal. Yet all of this is only a kind of preparation, which is often verified within the first few seconds of listening. That was also the case with me and the XACT N1 LAN switch.
As it turned out, subconsciously I was expecting some sort of “bringing the sound closer.” Not spatially, but rather in terms of emotional temperature. The device under test, however, played quite differently. And again – not in the opposite direction, because it did not weaken the emotional connection with the recordings, but showed something else, something I neither expected nor anticipated.
This is a switch that introduces calm and order into the sound. It also offers higher resolution than the Silent Angel it was compared against. And much higher at that. The subtle tapping of a thumb on a guitar body in track [1] Well Well Well by Seasick Steve was, with the N1, on the one hand gentler, on the other clearer. As if the device didn’t need to present a large form in order for it to be noticed. I’m anthropomorphizing, but that’s how I perceived it.
The tested switch seems to smooth out the attack of sound. Both Steve, and immediately afterwards Chet Baker in track [1] Let’s Get Lost, as well as Lester Young in the magnificent 1952 recording [1] Ad Lib Blues performed with Oscar Peterson’s trio – all these recordings were smoother, but not with the smoothness of giving anything up. It was a smoothness resulting from more information, not less.
At first it might have seemed that because of this, the sound was less energetic. But only until I compared again, going back to the reference switch. It then became clear that the greater “energy” of the Silent Angel wasn’t actually energy, but a stronger emphasis on attack – an attack that was more nervous, somewhat jittery. And it was this jitter that gave the impression of higher dynamics. Compared to it, the XACT sounded freer, yet more confident.
In reality, it was with the XACT that I obtained greater dynamics – and significantly so. This was the kind of dynamics that allowed me to turn up the volume by 1 or even 2 dB and still obtain, subjectively, a similar SPL level, but with far greater contrasts, with a stronger entry into the recording. And this wasn’t just an impression, but something I heard with all subsequent tracks, throughout the entire time I listened with the N1.
All three of the above-mentioned tracks are monophonic recordings, aimed at a kind of fluidity and possessing an internal cohesion, connections absent in contemporary multi-mono recordings. The XACT played the music along those same lines, also with this type of material. End Of Summer by Tame Impala, with its hypnotic rhythms, deep bass descent, distorted vocals and mechanical hi-hat in the center, all of this “flowed” better with the N1, glued together more naturally.
It was also interesting that the tested switch did not press down the lowest bass in the way Silent Angel does. I had already encountered something like this when comparing the Siltech Triple Crown AC power cable with its higher version, the Master Crown. The latter also played in a smoother and more balanced manner, but above all presented recordings from a slight distance. The Triple Crown, by contrast, brought them slightly closer to the listener. Here it was similar – the XACT in a way liberated the music from the “obligation” of playing “here and now,” allowing the recordings to resound with greater freedom.
I also have the impression that by calming the sound – not lulling it, but reducing its jitter – the tested LAN switch differentiated events on the virtual soundstage more effectively. Eric Clapton in track [1] Cocaine therefore sounded at once motoric, dreamy, strong, hallucinogenic – all at once. The version on Tidal has very little compression, so it must be played quite loud. Then the track’s excellent rhythm comes out, with its driving mid-bass and fine cymbals.
The N1 added to this a distinct Clapton vocal, somewhat hidden in the mix by the producers. It wasn’t about pulling it forward, but rather showing more information about how it sounds, how it relates to the guitars, drums and bass. The device under test did this with greater grace than Silent Angel, with flair and elegance. I remember perceiving something similar with the Silent Angel Bonn NX switch. Because that’s probably what you get when replacing a good switch with a very good one – smoothness, resolution, greater differentiation.
The N1 is not overly smooth, though – Bonn NX sometimes gives that impression. If the recording has a harsher element, like Sting’s vocal in [1] Murder by Numbers from The Police’s repertoire (in the excellent Christian McBride version I played), then that’s how it will be presented. As always, Sting’s vocal wasn’t very deep in tone, but here it had a lot of air around it, so it sounded professional. The N1 played this track with more panache, with vigor – but a noble, differentiating vigor, not one that flattens everything into a loud “GRRRR!”
▌ Summary
It repeats itself every time I listen to recordings with better digital chain components, particularly in the case of files: lower noise yields sound that is smoother, but also more resolving and differentiating. Smoothness here is the impression caused by the absence of nervousness, which earlier we mistook for excitement. As it turns out, that was nervous excitement. With the N1, music sounds as if all the energy remains in it, but is communicated better.
It’s also important that once accustomed to the sound of a system with a switch of this class, it will be hard to go back to the sound “from before.” When you play something like [1] You And The Night And The Music from a Bill Evans album – dense playing, warm yet expressive guitar, strong double bass – you hear it in its full form, as a unified event. And even if it’s Sting’s somewhat undernourished vocal, or a distinct distortion, added low-frequency rumble in Evans’ Re: Person I Knew from his other album Moon Beams, it is presented truthfully, in a way that distracts less.
Even a basic LAN switch designed for audio moves in this direction. But it’s only with devices of this class, like the XACT N1, that this promise is fulfilled in a way that lets us sit down and, after the first moment of disorientation, realize we are dealing with something exceptional.