This power cord was as consistent in its results as any power cord I have ever used. I can't say that I have been totally enamored with how it has sounded in every situation and with every component, but, the addition of the Audience had predictable results and consistently had the same impact on just about every component and system. The only question when using this cord was if the component, as voiced, benefited from what the PowerChord did. Components that really liked the PowerChords included The Power Modules (Belles) 350A, SimAudio W3, the Symfonia Opus 8 preamp, the McCormack TLD-1 preamp, the Aloia preamp, and many others. Yeah, this is a versatile power cord. Unlike many of the cords in this survey, the PowerChord broke in relatively easily, and without getting particularly ugly. I did note though, that the cord started off sounding extremely fine at both frequency extremes causing me to eventually conclude that was how it sounded. The midrange came in much later, as did the hyper focus of the rest of the stage. Pretty crazy. 
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I have already stated that this cord has a consistent sonic signature on the components it is used with, but what is it? Clean impact. The fastest transients this side of a lightning strike, as contrasts and depth of field reveal a clarity unknown to most electronics until plugged in with the PowerChord. The opposite of soggy, congested or blurred, depending on the component used with this cord, the reproduction is more like a hi-resolution snapshot of the recorded event than a tailored version of someone's opinion's of what the event should sound like. In other words, a closer look at the performance, one that may strike some as a stronger dose of reality than is desirable. And yet, it can so coherent and strikingly singular in its presentation. With its speed and resolution, the PowerChord was surprisingly organic and color free in its presentation.
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I knew this was going to be a tough one for the Kaptovator (US$1,500), and indeed, with many of the power amplifiers under consideration, I ended up giving the edge to the PowerChord, notwithstanding any difference in retail price. Comparing Kaptovator and the PowerChord on the PBN Sierra Everest super mono amps, the PowerChord delivered the titanic power and majesty which one expects from $20,000 worth of MOSFET power amplifiers. With those same amps, the JPS added some comparative warmth which the enormous rows of MOSFETs in the Everest really didn't need. Same for the Belles designed Power Modules 350A. Though the 350A has to be considered one of the least colored MOSFET amps ever made, the PowerChord lit that amp up in every respect; a gorgeously transparent stage without ripples or holes, and with leading edges that cut like a knife without sounding etched or overshot... an experience. Moreover, with all the speed and agility of the PowerChord, it still had much of the organic, analog feeling that was admirably present in the Empirical cord covered below. On the proper components, this cord will let you see into a performance; you'll feel it, in many ways you'll relive it as it was recorded. Simply said, MOSFET based amps love this power cord, and I loved it with MOSFET amps (Except for some reason the hybrid Monarchy SE-160 became heavy with this cord, and I don't know why.). On the other hand, with some bi-polar power amps like the Edge M8, these two titans of the transient edge sounded a little processed and lacking in dimensionality when used together (Though, in this regard, the bi-polar W3 and Aloia were the exceptions to the rule.). Not bad, mind you, but it's as if the amp is racing to the next note instead of lingering on the last note in order to capture every last drop of harmonic and texture. Like I said, not bad, but still there (Though that could be "fixed" by using a slightly slower cord on the preamp, processor, turntable, whatever.). The highs with the Kaptovator slightly edged out those of the PowerChord. Going to line level equipment, some components reveled in the speed and precision the PowerChord displayed; others said, "slow down a little". Generally speaking, the JPS with line level equipment presented a slightly more dimensional sound field with some warmth and foundation in the lower midrange, that the PowerChord did not display; the Kaptovator was the type of power cord that was at home being used throughout a system, i.e. being used with every component. With the PowerChord, I used it more to accent a system at the line level stage; one here, one there, like a chef prepares a feast for perfect results. Using the PowerChord meant a system that could be dialed in to achieve superior results, results that I could not achieve by using the Kaptovator alone, or for that matter, any other power cord alone. And some say that system building isn't an art. Overall, the Kaptovator edged out the PowerChord by only a small margin.  Joe Lee: this is just an abstract of the review. The full review actually covered seven different power cords in which most of them are very much more expensive than Audience 'powerChord'.
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