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Image: Oyaide P-004 Beryllium AC plug and C-004 Beryllium IEC connector
“So that’s what the R1 really sounds like”, was the first thing that came to mind after re-terminating a DIY cryo’d VH Audio Flavor 2 power cord with Oyaide’s new P-004 Beryllium AC plug and C-004 Beryllium IEC connector. The 004’s replaced an Oyaide P-046 AC plug and C-046 IEC connector, and the power cord (in this case) is connected to an Oyaide R1 Beryllium AC outlet (mounted on an Oyaide WPC-Z installed at the wall) which feeds my entire main system via downstream power line conditioners.
With the 004 Beryllium AC connectors in place, the potential of the outstanding Oyaide R1 Beryllium AC outlet seems to be fully realized. Well, perhaps as fully realized as I can afford, since Oyaide’s premium line M1 Beryllium AC plug and F1 Beryllium IEC connector are cost-prohibitive per my audio dollar budget. The much more affordable 004 Beryllium AC connectors omit the M1/F1 flagship model’s cost-no-object machined aluminum and Delrin shell system in favor of the less pricey P/C model’s polycarbonate shell (the P/C models being the 029’s, 037’s, 046’s, 079’s, and now the newly included 004’s).
The overall impression of the R1/004 combo is that of a near perfect AC outlet/AC connector mating, and arguably the SOTA configuration (other than an R1/M1/F1 configuration). In this case, when a set of Oyaide 046 palladium AC connectors replaced a set of Oyaide 079 gold AC connectors, the overall presentation improved, but when the 046’s were replaced with a set of the new Oyaide 004 Beryllium AC connectors, an ambiguous veil seemed to be lifted which allowed ambient information, trailing decays, and inner detail/layering to become more readily apparent. Treble energy became substantially more relaxed yet still highly resolved, and the transition of treble energy to midrange energy became more seamless. Midrange information became a more palpable focal point as it should be (IMHO), since that’s where the majority of musical information resides. The bottom end (concurring with kenster's impressions) became more authoritative, full-bodied, yet firm and punchy. My evaluation of the Oyaide Beryllium's tonality and soundstage presentation is that it seems more relaxed and natural (without added warmth as a result), and the lower plane of the soundstage feels better anchored to the floor. Aside from the usual list of improved critical listening cues, an improved sense of PRAT (Pace, Rhythm, Acceleration, Timing) is a most vital aspect of what many folks seek within audio reproduction, and I find the Beryllium combo's “boogie factor” to be excellent...
As a special note: I must say that I find the treble presentation to be the most remarkable aspect. For listeners who find/found that their particular system’s treble energy to be emphasized/spotlighted via other Oyaide AC gear (and don’t care for such), the R1 and/or the 004’s would likely be a far more satisfactory option, since the Oyaide Beryllium’s treble energy sounds quite the opposite -- perhaps some folks might even find the top end to sound too laid back -- but this aspect would be a real pity to use as a reason to summarily reject them. However, if a listener has become deeply accustomed to (and firmly in favor of) a very lively top end with “lots of air”, the Oyaide Beryllium products might be a disappointment. If this were the case, I would suggest that a listener re-evaluate their system’s upper midrange/lower treble presentation via program material such as a steel string acoustic guitar played with prominent picking and strumming transient attacks, or a well-recorded acoustic piano track to realize how welcome a glare-free, well-pronounced upper midrange and lower treble can be rather than a presentation of unduly excited upper-octave energy, which is not only not high fidelity, a harmonic discordance in relationship to the fundamental is often the mother of all listening fatigue in otherwise high performance systems when not recognized and properly addressed.
Cheers, Duster
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