The challenges presented reviewing a vinyl accessory priced at €6,700 are pretty daunting. No matter the time and technology invested in the concept, design and manufacturing, the perceived performance for casual readers, audiophiles lapsed and dedicated, and folks in the business, could mean approaching the review with some scepticism.

So, let’s not mention the price again ‘till the summation and talk about the Ansuz Acoustics Darkz T2 Supreme Record Stabilizer’s actual performance. Cool?

Ansuz calls the T2S ‘The innovative resonance controlling device for vinyl records and turntables’. So, a device which has two specific tasks, but, in the micromanaged world of vinyl, ones that can have significant effects.

What is the stabilizer? Ansuz describes it as:

The T2S (Supreme) Ansuz Darkz Record Stabilizer is machined out of solid Titanium and weighs 374 grams. It can be used on nearly any turntable, even on floating constructions. The material is solid Grade 2 Titanium covered - in a particle accelerator during a 36 hours process - with layers of Zirconium, Tungsten and Aluminum Titanium Nitride for a further dampening of resonances. The Stabilizer is decoupled from the turntable’s center pin with a slightly oversized bushing of POM [Polyoxymethylene (POM) is an engineering thermoplastic used in precision parts requiring high stiffness, low friction, and excellent dimensional stability-Ed]. The resonance controlling balls underneath the Stabilizer are also made of grade 2 Titanium, chosen for its durability and sonic qualities.

The T2S is the third of 3 and leads the Ansuz Stabilizer line up—the two others are the D·TC (€4,000) and the T2 (€5,400).

The designers of the T2S were helped in no small part during design and production by the scientists at the Technology Institute of Jutland. Their expertise in particle accelerators, in particular, was critical to the success of the product.

Production

The titanium stabilizer forms are sandblasted and cleaned ultrasonically before drying in an oven. Then some magic happens. Actually, some particle and nuclear physics ‘magic’.

As described by Ansuz: In the deposition chamber, large pumps extract all air. To guarantee perfect conditions of the vacuum, the coating unit with the Stabilizers is heated to remove water and other contaminants in the air. A small amount of Argon gas is pumped into the chamber to receive a perfect adhesion of the coating. By applying a voltage to the Stabilizers, they are exposed to a bombardment of Argon ions. This removes the naturally formed oxides from the Titanium surface. Under these conditions, high-performing coatings can be applied and spread on their surface. The acoustically optimized layers of Zirconium and Tungsten are then deposited on the Titanium surface, and finally a hard layer of Aluminum Titanium Nitride is added to obtain the desired surface properties and the intended visual appearance.

After the processes are complete, the stabilizers receive two more inspections (adhesion and coatings) before they are packed and ready to ship.

My Use

The T2S arrived in its smart box, well padded. Thank you to Lars Kristensen of Ansuz Acoustics for shipping it to the island from the home office in Aalborg, Denmark. If you read the BØRRESEN Acoustics 01 Silver Supreme Loudspeaker review, you’ll know Kristensen (CEO) is one half of the dynamic pair (Michael Børresen, designer, the other) who make up Audio Group Denmark, the parent company which includes Ansuz Acoustics, BØRRESEN Acoustics and Aavik Acoustics.

With a product like an accessory, I pare down my system to a needs only collection so I can focus on the real differences the product makes. As such, I used only one turntable, the Bergmann Audio Magne Turntable 10th Anniversary Edition ($13,900/incl. arm) with Phasemation’s PP-2000 MC Phono Cartridge ($7000) and one phono stage, my reference Allnic Audio H-7000 Phono Stage ($14,999). The balance of the components were the usual suspects, MBL, Allnic Audio, with cabling also by Ansuz and the BØRRESEN Acoustics 01 Silvers. I chose five records of different genres and demands with which I was very familiar so not to corrupt the very focused listening process. Also, the invaluable help of my wife switching pucks/clamps/weights with the stabilizer for fun.

A reminder that Ansuz calls the product a ‘stabilizer’, not weight, not clamp, not puck. Specifically:

This is neither a record clamp nor a record puck—it is a record stabilizer. With the design of these new Ansuz Darkz Record Stabilizers, Michael Børresen and his acoustic engineering team ventured onto new and innovative territory to optimize the performance of nearly any turntable.

Most turntable manufactures will offer some type of device to secure the record. The designer of Rega turntables, Roy Gandy, eschews any type of clamp. I’ve clamped a few Regas in my time, and prefer them Gandy’s way. On all other turntables, I’ve preferred some sort of device mating the vinyl to the platter.

So, my comparison products to the Ansuz T2S.

The Bergmann comes with a medium weight puck with a rubber ring underneath. Its primary job is to stop the record from slipping on the Magne’s slick polycarbonate mat which is adhered to a heavy aluminium platter. It works as intended and looks great. The other comparison is different beast, a 769g beast, the Pure Fidelity SS LP Record Isolator Weight ($350). There’s a video about both the Bergmann and Pure Fidelity on our YouTube channel. The Ansuz T2S Stabilizer is 376g. You can also watch a video we shot about the T2S. Both the Pure Fidelity and Ansuz use ball bearings for connection to the vinyl. The 10 PF’s are steel and the 12 T2S’ are titanium. Ansuz calls theirs ‘resonance controlling balls’ (see photo above).

The T2S has the familiar dull grey, inert titanium finish so popular as a super alloy in expensive watches and in the medical and space exploration fields. It’s called the ‘workhorse’ of the commercially pure titanium industry. It is stronger than standard titanium and is corrosion resistant.

Sound

Records for the testing included Firebird/Stravinsky/Mercury (Analogue Productions reissue), Pictures/Mussorgsky/RCA (Analogue Productions reissue), Middle Quartets/Beethoven/Philips, Led Zeppelin II/Atlantic (Japanese pressing) and Tired & Emotional/Mary Coughlan/Mystery Records. Specific tracks included Firebird Side 2, Pictures ‘Promenade’ and ‘Gnomus’, Beethoven ‘Razumovsky 1 Opus 59, No. 1’, ‘Whole Lotta Love’ from II and Mary Coughlan’s ‘Mamma Just Wants to Barrelhouse All Night Long’. These tracks run the gamut for digging deep into emotion, micro and macro dynamics, timbre, expression, musicality, and all the other tenets picky audiophiles expect. Just up the T2S’ street. Here’s what I discovered.

In general, and in comparison to the others in house, the T2S Stabilizer gave me more of what I enjoy about the vinyl experience—my soundstage was wider, deeper, imaging was crackerjack, and timbral accuracy uncanny. At first needle drop, the sound seemed fresher, cleaner—scrubbed up—a very musical ablution. More open and detailed but with all the specifics my system synergy brings. Additive. As significant an upgrade in delicate musical immersion as the recent Nordost Valhalla 2 Reference Cables’ effect. The Bergmann Bauhaus puck is meant as a securing device, not much more, I would think, while the PF is attempting the same as the Ansuz, but with much less effect. The PF is good, and if is in your budget, do not hesitate to get one. It looks gorgeous and will have a positive effect on your playback. But, the Ansuz is in a different league.

There is another device which I have not heard but comes highly recommended, the $4000 Harmonix TU-812MX ‘Million’ Maestro Analog Record Clamp by Combak Corporation. Seems, they’re after the same thing as Ansuz. It’s made from chrome with a wood handle. Looks good, will be very sexy spinning, and is supposed to eliminate ‘the interference of resonances induced by analog record its self and turntable mechanisms employed in the tracking of the complex groves inscribed on the record surface.’ Sounds familiar, but Ansuz approaches the minute but sticky resonance problems from a different angle and with completely revolutionary materials and manufacturing techniques. Maybe I’ll be able to do a comparison follow up if Harmonix sends me one for review.

Gotta love Danish design. The T2S sitting on the Bergmann platter.

Now, to the nitty gritty. In what way do the materials, design and manufacture improve upon standard record weights, etc?

Like all great high end products, the aim should be to bring the listener closer to the live event. Of course, tastes differ, usually wildly in audiophiles. The T2S takes a lot of the guess work out, but, it helps only the records that want it. Basically, if it’s a crap record, the T2S will only give you a cleaner type of crap.

And with a product like this, the devil is in the details. And, to a fault, I’m a details guys. So, the fact this device could get me nearer to Lowry Sanders’ Kingsway Hall seat and his divine piccolo playing on the Mercury/LSO/Firebird is a big deal to me. It matters. And while my vinyl front end is pretty remarkable on its own merit, the Ansuz Stabilizer brings me that much closer. And yes, in a perfect world, I would not want to listen to vinyl without one.

Even on rock records like Led Zeppelin (mine is a Japanese pressing), the T2S gave me the more immersive experience. I’ve never heard Robert Plant’s vocals so vibrant and his diction so precisely placed as on Glyn Johns’ famous recording.

A wonderful example of the qualities it brings to the party is with well recorded string quartets. My Philips/Italian Quartet/Beethoven Middle Quartets box demonstrated just how designer Michael Børresen’s gear uncovers the musicians’ intent. I hear this daily on my BØRRESEN Acoustics 01 Silver Supreme Loudspeakers and his predilection is heard clearly as the Italians move about playing off each other in Beethoven’s incredible melody, harmony and counterpoint. Everyone’s musical focus is clearer with the T2S.

The examples were numerous and on every record of quality. If you have a lot of processed, poorly mixed records, you’ll hear definite improvements, but it’ll be akin to that hateful Brit pub drink, a fine red wine mixed with Coke. Just don’t.

And for those old faithful—fans of ABXing or those who dismiss it—we had fun. My wife is a stickler. No cheating. I guessed right between the three on the Stravinsky Side 2, the T2S offering more detail and with such timbre and sweetness. Harder was choosing between the PF and Bergmann. But, let’s face it, these games are for hard nosed vinyl fans. Others who choose to buy the Ansuz, will sit back with a fine glass of red, sans Coke, and enjoy the marvellous presentation. And, if they have a top vinyl setup, they’ll know pretty quickly they are hearing the pinnacle of vinyl playback in the here and now.

A little birdie told me Børresen was thinking about designing his own turntable. OMG, yes! Yes, please. After living with his mechanical marvels for the past five months, I have no doubt it’ll be innovative and brilliant.

Summary

Scrupulous honesty demands I award the Ansuz Acoustics T2S Stabilizer an Audiophilia Star. Price, be damned.

If you think of it more as a component, like a good stand (HRS, for example) or a fine cable, the amazing approach, design, materials and production it took to manufacture such a product, well, then, its price maybe a little easier to accept for those sceptics I list in the opening paragraph.

I had a long chat with Kristensen in early December and questioned him about the stabilizer’s €6,700 MSRP, and many other things. He reiterated to me the time, patience and energy, including what he calls ‘the genius of Michael Børresen’, it takes to invest in such a specialist product. So, if you take into account standard profit margins used in most Western businesses, each unit would cost approx €1675, which includes raw materials, manufacturing costs, shipping, R&D, marketing, and many other factors. Something to think about as you’re pondering the MSRP.

So, who specifically is this for? Well, if you’re well-heeled and an avid vinylphile, order one and enjoy. For those folks, ensure your vinyl setup is top high end if you want to discover the magic the T2S uncovers from the grooves. A fine Planar 3, an MM and an inexpensive phono will not unveil the unveiled.

Another prospective customer? The audiophile who has staked his/her claim to producing the best sound he/she can, be damned the big house, sexy watch and the German car. Every penny saved is funnelled into the audiophile upgrade account. Significant other? I doubt it.

For the rest of us, the T2S represents the highest level of achievement from an accessory, one where return on investment should be measured in emotions rather than dollars.

Further information: Ansuz Acoustics