I first came across ZenSati cables at CES in Vegas many, many moons ago. There, at the Venetian, that year, company founder Mark Johansen exhibited a full line of his cables in a system which was one of the standouts. Naturally, I ended up spending quite a bit of time in that musical oasis. I got to know Johansen, whose passion for music was evident, as was his enthusiasm for its accurate reproduction. While, of course, the sum of the components was the ultimate manifestation of the excellent sound, it was the system’s musicality which drew me to consider the interface between each piece of kit. Being such honestly neutral conduits, ZenSati cables were toll-free highways to a musical destination. Through the subsequent years, I went on to review many of the company’s products, with the crowning bunch being the sublime sILENzIO range. Now, ZenSati has produced a new design, a more attainable model in the company’s Hash Tag range, which is crowned by the voluminous #X. Enter the new, and sparkly-silver #1.
Hi-Yo Silver!
I received a near-full loom of #1 cables directly from ZenSati. Upon first sighting this UFO (Uncompromising Fidelity Ornament), there’s no denying the obvious: ZenSati’s new #1 cables are blatant bling beauties. Unpack them from the faux leather lined case and you’re greeted by a glimmering silver patina bathed across the cable jackets, with matching bespoke connectors. While that description may be interpreted as #1 being ostentatious, it’s more like the overall package, per cable, is so well executed.
Aside from desirability, the cables’ aesthetic also inspires confidence in terms of longevity, due to the connectors’ precision fit onto sockets of any type. Plus, one would assume, equal care would have been given to the exactness of the conductor termination interface, something I was not able to actually confirm without compromising the cables’ finish and construction (they were to be sent on to a potential buyer). Of course, there’s the promise of signal transmission fidelity.
The cable list included interconnects (both XLR and RCA), loudspeaker cables, and AC power cables. Due to the cables going to the Australian distributor (Absolute Hi End) after my review process, I also received a set of jumper cables for bi-wired configurations, which I did not use, as my speakers don’t cater to it. The jumpers looked just as classy as their stablemates.
The new #1 cables employ the same conductors as ZenSati’s #X flagship product. That means silver plated, flat, twisted conductors (across all legs, including ground on XLRs) which have been downscaled to allow the more affordable price-point. Shielding and damping is along similar lines, but simplified, and as in #X, shield braids are adapted for each cable type. For example, the AC power cords feature nickel plated heavy copper braid, while interconnecting and loudspeaker cables employ a silver plated copper braid. The damping material is applied in three or more layers and is a type of silicone which has been specifically designed for its role. Some cables use an FEP damper. All is enclosed in sealed tubes for an air dielectric design which is said to control oxidisation. I asked Johansen for more details:
In the first years of ZenSati from 2009 to 2012, the first edition of ZenSati #1 was the flagship. It was constructed with gold-plated flat and twisted conductors isolated with FEP tubes. It was a fantastic piece of art and with extremely good acoustic skills. In 2012 the ZenSati sILENzIO line took over. The market demanded more flexibility, plus we designed better shielding and mechanical damping. ZenSati sILENzIO took over the throne from ZenSati #1.
Until 2019 the ZenSati sILENzIO has been the ultimate line from ZenSati ApS, until the creation of the new top-of-the-line ZenSati #X. The first edition of ZenSati #X is based on a gold-plated main conductor with a heavy shield and damping. After five years of experience with the outstanding ZenSati #X, its configuration was changed by incorporating the silver plated flat and twisted conductor, since this design is close to my own personal performance reference.
In 2024 I decided to make a downscaled version of the ZenSati #X, and the result is an upgraded ZenSati #1. The new version of ZenSati #1 is more flexible, with better shielding and damping, plus other updated details. The acoustic skills are like ZenSati #X but with less mechanical damping and shielding. The new ZenSati #1 line’s pricing lies between the ZenSati Seraphim and the ZenSati sILENzIO.
Customers want the same benefit as ZenSati #X. With a setup there replicated down to 30 Hz, you do not have the heavy damaging frequencies as 20 Hz and even 10 Hz to 5 Hz. Our test setup uses Stenheim Reference Statement ZenSati which goes low under 10 Hz after we exchanged the original Stenheim/CH crossovers with a simpler DBX 3-way electronic stereo crossover. In this system it is easy for me to hear the difference between heavy damped cables and not damped. ZenSati #X is a very expensive line to produce, takes a lot of time to produce. The ZenSati #1 is easier and not so cost loaded.
As per ZenSati products I’ve experienced, the cables’ build quality and the connectors are top notch, and that applies across all the price points, from the entry level Zorro line (reviewed here), and of course through sILENzIO (read here), and right up to #X. Ditto for the overall construction, precision in assembly and, as stated above, the products’ aesthetics. Class-A all the way.
Tag and Release
As I mentioned above, ZenSati sent for review a comprehensive – but not complete – loom of #1 cables. The reason the loom did not encompass the entire system configuration was mainly due to the fact that I place my preamplifier, the superb Supratek Cortese, about 5m away from my amplifier of choice, the cracking Gryphon Audio Antileon EVO. So, for this review, I’m looking at source to preamp interconnecting cable, loudspeaker cables (Antileon EVO to Wilson Audio Alexia V), and AC power cables for key components. I ran the cables for several days prior to commencing critical evaluations.
There was an immediately observed sonic difference – albeit not a chasm – between my reference cables and #1. While I find my VYDA Labs Orion Reference HFC cables superb all-rounders with a pleasing and subtly full-bodied upper bass and midrange, the #1 seemed a slightly more neutral design which, subjectively, appeared to me to be a totally transparent pipeline between components. The upshot of that being the presentation across the midrange and highs was natural, in case of the former, and pleasingly ‘airy’ on the latter.
Where the two excellent cables diverged more noticeably – and by no means is this a day and night difference, more a difference in colour shade only discernible under the best lighting conditions – was through the upper bass and lower midrange response.
Take Miho Hatori’s “Tokyo Story” from her Between Isekai and Slice of Life album. There’s a richness of low frequency music throughout the track, and #1 provided a punchy-tight bass with lots of inner detail, even for electric/keyboard bass. This was so well balanced in terms of heft that it allowed Hatori’s vocals to glide above the musical maelstrom without being dominated by the instruments.
The low-end’s tightness and detailed presentation offered an enjoyable clarity through the frequencies across the mid-band and the lower highs. This was particularly noticeable across vocals-heavy music, where the singers’ presence and nuanced technique were beautifully rendered.
On David Gilmour’s new album Luck and Strange, Romany Gilmour’s voice floated and danced above the music on the track “Between Two Points”. It’s not a frantic track, it has a pondering ambience, but her voice was superbly clear and present, locked in the centre of the stage in a realistically proportioned image.
The ZenSati #1 can also communicate large soundscapes, recording permitting. Schubert’s Impromptus on Decca Legends with Radu Lupu on piano placed the instrument within a very large soundfield, yet on “Impromptu № 1, Allegro Molto Moderato” it was also locked in its position in tight focus. I’ve experienced some cables which, for some inherent reason, somewhat diffuse the image or subtly diminish the size of the soundstage. Not here, #1 is precise and steadfast in terms of spatial consistency. Accurate too, and rich, were the piano’s tonal textures. If your electronics and loudspeakers are up to the task, the #1 cables will deliver the message uncoloured and without editorialising.
I’ll quickly come back to bass performance. On The Aristocrats’ Boing, We’ll Do It Live album, the opening track “Bad Asteroid” has the venue’s MC introducing the band to the audience. The #1’s spatial accuracy places the MC way beyond the wall behind the speakers while the noisy crowd spreads deep, high and wide. Then the band kicks in. It’s a pretty good recording, with the drum kit sounding superbly tight across the toms and kick, both being enjoyably percussive in terms of its pounding power. The electric guitar and bass both cut through the mix, providing precisely separated and detail-rich instrumentation.
Conclusion
Incrementally and steadily, ZenSati continues to expand and improve its product selection. Designer and company head chief Mark Johansen has an ear for sound and an eye for beauty and while it may seem frivolous to admire the visual appeal of a set of cables, there’s no denying that in the relative world of audio cable design, the new #1 is a supermodel.
Yet, looks add to naught if the product does not perform, if it lacks in other areas such as construction integrity, or connector quality. Well, #1 has all that covered too. Plus, the clincher – and absolutely the most important aspect – is that #1 cables are not reductive of the signal they carry. They’re an unbiased messenger providing the purest delivery of the signal’s intrinsic qualities without interjection. Of a cable, you can’t ask for more.
… Edgar Kramer
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Associated Equipment
- Speakers — Wilson Audio Alexia V, Axis Loudspeakers VoiceBox S (nearfield monitor), Vermouth Audio Little Luccas Mk.II, Atacama stands
- Amplifier — Gryphon Audio Antileon EVO
- Preamplifier — Supratek Cortese, Totaldac d1-triunity (periodically, direct to amplifier)
- Sources — Digital: 432 EVO Aeon Mk.3 Reference Music Server/Roon Core, Yamaha CD-S2100 transport, Totaldac d1-triunity DAC. Analogue: Transrotor Crescendo with Konstant Studio controller, Reed 1X Tonearm with upgraded internal wiring, Shelter Harmony cartridge, The Funk Firm Houdini cartridge decoupler, Supratek Cortese & REDGUM Audio RGPH2 phono stages
- Processor — DEQX PreMate (part of arsenal/casual use)
- Cables — VYDA Laboratories Orion Silver Reference HFC IC and speaker cables, PSC Audio custom design XLR, Vermouth Audio Reference loom,Tubulus Concentus USB
- Audio Rack — SGR Audio Statement Model V, Aspire Audio Belgravia amplifier platform (customised for Gryphon Audio Antileon EVO), Stereotech Aluminar Dark 3-tier rack
- Acoustic Treatment — Vicoustic Multifuser Wood, Wavewood Ultra, Cinema Round Premium and Super Bass Extreme
- Miscellaneous — Silent Angel Bonn N8 Pro network switch, GigaWatt PF-1 EVO power strip, Les Davis Audio Viscoelastic CLD discs, Voodoo Cable Iso-Pods, Bocchino Audio Mecado, VRC Vinyl Record Cleaning systemplus miscellaneous accessories
ZenSati #1 Cable Loom
Prices: Interconnect RCA/XLR (1m) AU$15,520, Loudspeaker (2m) AU$42,830, AC Power (1.5m) AU$18,700
Australian Warranty: Two Years
Australian Distributor: Absolute Hi End
+61 488 777 999
www.absolutehiend.com
ZenSati ApS
Kirkevej 27, Blistrup
3230 Graested
Denmark
+45 2992 2979
www.zensati.com
