SINE MC40 Poland Soundrebels review
Half-jokingly, half-seriously, some of our readers, after the test of the “small” StromTank S-
1000, decided that we could safely forgo further searches and exploration of the segment
of current-filtering devices. And there was probably something to those suggestions,
especially since we ourselves also fondly remember the German conditioner. However,
wanting to have as complete an overview of the market as possible, even if something
clearly suits us, does not mean that we definitively end the topic and have no desire to
sample alternative solutions. Therefore, when the opportunity arose to obtain for testing a
product from the Hong Kong brand Sine, which had only recently debuted on our market,
we immediately expressed our willingness to take it under our roof. What are we talking
about? About the newest and at the same time the smallest of the “full-size” power
conditioners, model MC40.
Returning only briefly to the introductory description of our guest, allow me to refine it a little. The domestic distributor representing the brand in question (AudioPhase Select) currently has the aforementioned 40 model, as well as the higher-positioned S-60A Pt Edition. Meanwhile, in the Asian portfolio we find both the flagship Gateway 3 and strip-like proposals in the style of the MC30 and MC25 and this is only a small fragment of the impressively wide assortment offered by Sine, which clearly shows interested parties that we are dealing with a serious player and not an ephemeral that will disappear over the horizon after a single flash.
Returning to the MC40, it is impossible to hide that already during unboxing its perceived value clearly exceeds the price tag oscillating around 8,000 PLN. Attention is drawn by the massive, precisely machined one-centimetre-thick aluminium front panel with an illuminated company logo, and an equally solid blackened chassis that has roughly half the depth of standard Hi-Fi components. Thanks to this, the 40 can successfully be placed on the shelf of an audio rack, and the cables connected to its “back” will not bunch up behind the cabinet, taking up extra space. And precisely here, even a fleeting glance at the rear of the 40 leads one to note with mild regret that the version intended for the European market (both “continental” and UK) is equipped with only six output sockets — two intended for representatives of the digital domain and four for “analogue” devices — in contrast to the American edition, which can boast eight sockets (in addition to the aforementioned “European” set there is also a pair of High-Current sockets). If, therefore, six outlets are not enough for someone, they still have the option of the aforementioned 60, which is equipped with seven Schuko sockets. As a consolation it is worth mentioning that all the sockets not only have platinum-plated pins but have also been subjected to cryogenic treatment, i.e. cooled to −196 °C for a period of 48 hours, thanks to which, according to the manufacturer, the molecular structure of the metals changes, internal electrical resistance decreases and thus flow losses are minimised. The internal wiring was also cryogenically treated, including the two main solid-core copper conductors of 13 AWG diameter (1.828 mm / 2.62 mm²) and a high-class 20 A automatic circuit breaker. The massive steel bottom plate is fitted with four proprietary aluminium anti-vibration feet padded underneath with soft felt. And if anyone feels the urge, or is prompted by a lack of space, the 40 can successfully be placed vertically.
Returning only briefly to the introductory description of our guest, allow me to refine it a little. The domestic distributor representing the brand in question (AudioPhase Select) currently has the aforementioned 40 model, as well as the higher-positioned S-60A Pt Edition. Meanwhile, in the Asian portfolio we find both the flagship Gateway 3 and strip-like proposals in the style of the MC30 and MC25 and this is only a small fragment of the impressively wide assortment offered by Sine, which clearly shows interested parties that we are dealing with a serious player and not an ephemeral that will disappear over the horizon after a single flash.
Returning to the MC40, it is impossible to hide that already during unboxing its perceived value clearly exceeds the price tag oscillating around 8,000 PLN. Attention is drawn by the massive, precisely machined one-centimetre-thick aluminium front panel with an illuminated company logo, and an equally solid blackened chassis that has roughly half the depth of standard Hi-Fi components. Thanks to this, the 40 can successfully be placed on the shelf of an audio rack, and the cables connected to its “back” will not bunch up behind the cabinet, taking up extra space. And precisely here, even a fleeting glance at the rear of the 40 leads one to note with mild regret that the version intended for the European market (both “continental” and UK) is equipped with only six output sockets — two intended for representatives of the digital domain and four for “analogue” devices — in contrast to the American edition, which can boast eight sockets (in addition to the aforementioned “European” set there is also a pair of High-Current sockets). If, therefore, six outlets are not enough for someone, they still have the option of the aforementioned 60, which is equipped with seven Schuko sockets. As a consolation it is worth mentioning that all the sockets not only have platinum-plated pins but have also been subjected to cryogenic treatment, i.e. cooled to −196 °C for a period of 48 hours, thanks to which, according to the manufacturer, the molecular structure of the metals changes, internal electrical resistance decreases and thus flow losses are minimised. The internal wiring was also cryogenically treated, including the two main solid-core copper conductors of 13 AWG diameter (1.828 mm / 2.62 mm²) and a high-class 20 A automatic circuit breaker. The massive steel bottom plate is fitted with four proprietary aluminium anti-vibration feet padded underneath with soft felt. And if anyone feels the urge, or is prompted by a lack of space, the 40 can successfully be placed vertically.
As for the insides, about which I have already managed to mention a little, each pair of
output sockets has its own section of compensation circuits that improve the flow and
delivery of electrical energy, while the role of additional purifiers is played by two 40 A
magnetic conductors made of aluminium alloy (the characteristic black cylinders). In turn,
the anti-resonance graphite filling placed in the lower chamber — affectionately referred to
by “well-wishers” as “cat litter” — additionally absorbs internal electromagnetic
interference. Isolation from external RFI is taken care of by a suitably solid chassis.
According to the manufacturer’s assurances, the maximum continuous load capacity of the Sine MC40 has been set at 6,000 W.
So much for the theory, the solemn assurances of the manufacturer and purely organoleptic impressions. It is high time for the listening sessions, during which, apart from the Sine, only the 300 W Vitus Audio RI-101 MkII integrated amplifier was present — a unit that reacts with severe allergy to 99.9 % of this type of conditioner. The effect of replacing my duty “do-nothing” Furutech e-TP60ER? Surprising, because usually replacing the Japanese strip with a more advanced filtering competitor or conditioner manifests itself in a lowering of the tonal balance, a slight limitation of the top end and occasional tinkering with stage depth, colours and saturation of the presentation. Meanwhile the MC40 brought a breath of energetic vitality and brilliance. Zero of the expected rounding, zero “teddy-bear” on the bass and in return a juicy freshness and excellent drive. Interestingly, although the lowest components gained in differentiation and crossfit-like stringiness, it was hard to say that there was actually less bass. It was simply better controlled and more lively, so ultimately at the same volume it offered a larger, richer package of information.
I reached for “Empire” by Queensrÿche and although the state of the bar did not undergo a noticeable reduction, at least not by the crew from Seattle, truth be told it had been a long time since good old rock (for the uninitiated this disc is … 36 years old) had sounded at my place with such grandeur and freedom and at the same time infectious timing, while simultaneously avoiding a “slimming cure”. It is no problem, after all, to “create” space by castrating a recording of its bass, yet the effect of such actions usually resembles a “simulation” of a horn speaker by means of a metal bucket, and our today’s guest spared me such attractions. And here is another curiosity, because both the pedantic blackening of the background and the cleaning of the presentation did not cause either an effect of excessive sterility or, on the contrary, a loss of openness in the top end and a reduction of the reverberant aura, since these components were actually refined and emphasised. All micro-resonances could “fade” longer in the background, because they were not covered by any parasitic artefacts. I made similar notes regarding Geoff Tate’s vocal, which, although he boldly ventured into the high registers, never once caused a grimace on my face. Simply put, the whole sounded not only good but realistic, and that, at least with older and moreover rock recordings, is a combination not very often encountered. A coincidence? I do not think so, because further trials with increasingly heavy material each time proved the brilliance of the Hong Kong conditioner. If someone at this moment approaches both the flowery nature and the validity of my compliments concerning the MC40 with scepticism, I recommend that he borrow the title filter, plug his system into it and switch on at almost concert volume levels “Hymns in Dissonance” by Whitechapel. Then it will be enough for him to go round to the neighbours with apologies, and keep the knowledge acquired during the listening sessions to himself. The Sine will probably stay as well, but that is an entirely different story …
According to the manufacturer’s assurances, the maximum continuous load capacity of the Sine MC40 has been set at 6,000 W.
So much for the theory, the solemn assurances of the manufacturer and purely organoleptic impressions. It is high time for the listening sessions, during which, apart from the Sine, only the 300 W Vitus Audio RI-101 MkII integrated amplifier was present — a unit that reacts with severe allergy to 99.9 % of this type of conditioner. The effect of replacing my duty “do-nothing” Furutech e-TP60ER? Surprising, because usually replacing the Japanese strip with a more advanced filtering competitor or conditioner manifests itself in a lowering of the tonal balance, a slight limitation of the top end and occasional tinkering with stage depth, colours and saturation of the presentation. Meanwhile the MC40 brought a breath of energetic vitality and brilliance. Zero of the expected rounding, zero “teddy-bear” on the bass and in return a juicy freshness and excellent drive. Interestingly, although the lowest components gained in differentiation and crossfit-like stringiness, it was hard to say that there was actually less bass. It was simply better controlled and more lively, so ultimately at the same volume it offered a larger, richer package of information.
I reached for “Empire” by Queensrÿche and although the state of the bar did not undergo a noticeable reduction, at least not by the crew from Seattle, truth be told it had been a long time since good old rock (for the uninitiated this disc is … 36 years old) had sounded at my place with such grandeur and freedom and at the same time infectious timing, while simultaneously avoiding a “slimming cure”. It is no problem, after all, to “create” space by castrating a recording of its bass, yet the effect of such actions usually resembles a “simulation” of a horn speaker by means of a metal bucket, and our today’s guest spared me such attractions. And here is another curiosity, because both the pedantic blackening of the background and the cleaning of the presentation did not cause either an effect of excessive sterility or, on the contrary, a loss of openness in the top end and a reduction of the reverberant aura, since these components were actually refined and emphasised. All micro-resonances could “fade” longer in the background, because they were not covered by any parasitic artefacts. I made similar notes regarding Geoff Tate’s vocal, which, although he boldly ventured into the high registers, never once caused a grimace on my face. Simply put, the whole sounded not only good but realistic, and that, at least with older and moreover rock recordings, is a combination not very often encountered. A coincidence? I do not think so, because further trials with increasingly heavy material each time proved the brilliance of the Hong Kong conditioner. If someone at this moment approaches both the flowery nature and the validity of my compliments concerning the MC40 with scepticism, I recommend that he borrow the title filter, plug his system into it and switch on at almost concert volume levels “Hymns in Dissonance” by Whitechapel. Then it will be enough for him to go round to the neighbours with apologies, and keep the knowledge acquired during the listening sessions to himself. The Sine will probably stay as well, but that is an entirely different story …
Truth be told I do not really know how to summarise the listening sessions with the Sine
MC40, because on the one hand we are dealing with an extremely effective and moreover
very reasonably priced accessory that conditions the current supplying our devices, and on
the other hand I constantly have at the back of my mind the awareness that this is after all
only, if not the beginning, then at most the halfway point of the Asian manufacturer’s
capabilities. So if already at the start I exhaust myself with nothing but oohs and aahs, how
will I cope with the further grading of admiration in subsequent tests? Therefore, within
today’s punchline I will allow myself only to state that, possessing the proverbial “ten
grand” for power supply and at the same time showing signs of impatience, one can
successfully decide on the Sine MC40 with some cable that is as current-capable as
possible in the style of the proprietary Nidas HC+ and for a longer time forget about the
topic. If, however, someone is aiming “higher”, then he should certainly take a look at and
a listen to the older siblings of our hero.
The MC40 is a medium-sized box which, thanks to its nice finish, looks like an audio component, with a thick aluminium panel, in whose insides the constructors have placed the results of many years of experience. Following the manufacturer’s information these include: the use of 40-ampere magnetic conductors made of aluminium alloys for voltage conditioning, the use of high-current sockets, platinum-plated sockets and plugs subjected to cryogenic treatment, internal wiring reaching a diameter of 13 AWG, 3 sets of compensation circuits, damping of the lower part of the chassis with bituminous materials acting anti-vibrationally, and a 20 A main switch subjected to cryogenic treatment. As can be seen, the gentlemen put in the effort. And very much so, because on the rear panel not only do we find 6 conditioned sockets, but they have also been grouped into two sections dedicated separately to analogue and digital components. So one can boldly say that it is richly equipped. And how does the matter look from the side of the influence on the devices using our hero? For the answer I naturally invite you to the next part of the text.
Before I move on to the specifics, I will mention that the results of the test of the title conditioner in today’s case are in reality the differences between using it right after unplugging the electronics from an ordinary strip without any circuits improving the quality of the electrical energy. Personally I use only simple splitters, therefore it is very easy for me to orient myself as to what happens when I apply some actively operating current terminal. So how did I receive the representative from Asia that is the point of today’s interest, the Sine MC40? Well, from the first bars it could be heard that the presentation had gained fluidity. The music sounded smoother and as if warmer. It did not gain mass, and even as if slightly lost a few dekagrams, thanks to which it became more engaging in reception. And the reason for this state of affairs was a slight raising of the tonality of the sound, which granted it an interesting injection of expression in reception. Expression that improved the drive of the music and the vivacity of creating events on the virtual stage. The effect turned out really interesting, because despite my everyday preference for a more solid pushing of the walls while listening to heavy rock pieces, in this case the minimally gentler impact of the sound was successfully compensated by a dose of smoothly delivered expression. Without the civilising procedure it would probably have been fatiguing, whereas now the well-plasticised illumination of the midrange caused the rockmen in their frenzy to go for the so-called max. Summarising the above example, heavy playing, despite a minimal slimming cure, may have shown itself a little differently, but still displayed its horns. Jazz music also followed a similar path of reception. It sounded as if lighter, yet at the same time showed greater vibrancy, which in this genre is a very important element in reaching the heart of the music lover. But so that we understand each other well, that slimming was symbolic, therefore there were no side effects, only a different approach showing the listener another way to the music. And I write about this with the stubbornness of a maniac, because without two words this aspect was audible. An aspect which, as follows from the above examples, was not only not any kind of problem, but I would not be surprised if it were a kind of rescue. And I will say honestly that, while I am not fond of conditioners because they usually only increase a note of smoothness, such a fluidisation of the presentation on the one hand and its enlivening on the other I received with great positive surprise. And as I marked, I am not an enthusiast of applying conditioners.
Can I, basing myself on the above conclusions, propose the Sine MC40 to everyone? Well, if only you do not have a system that is too subdued in presentation, then most certainly yes. You will get nice, because lively and pleasant in reception, playing that will convey the spirit of every kind of music. And it will not matter that it is with a minimally raised tonality, because these are changes at the level of a minor correction which, in collision with the pleasure of reception, will at the beginning prove insignificant, and after a short time completely unnoticeable. And that is only the first good piece of information, because the second aspect speaking in favour of the tested conditioner is a very interestingly correlated price with the quality of the sound. A cliché? I assure you it is not, which you can experience yourselves by taking it for tests.
Original Article
The MC40 is a medium-sized box which, thanks to its nice finish, looks like an audio component, with a thick aluminium panel, in whose insides the constructors have placed the results of many years of experience. Following the manufacturer’s information these include: the use of 40-ampere magnetic conductors made of aluminium alloys for voltage conditioning, the use of high-current sockets, platinum-plated sockets and plugs subjected to cryogenic treatment, internal wiring reaching a diameter of 13 AWG, 3 sets of compensation circuits, damping of the lower part of the chassis with bituminous materials acting anti-vibrationally, and a 20 A main switch subjected to cryogenic treatment. As can be seen, the gentlemen put in the effort. And very much so, because on the rear panel not only do we find 6 conditioned sockets, but they have also been grouped into two sections dedicated separately to analogue and digital components. So one can boldly say that it is richly equipped. And how does the matter look from the side of the influence on the devices using our hero? For the answer I naturally invite you to the next part of the text.
Before I move on to the specifics, I will mention that the results of the test of the title conditioner in today’s case are in reality the differences between using it right after unplugging the electronics from an ordinary strip without any circuits improving the quality of the electrical energy. Personally I use only simple splitters, therefore it is very easy for me to orient myself as to what happens when I apply some actively operating current terminal. So how did I receive the representative from Asia that is the point of today’s interest, the Sine MC40? Well, from the first bars it could be heard that the presentation had gained fluidity. The music sounded smoother and as if warmer. It did not gain mass, and even as if slightly lost a few dekagrams, thanks to which it became more engaging in reception. And the reason for this state of affairs was a slight raising of the tonality of the sound, which granted it an interesting injection of expression in reception. Expression that improved the drive of the music and the vivacity of creating events on the virtual stage. The effect turned out really interesting, because despite my everyday preference for a more solid pushing of the walls while listening to heavy rock pieces, in this case the minimally gentler impact of the sound was successfully compensated by a dose of smoothly delivered expression. Without the civilising procedure it would probably have been fatiguing, whereas now the well-plasticised illumination of the midrange caused the rockmen in their frenzy to go for the so-called max. Summarising the above example, heavy playing, despite a minimal slimming cure, may have shown itself a little differently, but still displayed its horns. Jazz music also followed a similar path of reception. It sounded as if lighter, yet at the same time showed greater vibrancy, which in this genre is a very important element in reaching the heart of the music lover. But so that we understand each other well, that slimming was symbolic, therefore there were no side effects, only a different approach showing the listener another way to the music. And I write about this with the stubbornness of a maniac, because without two words this aspect was audible. An aspect which, as follows from the above examples, was not only not any kind of problem, but I would not be surprised if it were a kind of rescue. And I will say honestly that, while I am not fond of conditioners because they usually only increase a note of smoothness, such a fluidisation of the presentation on the one hand and its enlivening on the other I received with great positive surprise. And as I marked, I am not an enthusiast of applying conditioners.
Can I, basing myself on the above conclusions, propose the Sine MC40 to everyone? Well, if only you do not have a system that is too subdued in presentation, then most certainly yes. You will get nice, because lively and pleasant in reception, playing that will convey the spirit of every kind of music. And it will not matter that it is with a minimally raised tonality, because these are changes at the level of a minor correction which, in collision with the pleasure of reception, will at the beginning prove insignificant, and after a short time completely unnoticeable. And that is only the first good piece of information, because the second aspect speaking in favour of the tested conditioner is a very interestingly correlated price with the quality of the sound. A cliché? I assure you it is not, which you can experience yourselves by taking it for tests.