Tubes Asylum: REVIEW: BorderPatrol Power Supply Unit Amplifier (Tube) by furry

Model:	Power Supply Unit
Category:	Amplifier (Tube)
Suggested Retail Price:	506.38 toÃŠ 846.81 Pounds Sterling
Description:	This is a power supply unit to fit to valve amps.
Manufacturer URL:	BorderPatrol
Manufacturer URL:	BorderPatrol

Review by furry ( A ) on October 01, 2002 at 14:09:38
IP Address: 205.188.208.75

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I'm afraid this is yet another review of the Border Patrol Power Supply, essentially I don't have too much to add to what the previous inmates have said about this product.
'It makes everything better' probably just about sums it up.
The fact that such a high proportion of asylum members who have tried the Power Supply have been imparted with sufficient evangelical zeal to review it and recommend it probably tells you everything you need to know.
Like the other two inmates I have an Audio Innovations 500 series, fitting the supply should be fairly straightforward in most cases, with the AI 500 it involves a bit of keyhole surgery, if you aren't confident it's probably better to let Border Patrol or someone who knows what they are doing carry out the modification. In my case Border Patrol fitted the lead some time ago when the amp was in for a repair leaving me to carry out the internal jiggery pokery necessary to disable the original power supply myself once I'd finally saved for the PSU. If I'd heard what it could do first I would have saved a good deal quicker.
Once the conversion was complete I nervously waited for the amplifier to power up, I needn't have worried, the big valve inside the supply could be seen glowing cheerfully, a very faint hum can be heard if you put your ear right next to it, but otherwise it is to all intents and purposes silent in operation. The amp powered up as normal, and we were off.
I reached for an album that had always tripped up the AI500 in its standard form, Aphrodite's Child's 1968 '666' album. The dynamic swings from creepy choral atmospherics to charging psychedelic rock were always just too much for the standard AI500.
666 proved to be something of a revelation (pardon the pun), having read previous reviews and having a limited grasp of the theory behind the supply I was fully expecting more bass, more energy and improved dynamics. But, from the moment the needle hit the record it was apparent that a fundamental change had taken place, as if the individual performers had taken a step into space and stopped jostling with one another.
I was so rapt with this improvement that when that first massive drum break came in 'four horsemen' it took me completely by surprise with its huge power and energy. Other tracks on the album suddenly began to make sense, 'the lamb' which had always seemed like a pointless and distracting excursion into Ennio Morricone territory was now underpinned by a mighty bass drum which had been barely audible before, and altogether changed for the better, in fact since the supply has been in place I've been finding that I've had to re-evaluate a good few less favoured tracks on all kinds of albums.
Sonny Boy Williamson on the excellent 'Chess Masters' pressing has always been pretty much a personal Pace/Rhythm/Timing benchmark, needless to say it was all there in spades. For once a group of performers who were each accomplished solo artists put together something that is even greater than the sum of its parts. Add to this dense concentration of musical talent the fact that these were generally 1st take 'live in the studio' recordings and its easy to understand why instrumental seperation is not as good as it could be.
With the Border Patrol attached the individual threads jumped out of the recording, with no loss of their 'tight as a camel's chuff in a sandstorm' cohesiveness. Sonny Boy's wheezing vocals, Otis Span's rapid fire piano sprinklings, Muddy Waters' angular guitar work and Willie Dixon's understated double bass playing all emerging from the soup but the essential 'groove' that makes these recordings so special came pouring through too.
I could actually drone on for some time about various records and how they've been massively improved by the addition of the supply, in fact I've done pretty much nothing else but listen to my existing record collection since I got it, which has probably saved me nearly enough money to pay for it.
Of course, the Audio Innovations 500 is not the last word in valve amplification, but it would be a great shame if the Border Patrol was seen as merely a tonic for entry level valve amplifiers. To apply some 'ducking stool' type logic the better the amplifier and its components, the greater the benefits are likely to be of optimising them by filtering out mains grunge and applying some serious regulated power to them.

The addition of this supply could make some hard core, solid state rock fanatics re-think their preconceptions about valve amplification. It would probably prove to be a good investment for anyone who is thinking about upgrading an existing valve amplifier, financially it certainly makes more sense than chopping an amp that you are reasonably happy with for a new one.
I suppose you can gather I'm pretty happy with this product, a wholehearted recommendation.

Product Weakness: None
Product Strengths: Plays up all the strengths of existing equipment and adds some new ones.

Associated Equipment for this Review:
Amplifier:	Audio Innovations 500 series
Preamplifier (or None if Integrated):	none
Sources (CDP/Turntable):	Michell Reference Hydraulic/Origin Live 'hybrid' - Trichord clocked, Black Gated up Micromega Stage 4.
Speakers:	Monitor Audio Studio 20
Cables/Interconnects:	TNT Cat 5/ TNT X-cables
Music Used (Genre/Selections):	Blues, Psychedelic, 60s French Pop, Funk etc.
Room Size (LxWxH):	9m x 5m x 2.5m
Time Period/Length of Audition:	One month
Type of Audition/Review:	Product Owner

Product Weakness:	None
Product Strengths:	Plays up all the strengths of existing equipment and adds some new ones.