Some people make the argument that cables don’t matter. They ask the question, “If the component I buy comes with all the cables it needs to run included, why wouldn’t I just use the cables that come in the box for free?”
It’s true, many of the audio devices you purchase may come with cables included. Unfortunately, the cables that are typically provided are not the ideal options for the components they are paired with. Many hifi manufacturers are pressured to meet a certain price-point when releasing a product to market, which really limits the cables they are willing to supply in the box. They believe that they are best served putting all of their resources towards the electronics themselves, instead of the power cords or linking cables which make the components run. In most cases, cables are simply supplied with components so that the components can be used immediately. However, when used with these standard cables, performance suffers.
Manufacturers know that what they provide for free with your purchase isn’t the best choice. Need proof? The next time you attend a hifi show, take a moment to look behind the systems in your favorite manufacturers’ rooms. That’s what we do! You’ll notice that the cables they choose to use when they’re trying to make a good impression are not the standard black cords they give away…they use Nordost!
When showcasing their products, many of the manufacturers you love use Nordost products to show their components in the best light possible. You should do the same with the carefully chosen components in your home system! Just because, for the sake of convenience, manufacturers are forced to make compromises in what they supply, doesn’t mean that your system should be limited by the “standard” cabling that they can afford to provide in the box for free! Upgrade your system with Nordost to make sure your system is living up to its performance potential.
Curious about why audio cables are so important? Find out what audio cables do, which aspects of cable design impact performance, and which cables should be upgraded first HERE.
Real music lovers can find the melody in everything. From the park to the concert hall, our friend Nelson Brill is always on the hunt for great sound. In this blog, Nelson gets into the swing of spring with reviews of amazing, live, local concerts and a few special recordings, featuring prolific trumpeters that bring the atmosphere of a live performance into your own home.
BOLD TRUMPETERS TAKE CENTER STAGE: NEW JAZZ CONCERTS AND RECORDINGS TO SAVOR
By Nelson Brill | May 11, 2022
As Spring erupts here in the Northeastern US, the sounds of jazz are once again bursting forth, like a sweet lilac flower. New adventurous recordings are on tap. There’s a whirlwind of new live shows including the resumption of great summer music festivals such as the legendary Montreal Jazz Festival [www.montrealjazzfest.com] and the Newport Jazz Festival [www.newportjazz.org]. Here’s a first report on recent jazz concerts in Boston – with a garland of audiophile quality recordings to share – to get the jazz joy flowing:
Got trumpet love? A number of swashbuckling trumpeters strode onto Boston’s stages to ignite their shining horns in recent concerts. First up, esteemed trumpeter, keyboardist and composer Nicholas Payton sashayed into Scullers Jazz Club (“Scullers”) on March 11th and delivered his bracing funk, R&B and bluesy sway with the help of vibrant partners Russell Hall on bass and Bill Stewart on drums. It was great to be back at Scullers, (see www.scullersjazz.com for their calendar of upcoming shows) with its welcoming staff and buzzing atmosphere. In retrospect, the only sad news was that Payton’s show was one of the last shows engineered and produced by Scullers’ talented audio engineer, Matt Hayes, who tragically passed away in early April. Hayes will be sorely missed by his colleagues, the many musicians he worked with andthe audiences who were lucky to hear his audio artistry each night at Scullers.
At their Scullers show, Payton and his dapper partners played with an easy-going camaraderie, digging deep into tunes from Payton’s newest recording, Smoke Sessions [Smoke Sessions Records]. Reflecting Payton’s evolution as an artist, his Smoke Sessions recording highlights Payton’s artistry at his keyboard more than on his legendary horn. This was the case at his Scullers performance. Payton spent most of his time at his alighting electronic keyboard and his piano, plying his trumpet as an accenting partner with short bursting solos. For instance, on the band’s swinging version of Benny Golston’s “Stable Mates”, Payton mixed a cluster of bluesy chords on his electric keyboard, swinging with twinkle and verve, adding the spice of a short trumpet solo bristling with crisp bursts and breathy descents. The bluesy swing concluded with a joyful Payton-Stewart conversation with Stewart burbling low on his drums and crackling rim hits and Payton caressing his shining horn in a rising and falling stutter-stepping dance – ending on a clarion, soulful call.
A special treat at this Scullers performance was getting the opportunity to explore the propulsive engine of Stewart on his sly and expressive drums. His creative pitter-patter of light snare, cymbal shine and rim hits was the perfect inventive companion to Payton’s musical territory allowing everyone to stretch out and groove. On another highlight, the band’s pulsating tune, “Jazz Is A Four Letter Word,” Stewart delivered a crackling rock beat with his concise snare and cymbal hits that strode forth to allow Payton and Hall to swing with rocking glee on Stewart’s slip-stream of sunshine, with the capacity audience chanting along to the song’s irresistible sway. On the band’s ardent encore, “Let Me Live Forever In The Place We Call New Orleans!” Payton strutted his trumpet with piercing joy- fast, slippery and slurry- to the top of his crisp register. His trumpet’s bursts of swing and sear (sweet and radiant), lead naturally into a pungent Hall bass solo plucking furiously at his rubbery strings (thwacking them against his instrument’s wooden body in percussive thunder) to dig deep into the band’s joyful “Second Line” groove.
Among his many adventurous projects over the years, Payton participated as an early member of the venturing SFJAZZCollective, (“SFJAZZ”), a band that has held true, since its inaugural season in 2004, to its mandate of being a “democratic composers’ workshop”. For a fine example of Payton’s early work in SFJAZZ, take a listen to SFJAZZ’s 2005 live recording [on the Nonesuch Records Label]. Of the many highlights on this stellar live recording, check out Payton sparring with his remarkable partners – saxophonists Miguel Zenon and Joshua Reedman- on a dazzling version of Ornette Coleman’s “Una Muy Bonita”. This jam session positively erupts with creative soloing and dashing dialogue, with Payton’s trumpet careening with playful sear and soar. These masterful players are joined by the great Bobby Hutcherson on vibes, Brian Blade on drums and Robert Hurst on his locomotive bass. This is one thunderous joyful ride, especially if your home audio system is up to the task of capturing the recording’s great dynamic flow, tactile heat and natural imagery of the players on their layered and airy stage.
SFJAZZ continues to be a vital and brimming musical force as demonstrated in its recent concert held at the Berklee Performance Center in Boston on April 8th, presented by Celebrity Series of Boston. (See www.celebrityseries.org for a calendar of all upcoming concerts presented this cherished non-profit arts organization). The current members of SFJAZZ– saxophonists Chris Potter and David Sanchez, trumpeter Etienne Charles, vibraphonist Warren Wolf, pianist Edward Simon, bassist Matt Brewer, drummer Kendrick A.D. Scott and vocalists Gretchen Parlato and Martin Luther McCoy –unfurled a dazzling display of collective brio and brilliant musicianship at their magnetic Celebrity Series concert.
The playful camaraderie shared by these talented musicianswas clearly palpable – as was their collective glee in diving into original compositions from each member of the ensemble.Edward Simon’s contribution, his composition in tribute to George Floyd, was a soulful piece caressed by Charles’ soft uplifting trumpet curls and McCoy’s gentle vocals. Simon’s piano solo teemed with soft chordal clusters and velvety runs, tender in their understated strength. In contrast to this cathartic piece, other compositions this eveningflowed with glittering grooves and defiant funk. McCoy’s vocals, (with their malleability and burnished soulfulness), took dynamic charge of SFJAZZ’s romping cover of Marvin Gaye’s “What’s Going On?”, transformed into a funky fest led by Sanchez’s boisterous tenor sax and Charles’ shining trumpet calls. On Potter’s venturing original, “Mutuality”, the dancing optimism continued with a sunny riff riding upon the slipstream of Gretchen Parlato’s wordless vocals. Parlato’s warm-as-a-breeze vocals (with her silvery changes in lithe perfect pitch) nestled beautifully in Potter’s alto sax caresses- his instrument a golden vehicle of expression with Potter belting out lowest honks, frenetic runs and soaring powerful chants. Scott’s fluid drums and Brewer’s pungent bass propelled this drama forward with their burbling, hunkered-down flow. Another highlight of this glittering concert was Parlato’s original, “All That’s Inside You” – another optimistic foray- in which Parlato and McCoy’s vocals roamed in carefree companionship, swirling around Wolf’s effervescent vibe solo. The concert concluded with a rollicking version of Sly Stone’s “I Want To Take You Higher!” with the capacity audience standing and singing as the band strode forth in gleeful action lit up by Charles’ trumpet (roaming crisply in the stratosphere) and Potter and Sanchez’s saxophones hurling bluesy, stutter-step calls to glitter the dance.
With the sound of Etienne Charles’ shining trumpet still in my ears, I came home from this energizing concert to explore recordings from jazz trumpeters. First up was the discovery of a fresh voice on the horn – trumpeter Bruce Harris- whose new recording, Soundview [Cellar Music; www.cellarlive.com] is a shape-shifting delight. Harris surrounds himself with a stellar cast: pianist Sullivan Fortner, bassist David Wong, drummer Aaron Kimmel and vocalist Samara McClendon. Although the sound is a bit closed-in on this recording (with images placed a little too wide and compartmentalized in a space offering little air), the music is always fresh and compelling. Harris’ trumpet is a clarion vehicle of expression. His playing whimsically ranges from soft meditative calls (accompanying, for instance, the soulful vocals of McClendon on their stirring ballad “Bird of Red and Gold”) to crisp and swinging banter, as on the group’s swanking version of Randy Weston’s “Saucer Eyes” and on the playful exuberance of Hank Mobley’s “Hank’s Prank.”
The band contributes their own tasty nuggets of swing and groove. Fortner, (one of my favorite young explorers at the keyboard) is a delectable force: his piano teems with bluesy swank and bounce at every creative caress and flourish. (Check out, for instance, his sprite carefree action on the group’s delectable “Ellington Suite”). Wong is a young master on his bass delivering several riveting solos of deep purple passion while Kimmel proves himself to be a fresh voice on his drums with his whiplash snare and cymbal combinations sharp and radiant.
A master of the trumpet who left us too early, (and who most likely is an inspiration for the young Harris), was the legendary trumpeter Roy Hargrove. We are now gifted with a fantastic new recording of Hargrove performing with his impeccable musical partner, pianist Mulgrew Miller, from their concerts held at Merkin Hall in New York City in January, 2006 and from Lafayette College in Pennsylvania in November, 2007.
This new recording, entitled In Harmony, is presented by the talented team at Resonance Records (www.resonancerecords.org), a favorite audiophile label that re-discovers masterful recordings by jazz artists (some recordings unearthed for the first time!) and presents these radiant sessions in the best possible re-mastered sound from their original master tapes. In Harmony is a brilliant addition to the Hargrove/Miller legacy and to the Resonance Records oeuvre. The Merkin Hall selections capture both players in true-to-life crackling presence and natural imagery, plying their magic in a layered and spacious acoustic. The selections from the Lafayette College concert are of a bit different in sonic quality (due surely to the recording techniques utilized at the original event): Miller’s piano is more recessed, there is a bit less body and bloom to both his piano and Hargrove’s trumpet and the recording has a less spacious soundstage.
Regardless of these small sonic differences between the sessions, the glorious music generated by Hargrove and Miller on their In Harmony is open-eared, ever-adventurous and immersive. Highlights include the metallic fire of Hargrove’s trumpet (lighting up to the rear of Merkin Hall) on such golden beauties as “Just In Time” or the bluesy swank of “Blues For Mr. Hill”. His deft trumpet navigates effortlessly from tropical romps and slurring slides (on such great tunes as Blue Mitchell’s “Fungii Mama”) to the softest dignified rustle, as on the gracious “I Remember Clifford”. Miller’s piano undulates and sparkles in frisky dialogue with Hargrove’s trumpet at every turn. His piano has this beautiful swinging and singing quality, delivering the boogie stomp of the rocking encore, “OW” with glitter or using his expert colorist phrasing (and a soft athletic drive) to caress the unpredictable and angular strokes of “Monk’s Dream”. In Harmony captures this tête-à-tête between these two maestros with ease and joy, their dialogue sweeping us along into an immersive world of spiky-sweet swing, meditation and toe-tapping fun.
I can’t let this trumpet glory from a master like Hargrove pass-by without also mentioning another recording gem from three other legendary trumpeters – Clark Terry, Freddie Hubbard and Dizzy Gillespie- who gathered in a small studio in 1980 to create The Alternate Blues, captured in all its splendor on vinyl by the impeccable team at Analogue Productions [APR 3010; www.acousticsounds.com]. Find this LP and you will never tire of exploring the beauty and groove of this session where each of these trumpet maestros take their glorious time in exploring these informal takes. The individual and collective charisma is only made sweeter by the incomparable rhythm section here: Oscar Peterson on piano, Ray Brown on bass, Joe Pass on guitar and Bobby Durham on drums. This LP is a cherished keeper in any vinyl lover’s collection.
This year we are also celebrating the centennial of the birth of dazzling bassist and composer, Charles Mingus, and what a treat it was to hear another stellar young trumpeter, Jason Palmer, soar his piercing trumpet into New England Conservatory’s (“NEC”) airy Jordan Hall in celebration of Mingus’ music. At this NEC celebration concert held on April 19th, Palmer joined the NEC Jazz Orchestra, conducted by their peerless director, Ken Schaphorst, in a fiery version of Mingus’ “Meditations on Integration”. Palmer’s trumpet was in great kinetic form: his solos crackling in frenetic runs, sharp dancing bursts and blossoming in golden hues.
This same effusive spirit infused the NEC “House Band” and the NEC “Joe Morris Ensemble” in bold performances of Mingus’ “Orange Was The Color of Her Dress” and Mingus’ legendary “Fables of Faubus”- highlighted by NEC student trumpeters Zoe Murphy and Isaac Dubow blowing their horns in gutsy and fiery bursts. There were also some very special solo piano performances at this NEC Mingus celebration. Eminent NEC faculty member and legendary pianist Ran Blake performed his own composition, “Mingus Noir”, with incomparable soulful expression. Another brilliant and intrepid pianist, Jason Moran, explored the rollicking spirit and swirl of “Goodbye Pork Pie Hat” with barrelhouse and grooving energy while young NEC student pianist Jonathan Paik held the audience in Jordan Hall spellbound with his meditative deep dive into Mingus’ ballad, “Myself When I Am Real.” (See www.necmusic.edu for more fabulous free concerts coming this Fall).
Mingus’ genius – as a bass player and composer- is heard in all its seismic beauty on a new recording that gifts us with a beautiful re-mastering of the complete legendary concert by Mingus and his band presented at Carnegie Hall in 1974 [Atlantic Recording Group label]. The new recording delivers all the layered air and soundstage of Carnegie Hall and has a “you-are-there” tactile energy and presence. Mingus and his band are bold and fiery – their energy is irresistible and their musicianship ardent and volcanic. They exchange audacious musical conversations swirling with vital and reveling sounds – from the deep blasts of Hamiet Bluiett’s careening baritone to the snap and spunk of Dannie Richmond’s alighting drums. Unfurling above all the delicious action is the young trumpeter Jon Faddis, pushing the stratospheric limits of his instrument with searing force, layered deep in the soundstage. In the second set’s “battle of the saxes”, legendary saxophonists George Adams, Charles McPherson, John Handy and Rahsaan Roland Kirk join with Bluiett, Faddis and the rest of Mingus’ brilliant band to fire-up every intrepid thrill in Mingus’ music. A bravura spirit to heal the world!
We have recently received two great reviews on our Reference-level, Valhalla 2 Ethernet Cable. The reviewers, Matej Isak from Mono & Stereo and Anthony Kershaw from Audiophilia, were so impressed with this transformative digital cable that BOTH publications presented our Ethernet Cable with awards— the Mono & Stereo Best Buy Award and the Audiophilia Star Component award! Here is what they had to say about this very decorated cable:
“Nordost Valhalla V2 Ethernet offered a different, clearer, and more focused imagery, sounding less like a mechanical pulsating narrative and more like a tenacious non embellished sonic momentum.” – Matej Isak, Mono & Stereo
“My time with all the Valhalla 2 cables was musically intensive, instructive and, at times, mind blowing from their wonderful effect on my system. A glorious set, echoed in the marvelous Nordost Valhalla 2 Ethernet Cable. If you have a musical, revealing setup with room and system synergy in place, I dare you to hear them in your system. Very highly recommended.” – Anthony Kershaw, Audiophilia
If you would like to read these reviews in their entirety, you can do so here:
Nordost products are designed to allow you to enjoy your favorite performances as they were intended to be heard. All of us here are passionate about great music, and want to share our passion with you. Each one of us has our own style… We listen to a wide variety of artists and genres but, in a way, we appreciate them all. We thought that we would share a few of the songs on our own personal playlists with you each month. Some may be classics, some may be brand new, some may not even be to your tastes, but we hope that there is something here for everyone.
Here are some of the songs that we will have on rotation this June.
Since the launch of the QNET Network Switch, the response and interest has been overwhelmingly exciting. However, with interest, comes questions! We thought that we would take a minute to share some of the most frequently asked QNET questions here, so that everyone can get the answers they are looking for!
Q: The QNET is advertised as being a “layer-2 Ethernet switch”… what does the phrase “layer-2” refer to?
A: “Layer-2” refers to the OSI model around which numerous interfaces/protocols are designed. Ethernet is just one of those protocols.
Even though there are hybrid devices out there, a switch is (theoretically) a layer-2 device, meaning that it establishes links between two directly connected nodes (i.e. operates on MAC addresses), which is the hardcoded physical address that every internet port (including wireless) has. A layer-2 device is capable of routing packets within a given local area network (LAN), but not outside of it.
Routers, on the other hand, are layer-3 devices and operate on IP addresses, through which devices on different networks (WANs or any combination of different LANs) can communicate amongst themselves.
Q: Why do the ports on the QNET offer different speeds?
A: The QNET was conceived to be an “audio” network switch for both internet audio streaming and local network NAS audio streaming. For these purposes, 100 Mbps is more than enough speed.
At 100 Mbps it’s also possible to contain noise propagation to a minimum, compared to higher speeds, and that’s why the QNET offers 2 x 100 Mbps ports.
For devices requiring higher bandwidth, the QNET offers 3 ports at 1 Gbps.
Q: Do you need to buy the QSOURCE Linear Power Supply in order to use the QNET?
A: No, the QNET is provided with its own switch-mode power supply so that you can use it without any additional purchases. However, just like with any DC-powered device, the performance of the QNET will be much improved by introducing a high-quality linear power supply, like Nordost’s QSOURCE.
Q: Can I daisy-chain multiple network switches including the QNET?
A: While it is possible to daisy-chain multiple network switches, you shouldn’t. Daisy-chaining multiple network devices adds delay, noise, and traffic. Therefore, it should be avoided. For best performance, the QNET should always be physically connected to the main router in your network via an S/FTP Ethernet cable, preferably a Nordost Ethernet cable of your choice.
It was wonderful to be back at High End in Munich after such a long pause! High End was the perfect venue to introduce attendees from all over the world to the new products we have launched since we last showed there in 2019! Visitors saw our QNET Network Switch, Valhalla 2 Ethernet Cable, Premium QSOURCE DC Cable, Premium QKORE Wire, and QRT Stand Mount, all prominently featured in our reference-level sound system, wired with Valhalla 2 Cables. We were also thrilled to see our products showcased by our new German distributor, Audio Reference, in every system in their room. On top of all that, we were proud to support several more industry friends as they achieved the best sound from their fantastic products!
We know that not everyone was able to make the trip to Munich this year, so we took a nice sampling of the many Nordost-wired systems for you to enjoy here!
Nordost’s main room featured our Valhalla 2 cables, QNET Network Switch and more, alongside other products from Wilson Audio, Dan D’Agostino, VPI, and Roon:
Our German Distributor, Audio Reference, showcased a number of amazing systems using our Valhalla 2 and Odin 2 cables.
Raidho Acoustics used our Valhalla 2 cables in their phenomenal system.
CH Precision’s room used our Supreme Reference Odin 2 cables, and featured our new Tyr 2 X1 cable, designed specially for use with CH Precision components.
Moon’s room was sounding great with our Heimdall 2 range of cables.
The scansonic room featured primarily our Frey 2 range of cables alongside some others from the Norse 2 family.
Hegel’s room used an assortment of our Leif and Norse 2 cables to wire their systems.
TAD’s system was wired with Nordost’s reference Valhalla 2 cables.
Here at Nordost, we value the relationship we have with all our dealers. In the fall of 2021, when my path crossed with Bob Visintainer of Rhapsody.Audio, who has the vision, passion, and knowledge for putting together incredible high-end audio systems, I instantly knew it would be the start of something special. That’s why this month, I’m putting the spotlight on a true one-of-a-kind. It’s my pleasure to introduce you to Bob Visintainer, of Rhapsody.Audio.
After residing on 24th Street in Manhattan for 20 years,
Rhapsody.Audio moved to a beautiful residential neighborhood in Brooklyn, NY in
the summer of 2021. Now in an impressive brownstone built in 1878, the
move increased the number of listening rooms from one to seven, which gives
every set of speakers its own space to shine.
Thick stone walls serve as the backdrop to brands such as Pilium electronics from Greece, AlsyVox ribbon speakers from Spain, Kondo electronics from Japan, Deisis Audio speakers from Italy, Bayz Audio omnidirectional speakers from Hungary, Taiko Audio products from the Netherlands, Constellation from the USA, V.Y.G.E.R. Turntables from Italy, Magico (check out the M9’s now available for audition!) and Raidho speakers from Denmark, all wired with Nordost cables — A true feast for the eyes and ears.
During the great undertaking of relocating his business, Bob had
the idea of creating Rhapsody Listening Rooms (R.L.R.’s) around the country.
These listening rooms allow people across the country to now hear the exotic
products that they may have only had a chance to hear at shows.
Over the past two decades, the way in which people listen to music has evolved tremendously. Today, even the most discerning of audiophiles have embraced digital sources into their systems. However, in some cases, this adoption has moved faster than the technology, forcing users to integrate non-audio-grade components into highly specialized systems. This is especially true with standard network switches, designed to be used with TVs or computers, which introduce noise, cross-contamination, and interference into your hifi system.
The QNET is a layer-2, five-port Ethernet switch that has been specifically designed with audio performance in mind.
Compared to other audiophile network switches currently found on the market, which are typically standard switches with a simple upgrade to either the power supply or oscillators, the QNET is completely redesigned from the ground up. Every aspect of this product, from part to placement, was made to perfect the transmission and receival of high-speed audio signals, while achieving extremely low noise operation.
Internally, the QNET uses a high speed, multi-layered, impedance-controlled layout, which optimizes signal routes, minimizing reflections, interference, and crosstalk. It also boasts an extremely low-noise, stable oscillator for the main clock of the device, which allows for minimal jitter and phase noise. It is equipped with six dedicated power supplies, which provide unencumbered current to all parts of the switch, while minimizing noise cross-contamination and ensuring clean, interference-free operation.
Externally, the QNET is manufactured using an extremely durable aluminum housing. This housing not only acts as a heat sink and shield for the device, but also provides physical separation for the five, independent ports, each accommodating an 8P8C (RJ45) connector. The physical separation of each of these ports is a critical and unique design element, ensuring minimal crosstalk and interference within the device.
Each port on the QNET is optimized for its application. Three of the five ports are auto-negotiated 1000BASE-T (1 Gbps) capable, which should be used for the router and other generic network devices. The remaining two ports are fixed to 100BASE-TX (100 Mbps), a speed at which internal noise reduction is possible, making these ports best used for primary audio servers/players or external media sources.
The QNET is provided with its own DC power supply. However, to achieve the best results, the QNET should be powered by Nordost’s QSOURCE Linear Power Supply and connected with Nordost’s award-winning Ethernet Cables.
Whether you stream music and/or video from a local server, a NAS drive, or from the internet, upgrading your digitally-run system with Nordost’s QNET will make all the difference. This premium network switch will deliver enviable dynamic range, extension, and clarity to your system. As a result, the voices and instruments in your music will stand out against a surprisingly black background, giving you the fluid, life-like performance that you are looking for from your digital experience.
All Nordost products bought from an Authorized Nordost Dealer are covered under warranty. However, to benefit from your warranty, you must register your Nordost purchase. From time to time, we are asked questions about our warranty, what is covered, and how to register products, so we thought that we would answer some of our most-asked warranty-related questions for you here!
Q: What is the warranty on Nordost products?
A: Nordost products have a non-transferable, limited lifetime warranty to the original purchaser (with the exception of our QRT products, which carry limited 2 or 5-year warranties, and our headphone cables carry a limited 2 year warranty). In order to benefit from Nordost’s warranty program, Nordost must receive a completed product registration form along with proof of purchase. Register your Nordost product here.
Q: How do I register my Nordost products so that I can benefit from Nordost’s warranty program?
A: If you have purchased your Nordost product directly from an Authorized Nordost Dealer, you can register your Nordost products directly on the Nordost website. To access the Product Registration Page, simply click here, or you can find the link located on the navigation bar at the bottom of every page on our website. To complete your product registration, complete all the necessary fields and upload an image of the proof of purchase provided by your Authorized Nordost Dealer at the time of sale.
If you prefer, Warranty Registration Cards and proof of purchase from an Authorized Nordost Dealer can also be mailed to: Nordost 93 Bartzak Drive Holliston, MA 01746 USA
Q: Is there a warranty on pre-owned, or second-hand Nordost purchases.
A: Nordost’s products have a non-transferable warranty to the original purchaser. If you purchase a previously-owned Nordost product from a private seller, the product will not hold its original warranty.
However, if you purchase a Certified Pre-Owned Nordost Product directly from an Authorized Nordost Dealer, your product has been inspected by Nordost and deemed a “factory-certified used product” which can be resold under warranty. If you have purchased a Certified Pre-Owned Nordost product from an Authorized Nordost Dealer, a Certified Pre-Owned Warranty card will be included in the packaging.
Q: How do I register my Certified Pre-Owned Nordost Product?
A: If you have purchased a purchase a Certified Pre-Owned Nordost Product directly from an Authorized Nordost Dealer, you should fill out the Certified Pre-Owned Warranty Registration Card provided with your purchase and send in the completed form, along with your proof of purchase, by mail to: Nordost 93 Bartzak Drive Holliston, MA 01746 USA
OR, Certified Pre-Owned Warranty Registration Cards and proof of purchase can also by scanned and emailed to email@example.com, or faxed to + 1 508 893 0115
With so many hifi solutions out there, it’s important to stand out. Historically, this has never been a problem for our Odin 2 Cables, and it looks like we still don’t have anything to worry about! Alan Sircom’s review of our newest Supreme Reference cable, the Odin 2 Tonearm Cable + is here and he was quite clear in his opinion when he wrote, “this is the best damn cable to hook a turntable to a phono stage. Ever”.
We couldn’t say it better ourselves!
Throughout his time auditioning this stellar tonearm lead, Alan was taken with the detail, dynamics and bass articulation that our Odin 2 Tonearm Cable + brought to his system, saying:
“By rights, this veteran format should have long since faded from view, but Odin 2 Tonearm Cable + reminds us why that simply never happens, because despite its on-paper inferiority to digital, when listening to an album now, it has a sense of dynamic shading and time-sensitivity that makes all digital seem a lifeless affair. There is verve and lust for musical life in those grooves, and Odin 2 Tonearm Cable + will dig it out!”