Not satisfied with taking over the UK building trade, Poland now has its sights set on your audio system, and Gigawatt, with its range of power products, is in the vanguard. In 1998, Adam Schubert co-founded Power Audio Laboratories in Zgierz, a small town just to the North of Łódź in central Poland. In 2007, Schubert divided the company’s R&D and production facility, creating the Gigawatt brand in the process.
Gigawatt makes power cords, strips, filters, and five conditioners of which the PC-4 EVO is the biggest with 12 Schuko outlets, which is the norm in Europe. The PC-4 EVO is supplied with one of Gigawatt’s high quality mains cables to connect it to the wall, as well as a Schuko plug.
The PC-4 EVO doesn’t use big transformers to isolate its outlets or regenerate the mains. Rather, it has a multi-stage, parallel filtration with each quartet of outlets having its own filtering. The sets of outlets are marked for digital, analogue, and high current products, and the filtering is designed for those load types. The device is capable of supporting a continuous 25A load (70A peak) “if the power line allows”, which is greater than any audio component needs, but nevertheless does mean it can hold a current reserve for impulse loads, effectively working like a big capacitor. The review sample had a DC Offset blocker onboard, which is an optional extra. The front panel display shows incoming voltage level, and where I live, this is quite high; often over 240V and sometimes up to 246V.
I used one of Gigawatt’s chunky stainless braided power cables with a 13A plug on and hooked it up the power supply on a Rega RP10 turntable in an otherwise unconditioned system. The effect was to decrease noise and open up the soundstage, making Joni Mitchell’s voice [Mingus, Asylum] and the layers in the mix clear-cut. The soundstage also became much more solid and three-dimensional, even as it was pretty strong in the first place. Additionally, such an arrangement fleshed out the sound of the musicians, so that the bassist, Jaco Pastorius, seemed ‘behind’ Joni and her guitar.
These positive results suggested that I connected more products to the Gigawatt, starting with my Trilogy 907 phono stage, the next element in the audio chain. This dropped the noise floor further and increased stereo solidity, emphasizing the character of the studio acoustic. The extra clarity produced louder elements, too. It draws attention to the string texture of the acoustic guitar by producing an ability for percussive string sounds to stop and start more quickly, and less ‘smearing’ means faster transients. And that means better timing, and greater involvement, significantly greater.