I put it to Isotek founder and chief proselytiser Keith Martin that the makers of serious audio equipment go to great lengths to design and build regulated power supplies that deal with the problems inherent in the mains supply, and asked him why Genesis should be able to do a better job. His response was: “We specialise in understanding power and what’s going on and that makes a big difference. If you’re designing an audio component there are always compromises and it’s usually the areas that most people won’t notice that are compromised rather than the features or casework, and power conditioning is one of those areas.” He went on to say that he spends a great deal of time demonstrating his equipment to audiophiles around the world and has never found a system that doesn’t benefit. But he would say that; the irritating thing is that results I got back this up.
Build quality is extremely high on the Genesis. The case is made from aluminium extrusions with an anodised finish that ensures resistance to knocks and looks great. It’s a substantial beast too, thanks to the massive output transformers, extensive heatsinking and ISIS or independent system isolation support frame that sits like an exoskeleton around the body of the unit. It consists of aluminium uprights that are spanned by damped acrylic plates top and bottom which are shaped to minimise vibration. It’s an elaboratearrangement that increases the units footprint and height quite considerably but does allow it to be stacked atop Isotek’s conditioner for power amps the Super Titan.
On the connection front Genesis has a single input for the IEC input cable, an Isotek Extreme power cable is supplied to make the connection to the wall, and four independently connected output sockets, in this case 13A three pin types. The sockets themselves are silver (24k gold in the US) and internal cabling is silver plated, six nines OFC with PTFE dielectric. A proper job in other words which is probably why it works so well.
The improvements that can be wrought with Genesis vary from component to component but there are a few underlying qualities that are always apparent when switching from a decent extension block. The key one is an obvious drop in noise floor which makes low level resolution significantly better. Indistinct sounds are now fully formed, quieter instruments are far easier to identify and follow and reverb and decay extend for considerably longer. This brings significant amounts of the recording’s character with it, acoustic spaces are precisely defined and soundstages expand in all directions, it’s not at all subtle and very moreish. You have to play familiar albums again just to hear what’s been hidden in the noise, it really does revitalise your record collection and I use the term in the broadest sense.