The Yeti Sound
Contents
Now the Yeti Reference Source is basically a little “1000”. But as we know, one transformer is not the other. And therein lies precisely the difference. Although the difference should not be very big if the transformer is wound using the same procedure. And of course with the same high-quality components. Thereby, the structure of the Source is the same as the ‘1000’.
Subtle, but audible
We know the Yeti Reference 1000 well. It has been serving (we estimate) in Alpha Audio’s reference system for two years. The 1000 brings calmness, smoothness and a touch of warmth to the system. And that’s exactly what we’re looking for.
When we take the Sonnet Pasithea out of the Reference 1000 and connect it to the Yeti Reference Source, we hear subtle but important differences. First of all, the Source is slightly faster and more rhythmic than the 1000. This is no doubt audible if you know your system well and set up a challenging track for a while. We hear it in all sorts of things: guitar plucking and for example: piano attack, “overall PRaT” of the system and also in the dynamics. It all feels a bit more alive.
What we also notice is that it all becomes a bit clearer. With slightly more detail as well, although that may also be some deception, because the soundstage is clearer and things feel a bit more enthusiastic. This is clearly audible in a song like “Mooie Dag” by Blof.
All in all, the Source puts the accents a bit differently than the 1000. The Yeti Reference 1000 is slightly more sweet and softer than the Yeti Reference Source. What you like is, of course, taste.
From wall to Source
This is a huge difference. If we put the Sonnet Pasithea directly into the wall outlet, the image becomes distinctly flatter and much of the calmness we have become so accustomed to disappears. We immediately get the urge to stop tracks and put something else on, or turn the whole thing down a bit. And that’s never a good sign. When a system plays really well, you generally want to listen more and listen louder. And that’s definitely not the case now.
What is noticeable is that the whole thing plays cooler. It all becomes a bit sterile. It’s not that the bandwidth is different: the deepest bass is still audible. Think of the song “Hey Now” by London Grammar. There we can still hear it all just fine. But the warmth and flow in the midrange is gone. The treble is also a bit sharper, bringing unrest.
That we are not making it up is noticeable when we put the Sonnet back in the Yeti Reference Source. Immediately the calmness is back and we get more depth and width in the stereo image: the air is back. Just like the flow and glow that we missed so much. In short: this is an effective filter!
