Drums, bass, acoustic guitar cues were so clean, quick, and stable that it was as if someone had applied a squeegee to a grimy window. Even the title track’s metronomic hi-hat had more drive and a thicker, less tinny quality.
Entertainment systems and new generation home electronics deserve something more than cheap computer power-strips – transformers that hum and buzz – and overly complex, back-breaking power conditioners. The PS8 is an eight-outlet tour-de-force of custom parts engineering aimed at maximizing the performance of home-entertainment systems! The VENOM PS8 combined with the VENOM DEFENDER delivers an unprecedented level of power and protection designed to fit behind a rack or in tight spaces.
Finally, a simple, quality built, no-compromise, high-current power-distributor at an affordable price!
– US Max Input: 125 V~
– Output: 90-125 V~ unregulated
– US: Max current: 20 Amps (continuous)
– Peak instantaneous current: >100 Amps @ 8.33ms
OVER CURRENT PROTECTION
– Electromagnetic breaker
SOCKETS / CONNECTORS
– INLET: IEC C20
– OUTLETS: 8 NEMA 5-20R (3-pin, 20A)
– Dual 12 gauge conductors
– OFE C10100 Copper (Certified ASTM F68)
– 16 gauge powder coated steel
– Brushed stainless steel top-plate
– Vibration dampening (chassis)
– AC outlet dampening gaskets
– Shunyata’s Isolation Footers
– Length: 20.5 inches
– Width: 3.8 inches
– Height: 3.3 inches
– Height: 4.25 inches
– Weight: 6.2 lbs.
My first impression of the Venom system flat-out caught me off-guard, largely because my expectations were built on previous encounters with power distribution products, some good, some not so good. I began by cueing up The Wasps Overture [RCA] followed by the third and fourth movements of the Beethoven Ninth Symphony [Decca]. In each instance I heard the same thing, which arrived in the form of newly discovered orchestral weight and a more rigidly grounded soundstage. The system revealed a density change in the way I perceived ambient information. At first I thought I was hearing a tonal shift downward, as if a darker palette of colors were being applied to the performance. But in truth this was more about system or line noise being reduced to the extent that significantly more ambient information and harmonic minutiae from venue and orchestra were freely emerging.