M101 Flare, Nova, Supernova and Hypernova Review – by Chuck Miller (Millercarbon’s The Audio Files)06/13/2022



M101 Supernova

M101 Supernova Review – by Daniel Brezina (Hi-Fi Voice) – 12/03/2021


Lubomir Dostal from Boston, a physicist with a doctorate from Freie Universität Berlin is into astronomy, and took his Moneoone from M101, the astronomers name for the Pinwheel galaxy M101which is a spiral galaxy in the constellation Ursa Major. He then chose the name Supernova for his flagship product in accordance with his fondness of astrophysics.     

In a description on his website, Dr. Dostál says that from the position of a physicist-researcher, he was intrigued by the paradox that the effect of power cables is not properly explained in any scientific literature. So he decided to examine the literature and did not find any correlation between measured parameters of wires and by how it ultimately affects the sound signature of the music system.    

The result is handmade cables, each piece manufactured by Mr Dostál himself using a skeleton printed on a 3D printer. The result is a rather unusual look for the Supernova, although you may have come across a similar technology and design, for example, with the top product lines of InAkustik. 

The basic structural element is a kind of “backbone” composed of disks and bridges totaling 187 individual elements. Tinned copper wires pass through the fixing points in this structure. Sixteen wires are twisted one turn every four inches. Thanks to this method, the conductors are practically suspended in the air, or at least 90% of their surface. Since the cables are handmade the assembly must be an enormous effort.

The outer sheath of the cable is made of Techflex Flexo cable sleeving and you can choose from a relatively wide range of colors from subtle to radiant designs.  

The way that the cables are delivered is also worth mentioning – the cables are put straight in a cylinder about two and a quarter meters long, so unpacking them is amusingly different from anything else on the market, although it is definitely not about practicality. 

We tested M101 Supernova cables on the main editorial system via GMG Power Harmonic Hammer 3000P. The cables were compared against Nordost Heimdall 2 on Norma Revo SC-2 LN and Métronome DSC1, or Norma PA 160 MR (we had two, so always on two components). We also tested the cable with GMG Power UNITque. It was listened to, of course, through the Xavian Quarta Evoluzione. 

Deep bass in Katie Melua’s “Never Felt Less Like Dancing” (“Ketevan” | 2013 | Dramatico | DRAMCD0095) suddenly felt more diverse after switching to Supernova cables, especially with DSC1, the effect was very clear. For example, in the lower positions of the singer’s piano, a longer reverberation can be heard and the event is more structured and bigger. The tones then seem to be formed more freely, smoother, not with such a forced effort for drama like Nordost. Then the character of the electronics and the recording stand out more with a beautifully rich timbre. The usually relatively dominant bass component also seems to have calmed down and become more balanced in reproduction, becoming a more natural part of it.  

In Tallis’s “Gloria” (“The Complete Works” | 2004 | Brilliant | 93612), performed by Alistair Dixon and Chaplle du Roi, the sound stage opened up and the sound came across more localized in spite of being more airy and open compared to our standard Nordosts. Each of the vocalists was given a little more space. Vocalist voices softened and did not feel as forward compared to Nordost, as if a pinch of velvet and kindness touched their voices. In general, however, there was a more delicate presentation, with an even more pronounced ability to organize the recording, including small nuances.     

Although Nordost has also a very specific control of treble, the jingle in “The Red One” (Pat Metheny / John Scofield | “I Can See Your House From Here” | 1994 | Blue Note | 7243 8 27765 2 9) was much more clearly “cut” using Supernova. Cymbals make a clearer, more concrete impression, they have “more metal”, so to speak. The impact of the mallet is clearer, more ringing, but it does not overwhelm the rest of the instruments. Supernova does not overwhelm the treble in volume, but rather adds in energy and accuracy, which turns into a sense of correctness and obviousness without special effects.   

It is necessary to say that compared to Nordost, Supernova seemed calmer, somewhat less frantic, at the end of “Ben’s Farm in Vermont” (David Chesky | “The Ultimate Headphone Demonstration Disc” | 2014 | Chesky Records | JD361) but again it feels that the whole time the composition graduates somewhat more naturally, the quieter passages are quieter and at the same time more intelligible, the bubbling energy flows more smoothly and in a more controlled way than with Heimdall 2. The final rise of the orchestra then looks much more confident, is more relaxed, doesn’t push forward as much, and yet has a greater sense of “power”.  

In general, the feeling of calm and less forwardness intertwined every aspect of reproduction, such as the details and subtler nuances in “Fuori il danaro!” Of Puccini’s “La Bohéma” (Solti / LSO / John Alldis Choir | 1988 | BMG | 74321 39496 2) seemed less analytical at the same time it was undeniable that there is more information, more aftermath and the organization of reproduction is a distinct step better, since nothing is lost even in crowded moments, on the contrary, articulation seems to be perfectly calm and cool, mature and dignified as if Supernova reinforced the basic character of each component.    

Recording space of Elgar’s „Violin Concerto in B minor, op. 61 ” by Sir Colin Davis and Hilary Hahn (2004 | Deutsche Grammophon | 028947487326) was as deep and vast as the Métronome can do on its own, but even here there was a sense of emphasis on its characteristics with Supernova cables. The organization of the space seems more effortless, as is the localization of individual instruments, it is both more organic and less pushed forward, but also more evident, so in the end you feel that the music is more organically spatial in width and depth.   

It seemed that the system powered by Supernova cable perhaps was an ideal combination in “Hymn” by Ultravox ( “Dancing with the Tears in My Eyes” | 1997 | EMI Gold | 724385513220) in some places a little harshly recorded – the cables presented the music as if it was groomed and composed, softened the explicitness of the sharper places, but at the same time increased the system’s ability to articulate small pieces of information, so that overall presentation gave a clearer, more orderly and musical impression, as if the more problematic parts were less prominent and the more entertaining parts such as rhythm or energy were more prominent. 

Dr Dostál’s Supernova cables are an interesting achievement because they build on a relatively complex production concept and at the same time show what can still be done with innovative 3D printing technology. But it is quite important to say that, although the cables are not inexpensive, they do match the competition of “big brands” from a similar price category with their abilities. The cables basic characteristic is that they kind of relax, civilize and refine the sound of the system. The performance with the cables becomes much less conspicuous, but still richer in dynamic contrasts or subtle shades. Certain inconspicuousness of reproduction then requires a bit of patience, there is no dramatic wow effect, but a mature, unforced obviousness, which therefore requires a little time to “adjust”. But believe me it will be time well invested…   

approx. CZK 230,000 / 2 m 


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+ innovative use of 3D printing

+ brings relaxed and a very pleasant tone to the system

+ despite its massiveness, it works well thanks to its construction 

+ the ability to customize the pattern / color of the braid sleeving

+ durable connectors


– parts made by 3D printing do not look as luxurious as the price would probably ask for

– The price itself is already quite high

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for the e-magazine Hi-Fi Voice / / written by Daniel Březina

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