{"id":30985,"date":"2022-02-13T14:30:27","date_gmt":"2022-02-13T12:30:27","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=30985"},"modified":"2024-12-31T13:32:48","modified_gmt":"2024-12-31T11:32:48","slug":"ansuz-sortz-and-sparkz","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/accessories-reviews\/tuning-tweaks-reviews\/ansuz-sortz-and-sparkz\/","title":{"rendered":"Ansuz Sparkz and Sortz"},"content":{"rendered":"

Review samples supplied by Ohm Audio<\/a>
\nRetail price in the Netherlands, including 21% VAT:
\nSparkz \/ Sparkz TC2: 395 euro \/ 995 euro
\nSortz \/ Sortz Supreme \/ Sortz Signature: 680 euro \/ 1.000 euro \/ 1.400 euro<\/h4>\n

Ansuz<\/h3>\n

Ansuz Acoustics is a Danish company that develops, designs, produces, and sells cables, and accessories for High-End music systems. At Ansuz, the ultimate goal is to be spearheading this narrow field of audio technology. The company feels strongly committed to meeting the needs of passionate and sophisticated clients in making any audio system perform at its full potential.<\/p>\n

Introduction<\/h3>\n

When looking at the Sortz RCA connectors, are they some sort of end caps or terminators, like the 75-ohm connectors for digital connections? And when considering the Sparkz power plugs, are they some sort of filters, like the Kemp SNS plug et al? As far as Ansuz is concerned, they are neither, at least not in the audible frequency range. These connectors are plugged into unused inputs and outputs where they perform their tasks on the ground plane and outside of the signal path.<\/p>\n

\"\"<\/p>\n

Sparkz<\/h3>\n

Ansuz Sparkz Harmonizers provide an innovative noise reduction system that works through a modified tesla-coil implementation which is said to not affect the rise time or the power draw capability of the mains supply line. What the technique does is to alter the way that noise spikes and flanks look, in a way that is similar to the PFC (Power Factor Correction) used in some switched-mode power supplies, such as some of the ones used by Jeff Rowland Design Group. The result is that noise flanks get rounded so the following electronics have an easier job preventing mains noise from being transmitted and bleeding through the parasitic capacitances that are always present here.<\/p>\n

\"\"<\/p>\n

Above is the inside of the Sparkz TC2. The coils minus the PCB are what’s inside the standard Sparkz. The careful layout on the PCB as well as the extra electronic circuitry on the other side as shown below is what differentiates the TC2 version from the standard version.<\/em><\/p>\n

\"\"<\/p>\n

Sparkz TC2<\/h3>\n

The Sparkz TC2 is a further development of the Sparkz noise-canceling technique. With the TC2 version, the same noise-canceling technique is used as in the standard Sparkz, but in addition, some very gentle analog dither is added to the mains 50\/60 Hz sine wave. This dither further rounds the noise transients and makes the downstream components capable of doing a better job as the rectifiers in the following audio components will switch softer.<\/p>\n

\"\"<\/p>\n

Sortz<\/h3>\n

The Ansuz Sortz are comprised of an amalgamation of two innovative and sophisticated resonance control elements that provide a new method for absorbing vibrations that are not directly related to the signal path. The aim is to preserve the natural and authentic sound while avoiding any alteration in the sound reproduction that often comes along with the use of traditional grounding materials, which distort the sound by making it unnaturally cold and harsh.<\/p>\n

The open input and output sockets in HIFI electronic equipment can be a source of unwanted, interfering noise. These sockets act like antennas for airborne radio frequency noise, which is picked up from the ground connection of any audio component (amplifier, etc.). Thus, the ground connection can be a critical source of disturbing noise. Since all audio components are interconnected via their ground connection \u2013 this noise is potentially bleeding into all the other audio components.<\/p>\n

\"\"<\/p>\n

Ansuz Sortz employ two critical technologies \u2013 The Tesla coil technology which reduces the ability of any audio component to pick up disturbing noise, and the Anti Aerial resonance coil technology which significantly reduces the actual noise level. Tesla coils are wrapped around a Zirconium bar and are constructed as double inverted coils. So, when these dual coils encounter a voltage spike, a counter-spike is developed in the counter-wound section of these coils to eliminate the disturbing voltage spike. The principle of the Anti-Aerial technology is to ensure that the signal path has no final length so that it can no longer act as an antenna. This prevents airborne RF\/ EMI (radiofrequency radiation \/electromagnetic interference) noise from being absorbed in the circuitry and then bleeding into the audio system as \u2018white noise\u2018.<\/p>\n

Ansuz Sortz undergo a Cryogenic treatment to increase their conductivity. When metal components undergo cryogenic processing, they are subjected to extreme cooling temperatures of about -321\u00b0F (-196\u00b0 C ). During this process, the crystal structure of the metal contracts more and more. Alloy elements are displaced from the grain structure of the metal, which then becomes very similar to a monocrystal. These structural changes in the metal have measurable effects on its audio properties, resulting in a 6-8% increase in conductivity.<\/p>\n

\"\"<\/p>\n

There are three Sortz versions, differentiated not by their technology on the inside but by the “Signature Resonance Coatings” coatings that are applied to the outer housing. The technology that is used on the inside is actually identical. The coatings are applied to the housings in a particle accelerator to create the finest and most uniform layer consisting of zirconium and tungsten, followed by a layer of aluminum titanium nitride. Finally, the discs are applied with a layer of Zirconium.<\/p>\n

Version 1 – Sortz<\/h3>\n

\"\"<\/p>\n

This is the base model that has all the above technologies and a polished aluminum housing.<\/p>\n

Version 2 – Sortz Supreme<\/h3>\n

\"\"<\/p>\n

This model has all the above plus the Supreme coating.<\/p>\n

Version 3 – Sortz Signature<\/h3>\n

\"\"<\/p>\n

This is the top model which has the above, including the Supreme coating, plus an additional layer of zirconium as the top coating.<\/p>\n

Ansuz Sortz are available in RCA, BNC, and XLR configurations. Versions in USB and LAN will follow.<\/p>\n

This concludes my descriptions of the techniques used for the Sparkz and Sortz but for those who are interested in diving deeper still, there’s more to be found on the Manufacturer’s website<\/a>.<\/p>\n

\"\"<\/p>\n

Review Context<\/h3>\n

For this review, I will use my main system<\/a>, consisting in the basis of the CH C1<\/a> DAC, CH L1<\/a> preamp, CH A1.5<\/a> power amp, and Magico S1 MkII speakers and the Antipodes K50<\/a> and Grimm MU-1<\/a> Music Servers. Additionally, I will use the Aries Cerat Impera Reference<\/a> preamp.<\/p>\n

My power installation consists of a GigaWatt G-C16A 2P Circuit Breaker<\/a> feeding an uninterrupted run of solid-core installation wire that ends in three wall-mounted GigaWatt G-044 Schuko Wall Sockets<\/a>. Normally, the wall sockets feed three Popp\/Eurolite unfiltered aluminum 8-output distributors via the same kind of solid-core installation wire.<\/p>\n

\"\"<\/p>\n

For this occasion, Derk of Ohm Audio also provided an Ansuz Mainz D2 power cable and an Ansuz Mainz8 D2 power distributor, which I will discuss in another review.<\/p>\n

In this review, I will be testing the Sparkz and Sortz with my own distributors and power cables as well as with the aforementioned Ansuz combo.<\/p>\n

Next: Listening part 1 – using Ansuz Mainz D2 and Mainz8 D2<\/p>\n

<\/p>\n

Listening part 1 – using Ansuz Mainz D2 and Mainz8 D2<\/h3>\n

\"\"<\/p>\n

Sparkz<\/h3>\n

For both the Sparkz and the Sortz, I will start with the Ansuz-optimized setup using an Ansuz Mainz D2 power cable connected to one of the GigaWatt G-044 Schuko Wall Sockets<\/a> feeding the Ansuz Mainz8 D2 power distributor into which I have plugged all the audio components that I use for this review. Meanwhile, all the other components are either powered off or on standby and not connected to the core system.<\/p>\n

Upon adding one standard Sparkz connector to the Ansuz Mainz8, when listening for an increase in low-level detail, one can be forgiven expecting the sound to become crispier or more explicit. But that is not what the Sparkz do. What happens is\u00a0that the ambiance, the atmosphere<\/em>, is further enhanced, and made more intimate. The sound bubble more or less retains its size but becomes deeper and more densely filled. This is rather the inverse of “black holes” between the notes, an effect that is often described as a black or silent background, but which I feel is actually scraping information away. The effects that the Sparkz provides combine to enhance the intimacy and the organic, human<\/em> aspect of the performance. That said, I can’t help notice that the Sparkz also introduces what I perceive as a slight damping of the transient peaks. This lowers the vibrance and excitement by a small margin which, for me and my system, is not ideal. With the Sparkz removed, the sound becomes relatively drier again, less dense and intimate, but also just that little bit more crispy and direct. I should add that the S-series Magicos, while revealing and very transparent, is also relatively friendly, and contrary to the brand’s general perception, even a little sweet on top.<\/p>\n

While somewhat reluctantly preparing to try the TC2 Sparkz, I felt a dose of skepticism coming up but only for 3 seconds, as I soon heard that the TC2 improvements are very clearly audible. What the TC2 version achieves in terms of enhanced density and intimacy is very similar to what the regular version does, but with enhanced clarity, incisiveness, speed, and transient sharpness. Now, it must be said, there really is something to what the Sparkz can do! The enhanced atmosphere and intimacy quickly grow on you, making the removal of the Sparkz a sobering exercise. With the Sparkz TC2 removed again, the sound is more articulate but also drier and more matter-of-fact.<\/p>\n

\"\"<\/p>\n

From CH to AC<\/h3>\n

Having heard the effects with the L1 preamp, I should assume that the Sparkz might respond differently in another system. Since I have the Aries Cerat Impera Reference preamp on loan, this was the perfect moment to change preamps. While the Impera is not strictly as highly resolving or as dead-on neutral as the L1, it throws an absolutely huge soundstage and has the kind of flow and richness in texture that transistor preamplifiers just seem incapable of achieving.<\/p>\n

But although the Impera is an entirely different product, the effect on the music is very similar to what I heard with the L1 preamp. And with the Impera, too, the regular Sparkz has a big influence but the TC2 unit delivers a more exciting and more complete performance. However, this time, in addition to the aforementioned improvements in soundstage density and intimacy, the enhancements in soundstage depth become even more pronounced, either with the standard Sparkz or the Sparkz TC2.<\/p>\n

But wait, what happens if you use more than one Sparkz?<\/p>\n

\"\"<\/p>\n

Doubling Up<\/h3>\n

Interestingly, instead of pulling the sound into the same direction just a little further, adding a second Sparkz actually provided a cleaner and tighter, and more exciting sound! And although the bass remains a little fuller\/thicker (or less lean, if you will), and there is still a little bit of a damped feeling overall, the rhythmic expression, which for me is linked to the transient behavior, now feels more similar as to using no Sparkz. And the TC2 duo managed this while still delivering the advantages of the single Sparkz TC2.<\/p>\n

When considering the addition of a single Sparkz, there is the consideration of smooth intimacy on the one hand versus direct expression on the other but with two Sparkz, this division is made less distinct. With certain recordings, the presence of the two TC2’s now actually heightened the overall realism of stand-up acoustic bass, piano, and guitar.<\/p>\n

While I’m not usually a fan of any accessory that reduces the overall sense of attack, I also have to admit to finding the performance sans Sparkz emotionally less appealing, even when using the magnificent Aries Cerat preamp. Don’t you just love to hate this hobby?!<\/p>\n

\"\"<\/p>\n

Sortz<\/h3>\n

Having removed the Sparkz, and starting with the standard Sortz, connected to two unused left and right inputs of the CH Precision L1 preamp, the soundstage depth<\/em> doesn’t change as much as with the Sparkz, but the stage becomes wider and the ambiance now seems to extend more from the speakers toward me and surrounding me more. Meanwhile, something similar happens with the soundstage density and the overall intimacy of the music. More so than the Sparkz, the Sortz makes the music smoother and calmer, which in some respects is more pleasing, but the performance also feels less crispy and direct, less impactful and energetic. This is especially the case with predominantly rhythmic music that thrives on transient behavior. To be fair, it’s perhaps not so much the transient itself or even its speed but rather the shortness of it, that creates what I perceive as a more immediate feeling.<\/p>\n

Let me share a short anecdote to illustrate the relativity of this. I have a close audiophile friend with whom I agree on just about everything, except on the matters of bass tightness and transient behavior. His main focal point is realism and he feels that my preferred sound across as staccato and overly emphasized on the transients, and thus, more hi-fi and less realistic. To me, however, it’s precisely the immediate transients that sound realistic. Many years ago, standing in front of a live band with a stand-up acoustic bass made me realize that my own B&W system did not at all resemble what I heard at that moment and that sparked my quest for a more ideal bass response. But therein lies the rub. No system can do it all, so which aspect of live performance is it that we focus on with our systems?<\/p>\n

No matter where you stand, or how your system is comprised, the benefits of the Sortz are also very clear with music that relies more on harmonic textures and subtle reverbs. With moodier, slower, and more intimate music from artists like Diana Krall or Patricia Barber, the difference can be impressive. Here, the Sortz provides a sonic delivery that is spatially denser, with subtleties such as shakers and reverbs more deeply embedded into the ensemble but at the same time also very noticeably less factual and leading to an indescribably more relaxing yet still intriguing presentation that makes me put down the remote and just sink into the music.<\/p>\n

Sure enough, even with the sympathetic kind of music, when I engage my critical listening mode, I still hear that percussive sounds have less immediacy to them, but there is no denying the increased amount of magic, in a way, reminding me of the beneficial effects, as well as the one less ideal attribute, of tube amplifiers.<\/p>\n

\"\"<\/p>\n

Stepping up to the Supreme Sortz, the sound instantly attains more grunt. The bass is more robust and the music more expressive as a result. However, I also feel that this version sounds a little darker than the standard Sortz. It can be argued that this is a result of the increased sonority but my feeling is that the treble is actually slightly toned down to create a fuller and even more intimate sonic picture.\u00a0Stepping back confirmed that the standard Sortz does indeed sound more light-footed and while not necessarily more open in the upper-frequency range, it does come across as slightly airier from the upper midrange and up.<\/p>\n

At the risk of referring to a classic component that no one remembers, I’d say that the Supreme Sortz is a bit like going from a Mark Levinson 390S<\/a> CD player to a Wadia 861<\/a> CD player. Well, really on in terms of timbre, tonal balance, and grunt. Not so much in terms of fluidity, airiness, and finesse, because these aspects are actually more the realm of the Levinson, as the Wadia was never very airy or refined.<\/p>\n

Based on its more robust balance, I personally prefer the more impactful-sounding Supreme version over the standard Sortz but I’ll be quick to add that there are no meaningful differences between the two versions in terms of soundstaging, fluidity, or flow.<\/p>\n

\"\"<\/p>\n

Finally, stepping up from the Supreme Sortz to the Signature Sortz, a portion of the Supreme’s grunt and robustness is retained, while the sound also gains the more linear and balanced approach from the regular Sortz. It’s not quite the same, though, as the regular version sounds leaner and overall less solid and impressive. Indeed, the range-topping version does indeed seem to perform best.<\/p>\n

That said, I can imagine that personal preference will surely play a role. While I most definitely prefer the Supreme over the regular Sortz, I can see listeners opting for either the Supreme or the Signature. The former may sound a little dark in the upper midrange but it has an appealing balance, with its firm stature, its profound texturing, and its deep tonal saturation. The Signature provides a more even-handed sound which makes it feel less special but at the same time also makes it the most neutral and arguably best performer.<\/p>\n

\"\"<\/p>\n

Sortz – Aries Cerat<\/h3>\n

Changing once again from the L1 to the Aries Cerat Impera Reference, I found that the effects of the three Sortz versions were similar but in trying the three versions in succession, remarkably, I do not hear much change in terms of soundstaging, either front to back or left to right. Also, while the sound does become calmer and more intimate with the addition of either of the three Sortz, the most notable change with this preamp is that of enhanced fluidity and refinement.<\/p>\n

Once again, I favor the middle Sortz version, the Supreme because, while it may not be as linear as the Signature, it is the most expressive of the three while offering the same benefits in terms of spatiality and intimacy.<\/p>\n

\"\"<\/p>\n

As with the L1, however, I also hear the softening of the transient peaks. And I must say that in this case, the benefits do not outweigh the relative disadvantages. But if you think about it, there’s logic to it. The CH L1 is a very clean-sounding pure transistor product while the Aries Cerat Impera is a full and rich-sounding pure tube product. Evidently, in my system at least, the former does well with the enhanced intimacy while the latter does not seem to be in need of further conditioning.<\/p>\n

Furthermore, there is a chance that the Impera preamp’s design is different such that it is simply not in need of the sort of treatment that the Sortz provide. And lastly, it should be remembered that the power source is already receiving treatment inside of the Mainz8 Power Distributor.<\/p>\n

With all that said, this is the ideal moment to change from the full Ansuz power source to my own modest power cables and distributors.<\/p>\n

Next: Listening part 2 using my basic power setup<\/p>\n

<\/p>\n

\"\"<\/p>\n

Listening part 2 – using my basic power setup<\/h3>\n

After the intriguing results using the Ansuz power cable and distributor, I was curious to find out how the Sparkz and Sortz would respond when used with my regular power cables and distributors. In order to find out, I reconnected my simple and unfiltered Popp\/Eurolite aluminum 8-output distributors with cables made of the same type of solid-core installation wire instead of the Ansuz Mainz D2 power cable and Mainz8 D2 distributor. The system itself, incidentally, was connected using the same cables as before in the full-Ansuz situation.<\/p>\n

1 x Sparkz<\/h3>\n

Just as in the full Ansuz power situation, adding one Sparkz TC2 adds a lot of charm! The one unit alone already makes the performance more fascinating while doing very little harm. What harm it does, in my view, is to make fast rhythmic bits feel a little less urgent and incisive. For some music such as electronic and R&B, this made me prefer the “naked” distribution block while for smooth jazz, soul, and other more introspective music, I preferred the use of the Sparkz TC2. And I would even go as far as to say that my simple power setup benefited more than the full Ansuz power setup.<\/p>\n

2 x Sparkz<\/h3>\n

Just as I heard it before with the complete Ansuz setup, again, two Sparkz TC2 work together to tighten up the sound significantly, but this time, with my basic and already very tight-sounding power setup, I feel that the result is now just a bit too controlled, even more so than when no Sparkz are used. While the effect of added precision is fascinating, I feel that just the one Sparkz TC2 created a more ideal balance between accuracy and flow.<\/p>\n

1 x Sortz<\/h3>\n

Having removed the Sparkz from my power distributor, I proceeded to test a single Sortz Supreme in one of three components at a time. First, the L1 preamp, then the C1 DAC, and finally, the A1.5 power amp.<\/p>\n

\"\"<\/p>\n

In the preamp, once again, the Sortz Supreme provided a smoother sound with more intimacy and a denser soundstage with a less technical, more organic flow and a slight amount of calming\/damping in the transient behavior. Compared to the Sparkz TC2, I’d say that the effect on the soundstage was less profound while the calming effect was larger.<\/p>\n

\"\"<\/p>\n

In the DAC’s separately-buffered secondary outputs, rather surprisingly, the Sortz Supreme had much more of a cleaning and tightening effect than the soothing and calming effect as heard in all the other circumstances so far. In this case (connected to the DAC’s outputs), the Sortz Supreme makes the sound tighter and more controlled, more explicit, and more outspoken while the soundstage and ambiance also respond differently. Rather than becoming more organic and free-flowing, the music now becomes faster and more staccato.<\/p>\n

Well, I’ll be… Here I was, thinking I had these plugs already figured out entirely and just throwing in this last test for good measure. I’m glad I did, as it adds more facets to the Sortz’ potential application.<\/p>\n

\"\"<\/p>\n

Having taken this extra step, I owed it to myself to also try the last possibility, which is the A1.5 power amp’s secondary inputs. On this, I can be short, as the effect was very similar to the inputs of the L1 preamp.<\/p>\n

But what would happen if I used all three versions, in the DAC, the preamp, and the power amp?<\/p>\n

All Sortz<\/h3>\n

Well, as it turns out, using Sortz in each of the aforementioned three CH Precision audio components results in magic<\/em>! It’s still not quite as explicit or incisive as using no Sortz, but there is no denying the enhanced rhythmic expression as compared to using any single Sortz or Sparkz, nor the extra dimension in the soundstage, the enhanced sustain and decay, or the increased fluidity and flow.<\/p>\n

All Sortz and Sparkz<\/h3>\n

Now, for my final experiment, let’s see what happens when I leave the three Sortz pairs connected to the three components and add the two Sparkz TC2 to the power distributor.<\/p>\n

Now, something unexpected happened! Remember that two Sparkz TC2 made the sound tighter than when using one? Well, when using all the Sortz, adding the Sparkz TC2 pair actually adds smoothness, intimacy, and flow, while the soundstage gets deepened just a little bit more.<\/p>\n

I’m not sure if Ansuz has intended the system with this outcome in mind, but the best way to describe the combined effect is to say that my solid-state system has now attained various aspects typical of tube amplification. Since I use the CH components for their transparency and brutal honesty, this is perhaps not the ideal balance for me personally or for my review work but I can imagine that many other ears will be utterly fascinated by the effect. In any event, there is no denying that the effects are real and they are easily audible!<\/p>\n

So there you have it: with Ansuz Sortz and Sparkz, one can tweak a system either way, from calmer, more intimate, and more seductive to cleaner, tighter, and more controlled.<\/p>\n

Equipment Chassis Earthing<\/h3>\n

All CH Precision components offer the possibility to connect the Analog Signal Ground to the Chassis Earth & Digital Ground. For the C1 DAC and the A1.5 amp, I prefer the sound with the Chassis connected but with the L1 preamp, I find that the music flows just that bit more freely if the chassis is kept floating.<\/p>\n

By default, Aries Cerat also offers a ground lift feature but for my unit, this is fixed to always connected. These differences may seem trivial but I’m sure that if I swapped some of the CH component’s earth jumpers, the situation might further change. But honestly, I think I’ve introduced enough variables for this review.<\/p>\n

Sparkz or Sortz?<\/h3>\n

There’s no question, for the largest effect, the two should be combined, certainly, if soundstage depth and intimacy are highest on the priority list. All things considered, while the two products share some similarities, I am most impressed by the Sparkz, and especially by the TC2 units. However, given that no two systems are alike and personal preferences will vary, I recommend a personal audition or both to find the ideal combination for the situation at hand.<\/p>\n

\"\"<\/p>\n

Conclusion<\/h2>\n

Whether or not one is into tweaks or enhancers such as Ansuz Sortz and Sparkz, my tests have shown that there is simply no debate whether or not they work. Trust me, even the addition of a single Sparkz or Sortz in an otherwise standard setup already makes a large difference. I double-checked my findings in an audio buddy’s system and sure enough, the outcome was the same. And when my non-audiophile, but highly perceptive neighbor Jessyca came by with a pile of LPs for me to wash, she was curious to hear the Sortz and Sparkz. Without telling her what to listen for, she picked up on all the aspects that I noted in this review.<\/p>\n

So what are these mysterious effects of which I am talking? As it turns out, this depends not only on the power supply and the system but also on which component they are applied to. This is why I recommend reading the entire review instead of relying only on my summary. But in general, both the Sortz and Sparkz bring density and intimacy to the imaging as well as a distinct increase in soundstage width and depth along with a calmer, richer, and more fluid presentation.<\/p>\n

With respect to the effects of the Sparkz and Sortz, I have a feeling that there will be two camps of people. On the one hand, there are those who place intimacy, relaxation, ambiance, and organic flow at the top of their wishlist, and on the other hand, those who focus heavily on the rhythmic aspects of music, call them the traditional Naim crowd. My feeling is that the latter group will be less enamored with the addition of these products while the former group will quickly fall in love with them. But as mentioned, you should really hear the effects for yourself.<\/p>\n

External Links<\/h3>\n

Distributor for the Netherlands: Ohm Audio<\/a>
\nManufacturer: Ansuz<\/a><\/p>\n

Team Ohm-Audio bv:<\/div>\n
<\/div>\n
Derk Broos<\/div>\n
Luuk Broos<\/div>\n
Gerbren Noordhuis<\/div>\n
<\/div>\n
As of 01-01-2022, Ohm Audio BV is the official distributor for Ansuz, Aavik, and B\u00f8rresen in de BeNeLux.<\/div>\n

Ohm Audio<\/a><\/h4>\n

Open by appointment
\nTuesday to Saturday 10:00 – 18:00<\/h4>\n

Zernikepark 21
\n9747 AP Groningen<\/h4>\n

Phone line 1 : +31 (0)6-38027736
\nPhone line 2 : +31 (0)6-38027745
\nEmail : i n f o @ o h m – a u d i o . n l<\/h4>\n
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