{"id":35874,"date":"2023-08-01T09:59:28","date_gmt":"2023-08-01T07:59:28","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=35874"},"modified":"2025-07-23T09:26:26","modified_gmt":"2025-07-23T07:26:26","slug":"ansuz-darkz-resonance-control","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/accessories-reviews\/tuning-tweaks-reviews\/ansuz-darkz-resonance-control\/","title":{"rendered":"Ansuz Darkz Resonance Control"},"content":{"rendered":"

Review samples supplied by Ohm Audio<\/a>
\nRetail prices in the Netherlands, including 21% VAT:<\/h4>\n

Darkz C2T – \u20ac280 per piece (840 for 3 \/ 1.120 for 4)
\nDarkz S2T – \u20ac640 per piece (1.920 for 3 \/ 2.560 for 4)
\nDarkz T2 – 800 per piece (2.400 for 3 \/ 3.200 for 4)
\nDarkz T2 Adjustable – 920 euro per piece (2.760 for 3 \/ 3.680 for 4)
\nDarkz T2 Supreme – 1.200 euro per piece (3.600 for 3 \/ 4.800 for 4)
\nDarkz T2 Supreme Adjustable – 1.380 euro per piece (4.140 for 3 \/ 5.520 for 4)
\nTitanium Balls – \u20ac48 for a set of 3 for 1 Darkz
\nTungsten Balls – \u20ac84 for a set of 3 for 1 Darkz<\/h4>\n

Foreword<\/h3>\n

As I wrote review after review of Audio Group Denmark products such as Ansuz, Aavik, and B\u00f8rresen, Darkz Resonance Control footers were always involved in one way or another. As I quickly found, Darkz have a profound impact, leading to my using several sets in my two systems as well as in many other reviews since then.<\/p>\n

But so far, the info was scattered across various articles. To make the info more easily attainable, I decided to create a separate article.<\/p>\n

Please note that the below are sections lifted from other posts and earlier Audio Group Denmark articles. As such, this is not a new<\/em> review but rather a handy collection.<\/p>\n

\"\"<\/p>\n

Darkz Resonance Control<\/h3>\n

Audio Group Denmark has taken a very clever approach with their Ansuz Darkz resonance control devices in making all their other products compatible with them. This is not only smart marketing, but the Darkz actually consistently perform miracles whenever I try them.<\/p>\n

They work with Ansuz Power Distributors and\u00a0the more expensive they get, the better they sound, right up to the “ouch” price category. So, if you find your wallet a little thin after splashing out on a pair of speakers, do yourself a favor and only listen to the Darkz models that fit within the budget. Fortunately, as I found during this test, even the most affordable C2T Darkz already offers a very substantial improvement.<\/p>\n

Darkz can also be used with B\u00f8rresen speakers and stands, on the floor, and directly between the 01 stand and 01 speaker as a direct interface, and in that case, no Balls are required. Alternatively, Darkz can also be used under audio components, and in that case, the balls are optional. One can slide them underneath as they are, or one can add Balls on top. As I found, the Balls lead to further improved speed, air, and transient behavior. Finally, one can also use the Darkz in combination with Ansuz Darkz Feet which can be screwed into the component that they support.<\/p>\n

As far as I am concerned, Darkz have only one downside when used in combination with Darkz Feet or other Audio Group Denmark equipment which is that while maneuvering them, one or more of the balls on top may at some point escape your attention and wander off into the room. So far, I always recovered them but it may be a good idea to keep some spares around. But, as mentioned, one need not necessarily use these Balls when using Darkz with other equipment.<\/p>\n

Darkz C2T and S2T<\/h3>\n

The Darkz C2T consists of three aluminum layers loosely coupled by two sets of three titanium balls. When used under the speaker stands, the user needs to apply 3 more balls as the direct interfaces to the speaker stand’s base.<\/p>\n

\"\"<\/p>\n

The Darkz S2T uses stainless steel layers instead of aluminum and this is immediately noticeable as they seem to weigh 4 times as much as the C2T. Otherwise, the design is the same as for the C2T and the same titanium balls are used.<\/p>\n

Darkz T2 and T2 Supreme<\/h3>\n

\"\"<\/p>\n

Ansuz Darkz resonance control devices absorb vibrations that are not directly related to the signal path. The absorption results in audible vibration feedback, which affects the sound quality. Whereas conventional grounding materials such as spikes and certain other hard couplers can make the sound unnaturally cold and harsh, it is the natural and authentic sound that Ansuz Darkz devices are designed to preserve.<\/p>\n

The Darkz T2 and T2 Supreme are made from titanium, which has excellent material properties that according to Ansuz allow ideal resonance control. Furthermore, the Darkz T2 Supreme discs undergo an elaborate process where the titanium is further refined with the exclusive Ansuz Supreme coating. This coating is applied to the discs in a Hi-PIMS (High Power Impulse Magnetron Sputtering) machine to create the finest and most uniform layer of Zirconium and tungsten, followed by a layer consisting of aluminum-titanium nitride.<\/p>\n

The interlayer balls are an extremely important part of the resonance control elements and therefore these are made of Titanium. Contrary to the information on the new Ansuz website, the adjustable footers that I have for review contain 3 balls, not 6. The system consists of two discs with 3 dimples in which three Titanium balls are sandwiched together via a threaded top plate just so tightly that some horizontal movement is still allowed. In the case of the Adjustable Darkz (as reviewed here), the third disc on the bottom has a threaded connection to the disc above it to allow height adjustments. The topmost disc is also dimpled and this is where you place 3 separate balls that will interface with the component that is placed on top. Two types of balls are available: Titanium and Ceramic.<\/p>\n

I will be testing the top two models, T2 and T2 Supreme, which admittedly cost serious money. If these fall outside of the budget then there are significant savings to be made by stepping down the ladder, right down to 320 euros per footer for the Adjustable C2t model and 280 euros for the non-Adjustable C2t model.<\/p>\n

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Titanium Balls and Tungsten Balls<\/h3>\n

\"\"<\/p>\n

When Darkz are used in combination with Darkz Feet, one needs a set of 3 Balls per foot. There are currently 2 types of Ansuz Darkz Balls available. You can choose between Titanium or Tungsten (also known as Wolfram), where the Titanium Balls are the same as those fitted inside the C2T and S2T Darkz. When picking up the Tungsten Balls for the first time, it is interesting to find how relatively heavy they are! In fact, the Tungsten Balls weigh 4 times as much as the Titanium Balls, which, according to Ansuz, greatly improves the resonance absorbing properties.<\/p>\n

In my listening tests, I confirmed that these two types of balls indeed make a noticeable and worthwhile difference. The Tungsten Balls sound noticeably fuller in the bass and lower midrange and richer overall and, quite incredibly, they even enhance the spaciousness.<\/p>\n

Listening – Darkz T2 and T2S with Mainz Power Distributors<\/h3>\n

Each of the two Mainz8 Power Distributors will be listened to separately under precisely the same circumstances, with the same Mainz D2 cables. The main power outlet for the Ansuz Power Distributors will be the very same GigaWatt G-044 as normally used for my power distributors.<\/p>\n

As part of this review, I will also involve the Ansuz Darkz Resonance Control footers, which, to make it extra interesting, have been supplied with both Titanium and Ceramic balls.<\/p>\n

\"\"<\/p>\n

Darkz T2 with Mainz8 D2 Power Distributor<\/h3>\n

Starting with the Mainz8 D2 Power Distributor, placed directly on the floor, connected with an Ansuz D2 power cable, and powering my 4 components with the same Ansuz D2 power cables, the character of the sound is completely turned around compared to my standard solution. Whereas my regular power solution provides an upfront and direct but also slightly dry and matter-of-fact sound, the Ansuz solution provides a tonally fuller, richer, more relaxed sound with markedly deeper soundstaging.<\/p>\n

\"\"<\/p>\n

If I’m honest, the sound is slightly less articulate and mostly less incisive on the transients, but there is very little added warmth or thickness, yet the presentation is much more organic and more involving. Amidst the finely nuanced sound, there’s an alluring calmness without obscuring detail. Actually, the low-level detail is now clearer, and especially, longer-lingering, as opposed to slightly more incisive but also being cut off prematurely.<\/p>\n

The improved imaging is really quite amazing. The soundstage size has not increased in width, but it does extend much deeper toward the back wall while providing more room for the sounds within it, which are now much more clearly inhabiting their own spaces, presented slightly gentler, and on a more expansive canvas.<\/p>\n

\"\"<\/p>\n

While the enhanced imaging provides a more interesting acoustic than my standard solution, I felt that the rhythmic aspect was a little less pronounced. But as I would learn, this is where the Ansuz system approach comes in, for as soon as I applied the Darkz Resonance Control footers, that’s when it all clicked together!<\/p>\n

\"\"<\/p>\n

I started with the T2’s with Ceramic balls. Believe it or not, this brought about a transformation that can be considered on the same scale as the change between two power cables, meaning that it is absolutely significant! What these incredible footers do is enhance the perceived speed, impact, and pacing, but without changing anything else, and importantly, while retaining the magic, fluidity, and flow. Notably, the sound remains relaxed, smooth, and decidedly non-technical. This is where many other footers, especially spiked ones, can sometimes prove too much. Ansuz indicates precisely this on their website, but I’m not one to blindly accept all the claims that manufacturers make. It’s certainly very nice to find that this claim can be reproduced in the field.<\/p>\n

Next: Ceramic and Titanium Balls and Darkz T2<\/p>\n

<\/p>\n

Ceramic and Titanium Balls<\/h3>\n

This made me highly curious to find out what a change from Ceramic to Titanium balls would do. Musing in advance on what the expected outcome would be, I thought that Ceramic might give a “harder” sound than Titanium. Surprisingly, what I heard was the exact inverse!<\/p>\n

\"\"<\/p>\n

Retaining the T2 footers but changing the Ceramic balls for the Titanium balls, of course, one of the balls ran off while positioning the footer underneath the Mainz Power Distributor, and I had to chase it on the floor to avoid it disappearing. I like to think that I am generally very good with my hands, but I have to say that this concept with loose balls is a little fiddly, and it seems like something that a creative company such as Ansuz should easily be able to fix, certainly at the price of these footers. Anyway, after having replaced the Ceramic balls with Titanium balls, I was in for a new surprise!<\/p>\n

\"\"<\/p>\n

With only this seemingly insignificant change of balls, the sound instantly attained more snap, focus, and transient sharpness. It’s not that the Ceramic balls provided less detail or lower resolution, but with the Titanium balls, the transients were certainly more explicit, along with greater perceived propulsion and dynamics. If I had to indicate one potential downside, for some ears or systems at least, it would be that the Titanium balls also made the sound a little drier, compared to placement directly on the floor, or when using the Ceramic balls.<\/p>\n

\"\"<\/p>\n

If the Ceramic balls were particularly seductive by providing enhanced speed and impact while still providing a superbly free-flowing sound, the Titanium balls were less dreamy and arguably a little soberer in their presentation. But what dryness had been reintroduced was still considerably less than with my own power distributor cables. For my taste and system, I ultimately prefer the more direct and more rhythmic and toe-tapping-inducing sound of the Titanium balls, but the beauty of having separate balls is that every owner can just decide for themselves.<\/p>\n

Darkz T2 and Stacking Aavik U-Series components<\/h3>\n

The amplifiers and other U-series components are designed to be easily stacked on top of one another using Darkz or just balls. With the exception of the inevitable runaway ball, this works well and looks nice. However, as I noticed, this does<\/em> affect how the units sound.\u00a0I began my comparisons by positioning the U-180 on\u00a0Darkz T2<\/a> feet at the bottom of the trio stack, then coupling the U-280 via Titanium balls on top of the U-180. Finally, the U-580 at the very top, also<\/span>\u00a0coupled via Titanium balls.<\/p>\n

\"\"<\/p>\n

Above: the bottom component sits on Darkz T2 footers<\/em><\/p>\n

\"\"<\/p>\n

Above: the Titanium balls, onto which the next component can be placed directly<\/em><\/p>\n

\"\"<\/p>\n

Stacked this way, the top unit is coupled\/decoupled (depending on your viewpoint) by 2 sets of Titanium balls as well as a set of Darkz, while the bottom unit is coupled directly to the Artesania platform and carries the weight of the other two units on top. Given the confirmed significant influence of the Darkz combined with my accumulated knowledge of component placement and support, it’s only logical to assume that the order of the units would be significant for the sound. And indeed, it is. After listening to the U-180 when positioned on the bottom and then again when positioned at the top, I had a clear preference for the latter. Basically, the bottom position makes the sound heavier and darker while the top position provides more enthusiasm, expression, lyricism, and a more open treble.<\/p>\n

\"\"<\/p>\n

Reviewing the amplifiers while stacked would not lead to fair conclusions, so I decided to listen to each amplifier set up independently. First, I tried the amplifiers on top of the CH Precision A1.5<\/a> amplifier that sits on an Artesania Aire<\/a> platform with Linear Carbon Fiber Arms<\/a>. While this has often provided the best sonic balance for lighter-weight products, in this case, I can’t say it was better. I reverted to the Artesania Modular Platform<\/a> that typically enhances the upper bass fullness and overall timbre of any component placed on top of it, but here, and with the Darkz T2 resonance control feet, it works highly synergistically. Thus, I decided to assess all three amplifiers individually and placed on the Modular Platform using the Darkz T2.<\/p>\n

So far, I have listened to each amplifier with the Ansuz T2 Resonance Control footers. From my recent Ansuz review of the D2 and D-TC Power Distributors<\/a>, I know that their influence is not to be underestimated but still, I wasn’t prepared for hearing such a large reduction in performance with the feet removed. I mean, the amplifier still portrayed the music with all the aforementioned facets but they were all reduced to the point of making the U-580 sans feet sound almost like the U-180 with feet. Such is their contribution that I would consider them mandatory with the purchase of either of these amplifiers. Yes, even the U-180. I realize that 3200 euros may seem like a ridiculous amount of money to spend on something seemingly as trivial as a set of footers but their influence is arguably even larger than the difference between the U-280 and the U-580. Ultimately, the best sound is achieved by going for the top model U-580 and using it with the T2 footers.<\/p>\n

\"\"<\/p>\n

Darkz Adjustable T2 Supreme<\/h3>\n

\"\"<\/p>\n

So far, I have listened to the Darkz T2 Resonance Control Adjustable T2’s with Titanium balls on top and achieved the incredible results as described. But there was one more upgrade to try, indeed, the last step up to the T2 Supreme<\/em> footers. With the Mainz8 D-TC Power Distributor still in place, I swapped the T2’s for the T2 Supremes and fitted the Titanium balls on top.<\/p>\n

Well, I’ll be… I was taking a sip of coffee when the motion simply halted with the cup at my lips. Recall that I noticed slightly less snap and bite than I like with the D-TC? With this single, seemingly insignificant change, the sound was undeniably crisper and more explicit. And not by a subtle margin, mind you. It was now on the same level as my own mundane power solution while retaining absolutely all of the aforementioned improvements and enhancements. And to think that this change in sound is to be attributed only to the Darkz’ outer coating just breaks my brain. Clearly, the tiers in the Ansuz portfolio are not only there for marketing reasons. Each level up does truly further extend the sonic abilities.<\/p>\n

Even with the first strutting guitar chords of Chris Standring’s Crazy Bom Baizy on the album Don’t Tail, Dance, it’s crystal clear that there’s significantly enhanced immediacy and expression. And when the tight drum & bassline kicks in, there’s just no escape: the Supremes really do bring another transformation to the table.<\/p>\n

In addition to the crisper delivery and more immediate transient behavior of the T2 Supremes, the soundstaging has also changed, but more subtly. Whereas the balance with the non-Supreme T2’s was leaning predominantly to space behind the speakers, with the T2 Supremes, the entire acoustic is now brought forward a little, with the baseline now still behind but closer to the speakers, and extending slightly less deeply.<\/p>\n

With this slightly decreased depth, the forward imaging has also increased. Don’t worry, it’s not forward as in edgy or in-your-face, and it’s still very much an organic delivery with a living, breathing flow that goes in all directions. But just as some listeners may prefer the smoother, more relaxed, and more fluid-sounding Titanium balls, some listeners might prefer the more laidback approach of the T2’s over the T2 Supremes.<\/p>\n

All this is very, very interesting, I must say. The Magicos were always able to throw a remarkably wide soundstage but with the Ansuz power solution, the soundstage is so magnificently deep and so utterly free-floating that it’s as though the speakers have actually been removed from the scene altogether.<\/p>\n

Absolutely fascinating stuff.<\/p>\n

Audio buddy Niels’ system<\/h3>\n

\"\"<\/p>\n

In the preface, I mentioned that I would test the Ansuz products not only in my own system but also in my friend Niels’ very different system. To enable something of a blind test, as well as to check if Niels would interpret the results in the same way as I do, I had not told him anything about what to expect.<\/p>\n

\"\"<\/p>\n

But sure enough, the results in his system 100% mimicked the results in my own system and his system benefitted arguably even more from the non-D-TC Mainz8 Power Distributor which provided a much more interesting acoustic with both wider and deeper staging and considerably more fluidity and flow. In this context, too, the Darkz proved indispensable, and we heard the same differences between the Ceramic and Titanium balls. Niels had a mild preference for the milder-sounding Ceramics while I preferred the more articulate-sounding Titanium ones.<\/p>\n

\"\"<\/p>\n

And in his system too, the D-TC version ensured an absolutely massive leap in performance, leaving us both open-mouthed on the listening sofa.<\/p>\n

Next: Adding Darkz C2T to B\u00f8rresen speaker stands<\/p>\n

<\/p>\n

Adding Darkz C2T to B\u00f8rresen speaker stands<\/h3>\n

\"\"<\/p>\n

With the C2T positioned underneath the stands, the sound becomes crisper and more articulate as well as more delicately rendered, but without adding any dryness as can often happen with other hard-couplers. The fluidity remains. To my delight, the bass becomes faster and clearer. The upper midrange also becomes more expressive as well as more prominent, and spatial sounds are rendered more distinctly. These may be the entry-level Darkz variants but boy do they have a large effect!<\/p>\n

Changing to Darkz S2T<\/h3>\n

Following my previous experiments with the two top-model Darkz as part of the Ansuz power distributors, I knew there was a considerable difference at the high end of the Darkz assortment. It was comforting to find that the same holds true for the two most affordable models. Sure enough, with the S2T’s having replaced the entry-level C2T’s, the difference is not subtle. All the extra articulation and expression remain but the improvements are now filled out more completely down to the rest of the sonic spectrum.<\/p>\n

\"\"<\/p>\n

Whereas the C2T’s are already hugely effective but have a mildly prominent (but not unpleasant) upper midrange and a relatively slightly leaner bass, the S2T’s are harmonically more balanced top to bottom, with the upper bass also gaining more substance in the process.<\/p>\n

\"\"<\/p>\n

The latter aspect is especially noteworthy in combination with the cleaner-sounding 01 speakers, where the S2T is undeniably synergistically the ideal match. The fuller-sounding Z1 speakers are less in need of the improvements in the upper bass that the dearer model brings. But if one desires an extra uptick in bass fullness and harmonic richness, the S2Ts are still commendable with these speakers.<\/p>\n

Darkz under other audio equipment<\/h3>\n

Darkz also work incredibly well under audio components such as in this case a classic Wadia WT3200 CD transport. The Darkz greatly improve the player’s pacing, articulation, transient attack, and overall precision. The Darkz perform their magic under a CD transport but, as I found, just as well under an integrated amplifier, such as the Accuphase E-280 in the other room.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

When also using the Balls on top (in this case directly coupling to the WT3200’s bottom plate but ideally used in combination with Darkz Feet), the transparency and precision further increase.<\/p>\n

\"\"<\/p>\n

My secondary system may be relatively modest but its performance is lifted enormously using Darkz.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

Initially, I used Anusz C2T (Aluminum) Darkz footers, then upgraded to S2T (Stainless Steel), which were again upgraded to T2 (Titanium). T2S is normally superior, but in this case, I preferred the leaner, tighter, more direct sound of the T2 under the Accuphase amp.<\/p>\n

\"\"<\/p>\n

They are hidden from view but the CD player is also on Darkz, in this case the T2S which add spaciousness, refinement, elegance, and flow.<\/p>\n

\"\"<\/p>\n

The Auralic Aries G1 streamer is on Darkz T2.<\/p>\n

\"\"<\/p>\n

Conclusion<\/h2>\n

Take it from me: Darkz Resonance Control works like magic, and annoyingly yet reassuringly, the higher up you move the model ladder, the more the sound improves. The entry-level Aluminum C2T is well worth trying if you are taking your first steps into using aftermarket footers. They provide excellent value for money and can work really well. That is until you try the Stainless Steel S2T which in practically all my experiments provides simply better sound than the C2T. The same goes for the next model up, the Titanium T2, which you really should not try unless you are willing to spend the extra money for hearing is believing. T2S (Supreme), finally, is indeed even more special and magical, but after having done many more experiments, I find that sometimes the tighter, soberer, and more direct T2 works better while sometimes the more refined, spacious, and ethereal T2S provides better results. Between these two, it simply depends on the audio component, the system, and your personal taste which will be the ideal match. In any case, all Darkz models are highly recommended, even the ones that cost more than a whole range of audio components.<\/p>\n

\"\"<\/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
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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