Townshend Audio F1 Fractal Interconnects - Less is More!


This is turning out to be my hardest review to date. I held off a long time waiting to be sure. Good move. Paid off. After last night this will be a lot better than anything I could have done earlier.

The Townshend F1 Fractal interconnect is based on the same Fractal copper ribbon technology used in their speaker cables. Main differences are the conductors in the interconnect are suspended in air inside a light weight flexible translucent tube.

The Fractal Wire is terminated in Neutrik Profi RCA phono plugs. These plugs feature a spring loaded ground collar. The outer collar on RCA is ground, the pin is positive or signal. With a regular RCA plug the pin sticks out making positive contact first, which can cause some pretty awful noises if the power is on and the source input is selected. Experienced audiophiles know to never do this, but apparently there are enough of the other kind to merit Neutrik designing a whole spring loaded RCA plug. Oh well. This RCA is also really beefy, exceptionally beefy, and has two segments angled in for extra contact pressure and an extra angled sharp line contact area, just to get the point across these things are designed for killer contact.

Plugging them in for the first time the extra pressure was obvious. The spring loaded part feels a little funny for an old-school guy like me but they work just fine. The F1 interconnects themselves are very light and flexible. Routing them was a breeze.

My reference interconnect was the Synergistic Research Atmosphere Level III Euphoria with ground plane technology. It was, like my speaker cables, wrapped in tubes of Perfect Path Solutions Omega E-Mats and treated with Total Contact. Having learned my lesson with the speaker cables I put a microscopically thin coating of TC on the F1 before connecting them.

The sound I heard even right out of the box was clean and clear and open but not as big and full as the Synergistic. This filled out within a few hours to where the F1 seemed well above the Synergistic in every way but one.

We all have certain parts of certain music where there is an instrument that we look forward to hearing. It could be the lead guitar solo in Money for Nothing, or the drums on Famous Blue Raincoat. Time and again I would be ready for one of these only to hear something a bit… different. I’ll be honest, it was kind of a let down at first. But the more I listened the more it started to dawn on me: this is right. All the extra sounds I was expecting to hear, it was all added.

The more and the longer I listened the more certain I was. This is to take nothing away from the Synergistic. I have used Synergistic since the 1990’s, compared it to a lot of others, always loved it. Especially the Atmosphere, which was so good I was really doubtful F1 would be able to match it, nevermind sound better. I would have been surprised even to hear it come close.

That is what took me so long to put this review out there. The F1 is not just close, it is not just a little better. The F1 is a whole hell of a lot better! By the time it had 20 hours it was so liquid smooth and detailed it is hard to believe.

I mean really, literally, hard to believe. So just to be sure, last night I put the Synergistic back in.

Tracy Chapman Talkin’ Bout a Revolution starts with strumming guitar. The sound was flat, grainy, out of focus, and there was a harsh metallic edge to the guitar. Chapman’s voice had an edge to it as well. The bass line when it came in was really big and full, but loose and bloated.

Regular readers will recall I was about ready to break down and buy tube traps to eliminate some boomy resonance in my room, but changed my mind when putting the Moabs on Townshend Podiums eliminated a lot of the problem. Well, turns out a good share of the resonance was in the wire. Who’d a thunk? It makes sense though. Townshend seems to have found a way of eliminating a lot of artificial resonances most other wires add to the signal. How he does it I don’t know. But the effect is substantial.

Chapman uses a lot of really deep, interesting and well defined bass. It was wonderful with the Atmosphere but way warm and bloated. I just never realized how bloated until compared with the Fractal Wire.

The edge and distortion, and flat stage, were an even bigger shock. Palpable 3D imaging and presence are supposed to be the forte or hallmark of the Synergistic sound. Hate to say it, waited and waited trying not to say it, but I am one of the rare guys left these days who lives by "let the chips fall where they may." Townshend F1 Fractal Interconnect makes Atmosphere sound flat and grainy like a freebie patch cord. I just had to wait and give myself time to really get used to the F1, then put it back in again, to be sure. I am sure. Un freaking believable.

On Side 2, and now with the F1 back in, Mountains of Things starts off with a lot of great percussion instruments, way too many to count, plus triangle and a cymbal, and each of these is so much its own thing in its own space with its own texture its a real treat. This isn’t some special pressing either, not a White Hot Stamper or anything, just one I picked deliberately because it is so very average and yet also something a lot of guys have heard and can relate to. I have never, ever heard this music sound anywhere near so true and right. Can’t even pick out any one thing to say wow great bongo’s or whatever, because I would be saying that about everything!

I have always loved the big full bass and the big full sound of Synergistic overall, a lot. This is not a case of my taste changing to something lean or a whole lot different. I still love me some good bass! It is just that with F1 (and Townshend in general) the bass is so much more pleasingly clean and full. It is at times even more deep and impactful than anything I ever heard from Synergistic. With the speaker cables in particular it was the bass that struck me first. With the interconnect the bass is still there just even more articulate and well defined. There is more character and control to the bass now than ever. It is simply that a lot of “extra” bass has been removed.

The top end is so free of ringing, edge and glare it can at times seem almost soft. Until something happens and it is clear the top end is definitely there, just no longer exaggerated. Sibilance is still there, just now those "s" sounds are much more natural. The records that have problems with this still have problems, they just aren’t anywhere near as hard on the ears now. Yet cymbals still shimmer, Sinatra still swings, the sax has real bite. Everything that should be there is there. Just nothing extra added.

Now with more time to listen and think, it is apparent this is a common theme running through all the Townshend components- a lack of additive resonance. All kinds of things vibrate, apparently, even electrical signals do it in the form of ringing. Max has shown this on some videos where the oscilloscope shows clearly the signal reflecting and traveling back and forth, in effect ringing. It happens with speakers. It happens with components. It happens with speaker cable. Now also it seems to happen with interconnects. Why am I not surprised?

Sometimes the ringing or resonance is high frequency, and this brings a hard edge and exaggerated top end. Sometimes the resonance is lower, and the midrange is full and warm, or the bass is big and round. Sometimes when the designer does a really good job of shaping the contour of this it can sound pretty good. That is what I heard with Synergistic. Probably a lot of what is going on with other wire is different guys find they like different things exaggerated to a different extent and so they pick the ones they like. But they are still exaggerations. They are still additive. They are still distortion.

With the F1 back in this becomes really clear. Exactly the right word: clear. The F1 is as clear and as open as I could ever want. Nothing missing, nothing added.

John Hannant at Townshend was telling me from the beginning that to get the full benefit it is best to run a full loom. I thought this was nothing more than good salesmanship. Now though I can see the reasoning behind it. F1 speaker cables removed the colorations and resonances, all the ringing going on with the speaker cables. But the Atmosphere interconnect was still there coloring the sound. I just didn’t know it. Quite honestly had no idea. Frankly surprised to hear how much.

This review has been hard to write in another way. I’ve been a huge fan of Ted’s for a good three decades now. Still regard him as one of the greatest creative geniuses around. Even now I have not one negative thing to say about any of his many terrific designs. For sure Synergistic has the biggest widest range of consistently high performing products, and from entry level to fairly high tier is still a top recommendation. At the very top end of the range though I have to now give the nod to Townshend F1 Fractal.


128x128millercarbon
I suspect a properly phased bass array should tame/eliminate the boomy resonance effect, although I would also suspect room dimensions and damping/treatment would influence that situation too.  I would not have expected cables to influence that condition if they were in the ballpark for the required parameters so I will be curious to hear MC's response to your question.
In my case, all else being the same, trading larger floor-standing bass reflex speakers for slightly smaller, stand-mounted acoustic suspension speakers and adding two high quality subs for the very low frequencies made a huge improvement in the quality of bass from my system - much better and no boominess whatsoever.
As you've said before, "everything matters." One thing that you have that others of us don't have is a distributed bass array. The question is how much of your results related to bass in this review do you think would be happening without a bass array? 

Why, all of it, of course. The bass resonance Townshend cleaned up was always there. The DBA didn't make it worse, rather it actually alleviated it somewhat. I would say this was one of those deals where, you know there are always all kinds of problems only you have to pick your battles. Sometimes one that was pretty far down your list, after fixing enough stuff it works its way to the top. 

Your answer to that question will help me (and perhaps others) know the degree to which the effect you describe might occur in our systems, which is the main takeaway from a review. Because in a limited budget, why drop $$ on podiums if one would be better off devoting that money toward a DBA?

Okay, I get it now.

They both go together. That is not to say you have to do both together. I will try and explain so you can figure out for yourself what will be best in your situation. 

The great thing about a DBA is it allows you to get more and better bass, but by putting less bass energy into the room. Duke explains this much better than I ever can. Basically, lots of small subs in multiple locations produces lots of small peaks and dips. One big powerful sub can do this, but only with lots of EQ, and that means turning up the sub output in order to overcome cancellation in some areas. But that energy is still going into the room as a whole.

This is one of the main reasons a DBA has faster more articulate bass. The more bass energy you put into a room the more it causes walls and floor and ceiling to vibrate with energy, and the longer it takes for this energy to dissipate. This is why so many guys run to tube traps. They suck up the excess energy. Also one reason why you have less need of tube traps with a DBA. Since less energy is wasted exciting the room less needs to be done to suck it up.

Hopefully you are already seeing why the Townshend stuff works so well. Not all of the bass energy comes from the air. It also  propagates directly through the speaker into the floor and the room. Less room excitation equals less resonance equals clearer sound. 

That's with Podiums or Pods. With the cables themselves, they made me aware the same sort of sound as this is coming from resonance modes in our cables. It has to be treated differently. In this case you treat cable resonance with less resonant cables. But the final result or character of the sound is the same: tighter, cleaner, more articulate.

They both cost about the same. Depending on what exactly we are talking about, in broad terms it is around $3k for either a good DBA or Podiums. The DBA can be built for less, or you can spend a lot more. Likewise the Podiums could be less or more depending on the speakers. All in the 3k ballpark, give or take.

Which is better is hard to say. If you want to play louder with nice clean deep powerful bass, Podiums will not do this for you. They will clean up the bass you do have, a lot. You will probably sense a little more extension, like the same speakers play deeper now. But they will not create more. Not like a DBA. What they will do is make the speakers disappear, greatly improve detail and hugely improve the natural timbre or sonic signature of instruments and voices. 

With the DBA this is all sort of flipped around. They will give you much more deep, powerful and articulate bass, and once set up right there is a sense of greater envelopment and ease, but these areas are not improved nearly as much as with the Podiums. 

I don't like to simplify, but if what you want most is more and deeper then DBA. If what you want most is clearer more real then start with Podiums. Make sense?
@millercarbon Yes, that makes excellent sense. Really appreciate how you detailed what each element does for the bass, so that individuals can prioritize based on their needs and preferences.

You and @brownsfan have more or less convinced me of a DBA and I’m keen to talk to Duke one day. I just wasn’t sure if the podiums would be good in the meantime.

Apologies if this question is already implied in your posts, is it ever helpful to put podiums under just their one sub? (Let's say to save $$ in the short run.) 

Thank you.
Wouldn’t talk a guy out of either one. My thing was, I knew all my life, literally one of the first things I learned, you can get pretty darn good midrange and treble on a budget, but really good bass costs big money. For a good many years I even thought really excellent bass might actually be impossible, due to the inevitable bass modes caused by small rooms. DBA is a total game changer. Makes true SOTA bass attainable for as little as $3k, which is extraordinary!

DBA is also so flexible, you can start with one sub and just add more as funds allow. There’s no need to match anything. In fact differences actually help as the whole goal is to have lots of different modes, and different subs do this automatically. The biggest challenge actually turns out to be mental, or psychological, the difficulty many have with understanding the concepts and that it does in fact work. Once you get that, you are practically home free!

At the same time though if you have less room, or pretty good bass, or are more into sound stage and imaging, well then the Podiums are a slam dunk. Eventually of course we "want it all" and it takes a while. I went 30 freaking years with crap bass before I got my DBA! Then a couple more years before discovering springs. Between Duke and Max, (and Timmy, RIP, and Krissy ;), they have really brought me at last into the top levels.

One more thing, just as DBA can be added one sub at a time, Townshend can be added with Pods one component at a time. That is what I did. Podiums are such a big step, I like to DYODD which includes testing stuff a little at a time wherever possible. Plus of course did not hurt having Rick help me with springs! So there was actually several steps leading up to Podiums- springs, Nobsound, Pods, finally Podiums. Just thought worth mentioning because Podiums get all the glory and deservedly so but the Pods give a lot of the same benefits. If you look at total cost since you can get several sets of Pods for the same as one Podium, the combined improvement of the Pods is by the time you do that about equal. Kind of like you add one sub at a time, eventually you get there that way too.

I used to think there was always one right way to go about it, one best thing to add next, one that will make the most improvement. Now after a long time and a lot of trial and error I think there are many ways, you can’t really say it has to be one or the other, it is more like no one can ever have it all, everything is a trade off anyway, so which one do you prefer?
I knew all my life, literally one of the first things I learned, you can get pretty darn good midrange and treble on a budget, but really good bass costs big money. For a good many years I even thought really excellent bass might actually be impossible, due to the inevitable bass modes caused by small rooms.
Helmholtz resonators can take care of them at no cost...

It is all the gist of my mechanical equalizer...

And more than that a grid of resonators oriented differently from each speaker and located at the right spot can take care of ALL resonances...

But someone can experiment with only a few especially fine tuned tube for the bass nodes.... Anyway it cost me nothing at all....Just fun to experiment...

Oldhyvimec astutely observed that some silent tube with the organ are there to tune the church acoustic ...It is using Helmholtz acoustic tuning of the room...

My 7 inches drivers give me the tuba notes....And i listen the bass with my chest...like with this cello....

https://www.youtube.com/watch?v=DlfM5AArYqE

For sure we do not replace an array of 4 subs with resonators but some who dont need the subs but a clear and present bass it may be a no cost solution...

I am in the no cost solution side for sure....

By the way i discovered that a small room can be an advantage acoustically, an enormous one, if someone know how to use timing between direct, early and late reflected waves and reverberation time to recreate acoustic listener envelopment factor...

For me there is no more bad room only difficult one to cure...

But all small room are bad if not controlled....
😊😊