Power Conditioners
Music Unleashed
The PranaWire Cloud9 XLS power conditioner uses two massive Bocchino Electra outlets, all new noise abating materials formula, oversized pure silver Super Enhanced Ground Plane and our Level III PranaWire Nirvana XLS power cable attached directly to the Elektra outlets.
New! PranaWire Level I Nirvana XLS Linebacker
PranaWire Level III Nirvana XLS Linebacker
The Linebacker XLS Series Linebackers - A New Standard or Excellence
- Pure Silver Super Enhanced Ground Plane
- Pure Silver XLS Series Power Cable
- Pure Copper Chassis with Dual Stage Passive Filtering
- Vibration Damping Treatment
- Copper and Silver Capacitor for Ultra Pure High Frequency Extension
- Optimized Noise Absorption Formula
"Pure Joy" 6Moons
The Linebacker XLS Eliminates Noise to Below the Noise Level of the Measuring Equipment:
Top Row: Ambient and Chassis Noise before Linebacker and after Linebacker - a greater than 60 db reduction
(A 1000-fold plus reduction)
Bottom Row: Power Line Noise before and after Linebacker - a greater than 60 db reduction (A 1000-fold reduction). Noise reduction is measurable to the level of the noise of the measuring equipment.
Noise was measured to 175 Megahertz down to TV, FM audio range and zero Hz with the preponderance of noise showing between 45 and 80 Megahertz.
Ambient and chassis noise refers to ambient noise picked up by both the chassis of the Linebacker itself and the cable feeding the Linebacker acting as an antenna. Even though the Linebacker is bathed in a sea of EMI, there is effectively no noise delivered to the next component at the cable IEC end.
(A 1000-fold plus reduction)
Bottom Row: Power Line Noise before and after Linebacker - a greater than 60 db reduction (A 1000-fold reduction). Noise reduction is measurable to the level of the noise of the measuring equipment.
Noise was measured to 175 Megahertz down to TV, FM audio range and zero Hz with the preponderance of noise showing between 45 and 80 Megahertz.
Ambient and chassis noise refers to ambient noise picked up by both the chassis of the Linebacker itself and the cable feeding the Linebacker acting as an antenna. Even though the Linebacker is bathed in a sea of EMI, there is effectively no noise delivered to the next component at the cable IEC end.
A word about why the new XLS Series Linebackers are a foundational element in a true high end system:
As shown above, the Linebacker prevents a significant amount of high-frequency noise from ever entering your component—and that has direct, audible consequences for how music is reproduced. In theory, power supplies are expected to deal with this noise internally. In practice, especially at very high frequencies, a surprising amount of it makes its way into the active circuitry.
Once inside a component, this noise does not remain isolated. Through finite grounding, reference impedance, and normal device nonlinearities, it interacts with the music signal itself. The effect is not something you hear as obvious noise, but rather as a subtle thinning of tone, a softening of harmonic density, and a reduction in the stability of images within the soundstage.
This broadband interference also undermines the system’s noise floor. As the noise floor becomes less stable, true silence between notes is compromised. What should be black space instead takes on a faint haze—one you may not realize is present until you hear its absence. When that haze is removed, images lock more firmly in place, spatial cues emerge more clearly, and the presentation becomes noticeably calmer and more resolved.
By stopping high-frequency noise at the point of entry, the Linebacker removes an entire layer of these interactions before they can form. The immediate listening impression is greater tonal saturation, improved image lock, and a deeper sense of blackness behind the music. Transients arrive with more certainty, harmonic structures feel more complete, and the soundstage becomes more coherent and relaxed.
Each Linebacker operates independently, so adding one to each component extends the same benefit throughout the system. Rather than a single dramatic change, the improvements are cumulative: greater ease, stronger spatial organization, and a more convincing sense of musical presence as every component is allowed to operate in a cleaner electrical environment.
Once inside a component, this noise does not remain isolated. Through finite grounding, reference impedance, and normal device nonlinearities, it interacts with the music signal itself. The effect is not something you hear as obvious noise, but rather as a subtle thinning of tone, a softening of harmonic density, and a reduction in the stability of images within the soundstage.
This broadband interference also undermines the system’s noise floor. As the noise floor becomes less stable, true silence between notes is compromised. What should be black space instead takes on a faint haze—one you may not realize is present until you hear its absence. When that haze is removed, images lock more firmly in place, spatial cues emerge more clearly, and the presentation becomes noticeably calmer and more resolved.
By stopping high-frequency noise at the point of entry, the Linebacker removes an entire layer of these interactions before they can form. The immediate listening impression is greater tonal saturation, improved image lock, and a deeper sense of blackness behind the music. Transients arrive with more certainty, harmonic structures feel more complete, and the soundstage becomes more coherent and relaxed.
Each Linebacker operates independently, so adding one to each component extends the same benefit throughout the system. Rather than a single dramatic change, the improvements are cumulative: greater ease, stronger spatial organization, and a more convincing sense of musical presence as every component is allowed to operate in a cleaner electrical environment.
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