Sound: The Amp Ohm FP-CA-AU is a very neutral sounding capacitor that takes a nice smooth and calm approach to the reproduction of music. I found the balance of the midrange very pleasing letting acoustic instruments keep their natural warm tone. Absolute detail and air isn't quite up to the level of an Audyn Cap Plus or Mundorf Supreme but it comes very close although they do need some time to open up so don't judge them fresh out of the box. Spatiality is broad with reasonable depth but if you want "bowling alley" depth go for (the much more expensive) Mundorf Silver/Oil. Compared to the more luxurious Amp Ohm capacitors they are more 2D and a little rough, but again those cost far more.

Sound: The Amp Ohm PF-XAL-AL 300VDC is very rich in harmonic textures and quite spatious. When fresh out of the box they can be a bit "chesty" or "nasal" sounding but they mellow out after quite some time of use (several hundred hours). Their tonal balance is very neutral and smooth, words like natural and analogue come to mind. Imaging depth is very good but not quite at the same level as their paper-in-wax or polyester-in-oil stable mates.

Sound: The Amp Ohm PF-XAL-AL 630VDC is basically the same type as the above mentioned capacitor but with a higher voltage rating. The higher rating is obtained using thicker materials and therefore the 630VDC version (65mm) has a larger diameter than the 300VDC version (45mm). Both have the same length (95mm). The 630VDC version reminds me of a can of beer or coke. The higher VDC type is also very rich in harmonic textures and quite spatious. The tonal balance is very neutral and seems a fraction smoother than the lower VDC type. Imaging depth is very good but like the 300VDC version, not quite at the same level as their paper-in-wax or polyester-in-oil stable mates. My review notes also state: black background.

Sound: The Amp Ohm paper-in-wax alumnium foil type seems a fraction flatter or condensed sounding when in direct comparison to the Ampohm paper-in-oil alumnium foil type. It is a little more direct in it's presentation compared to paper-in-oil but more laid-back when compared to the polyester-in-oil types. I also noted less "fleshy" and a tad thinner than the Ampohm PIO. There also seems to be a fraction more emphasis on the frequency extremes giving it a miniscule loudness effect when compared to the very analogue midrange character of the polyester-in-wax type. This is not meant in a negative way seeing the overall high quality sound level of this capacitor, as it's character could prove usefull when fine-tuning a loudspeaker in a certain direction.

Sound: The Amp Ohm polyester-in-oil alumnium foil is overall very coherent and neutral. This type has a pleasent midrange-highlight when in direct comparison to the Ampohm paper-in-wax alumnium foil type. The polyester-in-oil is very rich and extremely good in retrieving ambient information such as room or hall acoustics. Music is presented in a natural and full-bodied manner. Compared to the Duelund VSF-Cu copper-foil the image is more "see through". Compared to the Mundorf Silver-Gold-Oil the presentation is richer, especially noticable on massed strings or large vocal works. On small jazz-trio's etc the Silver-Gold-Oil high-lights micro detail a little more but doesn't quite reach the same level of overall coherence the polyester-in-oil does so well.

Sound: The Ansar CPA has a vibrant, clean and clear nature that seems to be concentrated more on the top-end of the spectrum. Not completely neutral but therefore they can be usefull if you want to give a more open sound to a system that sounds a bit congested in the midrange and / or lower treble, in such a situation the Ansar CPA open's things up nicely. Used in a tonally neutral system they could do with a bit more presence and body, they tend to lean towards a slightly thin nature. This nature can make acoustic instruments like a grand piano or massed strings sound a bit distant. For example a Jantzen Audio Standard Z-Cap is more neutral and has more body weight but lacks the top-end "sparkle" the Ansar CPA produces. Nice thing though is that they never get harsh nor rough around the edges. Image depth is slightly flatter than higher grade capacitors but compared to other general purpose MKP's they perform very well. Top end detail is more prominant than the slightly rolled-off nature you find with a Clarity Cap SA. The Clarity Cap SA in return sounds more up-front in the lower treble range. They are nicely compact in size, so they can turn out handy when space is critical.

Sound: The Arcotronics cap is a modest sounding capacitor, a little on the quiet side concerning dynamics. I quite like the midrange quality especially with percussion music. Drums, etc. had a nice natural timbre. There seems to be a focus on the midrange, the treble is slightly rolled off. Spatiality is a little compromised resulting in a slightly distant and compact image. Overall detail is slightly better than a standard Audyn Cap for example but doesn’t compete with an Amp Ohm or Mundorf Supreme. A good MKP for basic filter applications.

Sound: They sound a bit dull at first because they take a while to burn-in. But after a few days of normal use they deliver a wide and open sound stage. Nice and neutral, maybe a slightly warm and lush sound. One of those things that don’t impress at first but sort of grow on you after a while, you learn to appreciate their qualities - great! If you want a lively and bright sounding filter then this is not your cap (try a Hovland Musicap instead), if you are looking for a smooth, warm and relaxed sound then give these a try.

Sound: I find these capacitors to have a pleasently smooth and clear presentation that is slightly forward if directly compared to bright-ish capacitors like the Jantzen Silver Z-Cap or Silver Gold Z-Cap. The Auricap retrieve enough amibent information that helps to make an orchestra properly placed in a concert hall (recording permitting) and project the image more in the width than in the depth. Overall performance is very satisfactory and has something correct / complete about it.

Sound: I can agree with Audience AV in that the Auricap XO is definitly more transparent than the standard Auricap. I found the XO to still have a pleasently smooth and clear presentation but gone is the slightly forward nature. They are more open and have more fine detail. These characteristics make it easy to follow the leading edge of instruments and create a greater sense of depth in the recording. Compared to the extremely neutral Jantzen Audio Superior Z-Cap there is more clarity, while maintaining a similar level of neutrality. Although there is lots of detail the XO never becomes edgy or sharp like some other "detailed" capacitors can sometimes be. Comparing the Auricap XO to the Jantzen Audio Amber Z-Cap it is obvious what you don't get with the XO: the rich and natural tone that only true copper foil capacitors can give. But that is an unfair comparsion as those type of capacitors cost a multitude of the Auricap XO. Overall I found the Auricap XO to have a nice balance between detail, transparancy and smoothness. I have added it to my favourites list.

Sound: Slightly more detail, depth and separation than a standard Mundorf M-Cap but slightly less than a Hovland Musicap. The M-Cap has a more round character, the Audio Cap PPMF a more laid-back character. For the rest I find them reasonably neutral.

Sound: These caps have a lean, clinical brightness to them and at the same time lack transparency. A form of artificial clarity is created by means of a treble glare in the top end - at least they don't have a loudness effect. They work well in opening-up a dull, lifeless speaker but that's about it. Use them as a small value parallel to a large "dull sounding" cap only; they will clean up a cheap Intertechnik Audyn Cap nicely.

Sound: Before I get into talking about how these capacitors sound I would like to say a few words about the data on these capacitors. First of all I did not make a typo in the name of these capacitors, they really do have "Audiophiler Mkp kondensotor" printed on the side. Now I know that the Chinese manufacturer must be trying to look interesting by writing the name in German, but please, do your homework first. All German nouns start with a capital and the last word contains a spelling mistake. It should read "Audiophiler MKP Kondensator". Furthermore, the only information I could find about these capacitors was from sites such as Ebay, Amazon and AliExpress. "Audiophiler" don't seem to have their own website (correct me if I am wrong) so lots of misprint or wrong information can be found. For example some company on AliExpress is selling them as MKP's (polypropylene) but in their specifications they state that polyester is used as dialectricum. Some are pictured as "MKP-CYCAP" but sold as "Mkp kondensotor". I found another company selling them as "Home Amplifier" :-) Also pricing seems to be totally erratic. Anyway, make sure that you know what you are getting before you buy any. Now I have got that out of the way, time to explain how they sound. They have a slightly different character to a standard MKP like the Intertechnik Audyn Cap QS4, just to name one of many. The "Audiophiler" has an emphasis on the lower treble range making them a bit upfront or foward sounding. This nature does make them subjecively more dynamic which can work well in certain systems or with certain types of music such as solo piano or string quartets. Not completely neutral but they can be usefull in certain situations. They remind me a bit of the Solen PPE-MKP-FC in their presentation. Play vocals and they can get a bit shouty sometimes. Compared to a Bennic FPP the "Audiophiler" are slightly rougher, less smooth. All in all not bad but also nothing special. Like the Solen they are a good step up from standard MKT capacitors often found in factory built speakers in being a fraction more spatial and open.

Sound: The Axon True Cap has a slight focus on the lower treble range giving it a fat and juicy character. They lack air and micro detailing, but what can you expect in this price range? They are not very subtle either but they never get harsh or over bright. Just your basic, standard quality MKP. It is rather like the Solen Chateauroux Fast cap but has a fraction more clarity so that is why it gets a higher rating. Nothing wrong with them but also nothing exciting. For example a WIMA MKP4 is more open, smoother and has better imaging.

Sound: The Bennic B03 has a slight nasal character and lacks detail. It can be used in very low cost solutions as long as you take care to voice the system around the B03. Comparing the B03 to basic MKP's such as the Monacor MKPA or Jantzen Audio Cross Cap you can here that the extra money spent on an MKP is very much worth it. With such MKP's you get a gain in transparancy and weight. When complex material is fed to the B03 they start to get muddy. Personally I would only use the B03 in things like low frequency correction networks,etc. But I guess that is the only place you would use bipolar electrolytics anyway.

Sound: The Bennic P03 is similar in character to the B03 although I must say that the P03 is the more mature sounding of the two. It is better balanced (less nasal) and overall it sounds smoother. The Bennic P03 has a slight loudness effect to it which can work in certain systems that are a bit too forward sounding. Actually a bit like the Bennic XPP although the P03 can get a bit rough around the edges sometimes.

Sound: The Bennic FPP is a reasonably neutral capacitor for basic, allround solutions. Being neutral it does everything okay in all situations. Okay just about somes it all up actually. It blends in well into existing loudspeaker crossovers like most standard quality MKP's do. Compared to a JB Capacitors JSX, the FPP is not as spatial nor as tonally well balanced, being slightly on the dark side of neutral. Comparing it to a Cornell Dubilier 940C, the 940C gives a more open and dynamic sound that is also more finely detailed. Just to see how high on the sound quality ladder the Bennic FPP is, I tested it against the Jantzen Audio Superior Z-Cap. The Superior was superior (pun intended) in all fields. In direct comparison the Bennic FPP seemed to lack spatial information and the overall image was more stuck to the individual loudspeakers rather than floating around them. But as I said, this is just a reality check, the Jantzen Audio Superior Z-Cap is more expensive so you should expect it to do better anyway. Not that price says everything but over the years the Superior Z-Cap has acted as a solid reference in the mid priced range of loudspeaker capacitors. It might seem like I am toning down the FPP, on the contrary, the Bennic FPP is a good quality MKP that will blend into most situations very easily. Just don't expect miracles from it.

Sound: The Bennic XPP has a slightly more open top-end than the Bennic FPP. The FPP is extremely neutral making the XPP sound a tad "toppy" but till overall reasonably neutral. Personally I prefer the FPP to the XPP for souding less "cheap". Although the XPP seems more detailed than most standard quality MKP's it lacks coherency and overview making complex programme material, such as large big band music, choirs or symphony orchestra's sound confused and muddled. The Bennic FPP performs better in this respect. The XPP give me a headache after a while of having to listen to them. Even a cheap Solen PB-MKP-FC is more pleasent to listen to, the Solen is more spatious and more neutral. Switch from the Bennix XPP to a Clarity Cap CSA and everything falls back into place in regards to the neutrality and coherency of the musical image. Compare an XPP to the Wima MKP-10 and the Wima is more neutral, maybe not as detailed as the XPP, but definitely more coherent. The Bennic XPP is one to skip if possible.

Sound: The Cicada Pure Aluminium Foil capacitor is similar in character to the Mundorf Supreme in that it has a slight top-end high-lighting except the Cicada lacks the fluidity and smoothness of the Mundorf. Compared to rich and harmonically natural capacitors like Jupiter BeesWax and the Obbligato Aluminium type, the Cicada Pure Aluminium Foil sounds a little rough and technical. After a very long burn-in time they did smooth a lot but they still maintained a sort of "hifi" sound. They are very accurate and good at retrieving detail. They put an emphasis on the leading edge of the note and have nice dynamic snap that can sound exciting on some recordings or types of music. But for me ultimately they could do with a bit more natural harmonic richness and fluidity to be able to shine in all situations.

Sound: The Cicada Pure Copper Foil capacitor is similar in character to the aluminium foil type except it is far more rich and fluid - bringing it closer to some other high-quality capacitors. Obviously it is the better of the two Cicada types. This richness and fluidity makes them more coherent and therefore the minor top-end emphasis is also less prominent making it easier for you to get into the music instead of listening to a good capacitor, if you know what I mean. The leading edge of the note and the nice dynamic snap are less detached, more in pace with the music.

Sound: The Clarity Cap range has an overall similarity in tonal balance, going up the range you gain clarity and spatiality. I found the PW to be quite neutral with a slightly warmish presentation. Compared to the PX there is a loss of detail but they never sound dark. Compared to a standard Mundorf M-Cap the stereo-image is a little larger. The price/quality ratio is very good. I can recommend this capacitor if you have a tight budget and like a speaker to be as smooth as possible.

Sound: To be honest, I can't hear any difference between the Clarity Cap APW and PWA but that was to be expected, according to Clarity Cap they are the same. I found the APW also to be neutral with a slightly warmish presentation. Compared to the PX there is a loss of detail. The price/quality ratio is very good. I can recommend this capacitor if you are on a tight budget and are looking for a capacitor that doesn't stand-out too much.

Sound: The Clarity Cap range has an overall similarity in tonal balance, going up the range you gain clarity and spatiality. I found the PX to be neutral with a slightly warmish presentation. Compared to a standard Mundorf M-Cap the stereo-image is a larger but less spacious than a Mundorf Supreme or Audyn Cap Plus. Clarity is a good step up from the PW and also the M-Cap. The price/quality ratio is very good. I can highly recommend this capacitor if you are looking for a nice, but not too expensive MKP.

Sound: The Clarity Cap range has an overall similarity in tonal balance, going up the range you gain a bit in clarity and spatiality. I find the SA to be neutral with a slightly warmish presentation but also a bit closed-in. Compared to the Clarity Cap PX definition and separation are better, the stereo-image is also little larger. I did find the top end to be slightly rolled-off, not that they lacked detailed but on some recordings I wanted a fraction more transparency - but all in all still very nice. On the downside the "S" and "T" in vocals can be a bit plasticy, this is probably due to the lack in transparany in the top octave, making the octaves below sound a little masked. Making a capacitor using about 90% Clarity Cap SA and about 10% Mundorf Supreme works very well, this tends to open up the top end just nicely without altering anything else.

Sound: Similar in overall character to the Clarity Cap SA but with more clarity and therefore a fraction more spatial. Like the SA they could still do with a bit more transparency but with a small capacitor placed parallel to the ESA this can be improved. The ESA also has a slightly warmish presentation and also benefits from making a total value using about 90% Clarity Cap ESA and about 10% Mundorf Supreme. This opens up the top end just nicely without altering anything else. Good overall qualities and an upgrade from the standard Clarity Cap SA.

Sound: The tonal character of the Clarity Cap CSA has in common with all Clarity Cap capacitors that it's well balanced and never fatiguing. The CSA shows a pleasent intimacy combining the clarity (pun intended) of the ESA with the smoothness of the larger MR. Relatively speaking, I actually found the step up in sound quality from the ESA to the CSA to be greater than from an MR to a CMR. Both the CSA and CMR use Clarity Cap's Copper Connect Technology but it seems to have a greater effect on the SA range than of the MR range. Maybe it's easier to improve lower down the scale than further up it, I don't know, but that is how it cames across to me. Anyway, in direct comparison to the CSA the ESA sounds a little rougher, the CSA seems to produce a more civilized image that is at the same time more neutral. "S" and "T" sounds that were first maybe a little bit rough around the edges with the ESA (I am being very nit-picky here) become free from grain with the CSA. I also found the CSA to mix extremely well with the Jantzen Audio Alumen Z-Cap. A mix of a minimum of 20% Alumen Z-Cap with the rest Clarity Cap CSA enhanced realism of space and lushness of tone. They blend together seamlessly. All in all the Clarity Cap CSA is a well balanced, neutral capacitor that is a welcome addition to capacitors in the lower price range.

Sound: Like the Clarity Cap DTAC, the Clarity Cap MR doesn't have that dark character of the standard Clarity Caps and sounds in comparison very spatial and clear. Spatiality is one of the main strengths of this capacitor supported by very good separation of the individual instruments and vocals. The music is placed before a very quiet background with lots of detail making retrieval of ambient information like the natural reverberation of a concert hall easily distinguishable. Compared to a Mundorf Silver-Gold-Oil they are ultimately a little less transparent, presenting the information more up-front with a slight focus on the lower treble range. In comparsion the Mundorf SGO has a slight focus on the upper treble range.

Sound: I found the Clarity Cap CMR to have a very neutral and "mature" sound. There is absolutely no artificial enhancement of any part of the spectrum making this capacitor extremely well balanced. Compared to a Jantzen Audio Superior Z-Cap, that I have grown to know as also being very well balanced, you get a tad more richness of tone with the Jantzen but I would say that the Clarity Cap is even more close to absolute ruler flat neutrality. Compared to a Jantzen Audio Alumen Z-Cap, the CMR has a less contrast but again it is closer to absolute ruler flat neutrality. Down to a matter of implementation which is best I would say. In a direct A-B comparison with some top of the range Mundorf capacitors the CMR can sound a little midrange forward but that actually says more about the character of the Mundorf's rather than that of the CMR. All is relative. The CMR has a very good leading edge with convincing dynamics and the whole image seems very coherent. I also did a cross check with the Clarity Cap MR on which the CMR is based to hear if this "Copper Connect Technology" does anything. The CMR comes across to me as being more complete and more organic. The MR seems to have a bit more bass and a bit more air giving it (relatively speaking) a sort of very mild loudness effect. If you had to choose between the two, I would say that the MR has a bit more "flair" and the CMR is smoother. I can imagine if a high resolution system has already been tuned using Clarity Cap MR capacitors, replacing them all with Clarity Cap CMR could possibily make the system sound a little too neutral and you might find the need to tweak around a bit. But in the end I would choose the CMR over the MR for it's coherency and good long term listening qualities. The Clarity Cap CMR is simply spot-on, a no-brainer. I have added it to my favourites list.

Sound: If you don't want to spend time on endless tweaking and experimenting with capacitors, just use Clarity Cap PUR types. They are simply 'plug and play' no fuss capacitors. Positioned in a similar price bracket to the Jantzen Audio Silver Z-Cap and Mundorf Supreme Classic, the Clarity Cap PUR seems to blend the best of both worlds with the clear and open character of the Mundorf combined with the neutral timbre of the Jantzen Audio. The Mundorf's detailed nature can make it a little picky when implementing in an already revealing system. The Clarity Cap PUR never gets sharp which makes it very easy to use in a wide range of systems and broad personal preferences. Comparing the Clarity Cap PUR to it's lower cost sibling CSA, the CSA sound in direct comparison a bit clogged up when fed complex source material. I realy like the CSA but the PUR just seems less congested, more open. But it should be at roughly twice the price ;-) Comparing the PUR to the CMR the PUR sounds a bit more dynamic but at the cost of some richness and maturity. Clarity Cap PUR: sit back and enjoy!

Sound: The Clariy Cap PUR-S sounds even more direct and dynamic than the basic PUR version without ever getting harsh of over enthousiastic. Compared to the MR and CMR you get a bit more weight and body with the MR but also the MR (and even CMR) are a little less open and clear. The difference is not in quality, more in taste. I would rate the CMR and PUR-S very similar in terms of overall sound quality, it will simply depend on the siuation if you prefer the fuller sounding MR / CMR or the more open sounding PUR-S. If you are looking for a even more open and clear character, then there are options like the Duelund CAST-PP (that leans more towards intimacy) or the good old Mundorf Supreme Classic (that has heaps of detail). But what I really like about the PUR-S is it's overview in every situation, for example mass choir can be played louder before getting congested. And if you have a bright sounding system or room the PUR-S will help to keep things calm without it becoming dark or veiled.

Sound: With the physically larger Clarity Cap PUR-ST the open and smooth nature of the PUR gets even more spatious, with more authority and weight. Similar in character to the CMR but more open. Like a hosed down version of the CMR. Compared to the Duelund CAST-PP I had in for review at the same time the Clarity Cap PUR-ST sounds more mature and open. In direct A-B comparison the Duelund CAST-PP is more forward and slightly blurred. But I guess you get what you pay for, the Duelund CAST-PP is a lot cheaper than the Clarity Cap PUR-ST. And just one of my many notes: I was working on a three-way loudspeaker during part of the evaluation period and had great results with Mundorf Supreme Silver Oil in series with the paper cone midrange and Clarity Cap PUR-ST for the beryllium dome tweeter. Just thought I would mention that. If budget is less of an issue then the Clarity Cap PUR-ST is the way to go. I have added it to my favourites list.

Sound: The Clarity Cap range has an overall similarity in tonal balance except for the DTAC. It doesn't have the rounded character of the other Clarity Caps and sounds in comparison much cleaner. I may be exaggerating a little here, but the DTAC makes a Clarity Cap SA sound a bit cheap. Compared to a Mundorf Silver/Gold they still seem a fraction rounder and they are as transparent and clear as a Jantzen Audio Silver Z-Cap without being over bright. If you were looking for lots of depth, ambient information and concert-hall reverberation then I would advise to look at the Mundorf Silver/Gold, but if you prefer a slightly smoother top-end then the Clarity Cap DTAC is an interesting alternative.

Sound: The Cornell Dubilier 940C is a well balanced souding capacitor in which nothing is exaggerated and that is a good thing. The general timbre seems quite natural, for example the voice of Marco Horvat on "Il Giardino di Giulio Caccini " is well rendered, has a certain warmth to it and his voice doesn't "shout". Furthermore the retrieval of ambient information is done rather well by the 940C making it easier to visualise the size of the building in which this recording was made. The overall sound of the Cornell Dubilier 940C is quite pleasing, in some respects it reminds me a bit of the Clarity Cap ESA with its nice balance between warmth and the amount of detail. There is more space, especially depth, when in a direct A-B comparison with the Clarity Cap SA, which in return sounds a tad forward and also veiled. Other things I wrote down during the extensive listening sessions were: nice ping on ride cymbals, convincing and realistic percussion. I think I will add the Cornell Dubilier 940C to my favourites list :-)

Sound: Using the 3000VDC Cornell Dubilier 940C as a bypass capacitor in the value 0,01uF really is the "icing on the cake" when you are looking for a low cost bypass capacitor that gell's everything into one coherent sound. Best bang for the buck! Over the years I have used these in many different combinations and everytime they just added more to the overall sound. More coherency and more ease. Especially when you have been "cooking" to find your favourite mix of capacitors and only need to cement the different characters together. Adding the 940C creates an overall more mature sounding speaker. And no, they are not better than the Duelund or VCap bypass capacitors that excel's in naturalness and richness of tone and in transparancy and air. The Duelund and VCap are in another league, not only in sound quality but also in price ;-) Compared to the Jupiter Copper Foil Paper & Wax used as a bypass, the Jupitor is has richer overtones and has a tonally slightly warmer balance. The Vishay MKP1837 used to be my favourite low cost bypass capacitor but now it is the Cornell Dubilier 940C / 0,01uF / 3000VDC. It surpasses the Vishay with quite some margin :-)

Sound: Things like hall acoustics and richness of tone are two of the Cornell Dubilier SF's strong points. This richness in tone is nowhere near as good as that of real copper foil capacitors but far better than that of standard MKP's. Compared to the extremely neutral Panasonic EZPE the Cornell Dubilier SF sounds more spatious, smooth and open. Tonally the SF is on the smooth, or even dark side of neutral which makes them ideal if your system is on the "hot" side of neutral. In such cases the SF Polypropylene in Oil will bring some welcome warmth to make the system more balanced. The soundstage is portrayed a little further back than most MKP's, again adding to the "easy listening" character of the Cornell Dubilier SF Polypropylene in Oil. I also found them to score points for good decay of notes and realistic room ambience. So all in all maybe not ruler flat neutral, but still very pleasing to use.

Sound: This industrial type capacitor (like the ASC and Inco) is quite nice! They sound a bit dull at first because they take a while to burn-in. But after a few days of normal use they deliver a reasonably wide and open sound stage. Nice and neutral, maybe a slightly warm sound. One of those things that don’t impress at first but sort of grow on you after a while, you learn to appreciate their qualities – great! Not the ultimate in sound staging or micro-detail and if you want a lively and bright sounding filter then this is not your cap. But if you are looking for a smooth, warm and relaxed sound then give these a try.

Sound: I found the Duelund VSF-Cu to have a very natural timbre, smooth, clear, open, and at the same time they stay calm and controlled but delivering dynamics when the music calls for it. The tonal balance is near perfection, especially audible on well recorded acoustic instruments and the human voice. This makes my classical music collection so much more realistic. I was also very pleased with the separation of every individual instrument in an orchestra, the string section is much more a group of individuals rather than just a group. In direct comparison to the Duelund I found the Mundorf Silver/Gold to be a little over-etched sometimes, they seem to have a slight top-end emphasis. The Duelund VSF-Cu in return has a slight top-end roll-off. Which would be best for you will depend on the rest of your system and personal taste.

Sound: After many hours of burn-in time the main thing that I kept writing about in my notes was how natural the Duelund RS-Cu sounds. This is one of the few capacitors with which I didn't have the urge to do some fine-tuning or mixing with other types / brands to reach an optimum result. In all the loudspeaker crossovers I tested them in, they just sounded so logical everytime. It didn't seem to matter if the tweater had a textile, magnesium, ceramic or beryllium dome - the Duelund RS just portrayed the sonic signature of the tweeter as it was. Nothing added, nothing hidden, no need to tweak, a real no brainer. Comparing the Duelund RS to the old Rike Audio S-Cap I found the RS to give a richer tonal balance, like most copper versus aluminium caps do. The old Rike Audio S-Cap seemed more up-front and a little more forward in the lower treble. In direct comparison the Duelund RS had more depth and was a fraction more forgiving to the ear. Not that the old S-Cap is rough, not at all, but the RS just seemed to "flow" a little more. Focussing on the highest frequencies, again the Duelund RS seemed to sound the most natural. Various high-grade Mundorf capacitors that I compared the RS to all seemed to high-light that area a bit. This can be usefull or pleasent in some cases, but for me, they were not strictly neutral. Compared to the Duelund VCF-Cu the top-end has improved. Although a very nice capacitor, I always found the VSF-Cu to have a slightly rolled-off top-end. The Duelund RS, like the CAST-Cu, has more top-end clarity and together with that, more spatiality. Are we then looking at a CAST-Cu in disguise? No, the CAST-Cu still is the no-compromise capacitor with a blacker back-ground, making it more silent than the RS. Also the RS-Cu doesn't quite have the same image depth as the CAST-Cu. But like I stated earlier, the Duelund RS Copper Capacitor is a real no brainer, once you have put this capacitor in your loudspeaker crossovers you will never need to tweak again! Everything just sounds so logical.

Sound: The CAST capacitor has all the same characteristics as the VSF but with added top-end clarity and together with that, more spatiality. They are (like the VSF) super natural, smooth, clear and open. The tonal balance is extremely neutral, especially audible with good recordings of acoustic instruments and the human voice, so mainly with classical music. This is the closest to absolute, ruler flat neutrality you can get! Like the VSF the separation of the individual instruments is very good and in an orchestra, the string section is a group of individuals rather than just a group. Soprano's have clarity without becoming hard to the ear, wind instruments (especailly the copper section) have that nice "metal" edge without becoming rough. Where in the past you had to choose between a Mundorf Silver/Gold/Oil (very good depth, imaging and top-end detail) or a Duelund VSF (extremely neutral presentation) you can now have the best of both worlds in the form of the Duelund CAST-Cu. I did find they needed quite a while to fully come to bloom, so give them a chance to burn-in. The Duelund CAST-Cu is one of the most neutral sounding capacitors available.

Sound: The CAST copper silver hybrid capacitor is very similar to the pure copper version but with added top end openness. The hybrid is same as the CAST-Cu in regards to having an extremely neutral tonal balance with very life like harmonics, especially audible with acoustic instruments but things ssem a little clearer, more "there". For example, William Lawes' "Consort Sets in Five & Six Parts" (performed by Jordi Savall with Hesperion XXI) is known for it's rich and structured nature, with the Duelund CAST-Cu-Ag Hybrid this layered form of music becomes more obvious, more tangible than with the pure copper version. It seems like the silver content makes the top end "shine" a little more, making it easier to differentiate between all the rich harmonic overtones this type of music is well known for. In direct comparison to a Mundorf Supreme EVO Silver Gold Oil they sound darker but that is only relative because the Mundorf focusses on the top end with (to my ears) a little too much energy. The Duelund CAST-Cu-Ag Hybrid simply sounds so much more like real music to me, more intimate as well. The Duelund copper silver hybrid has a natural ease, is just about tonally perfect, spatious, smooth and open at the same time. Comparing it with the lower cost Duelunds such as the Rs-Cu, the RS seems a little "calmer" and less well defined in the top octave. Now, I did find rating this capacitor to be a little difficult because one could be inclined to say that the Duelund CAST-Cu-Ag Hybrid must be "at least 2 points better" than the Duelund CAST-Cu, especially after having such great results with Duelund's seperate 0,01uF pure silver bypass capacitors. I would be more inclined to say that if you have a system that is performing extremely well, tonally well balanced, coherent and musical and you want to get some more "life" out of it, the Duelund CAST-Cu-Ag Hybrid is the only way to go. As from now I will be supplying the Plutone loudspeaker with this capacitor as an optional extra. That prooves just how good it is. You won't be dissapointed :-)

Sound: It is hard to describe what Duelund CAST Cu-Sn tinned copper foil capacitors can do but they have a certain richness and colour that makes things like voices and acoustic instruments sound very convincing. With "colour" I don't at all mean "coloured", it is more like richer and deeper colours with more nuances. I guess "tangible" is a good word to use to describe them. The sound is intimate and at the same time open. Smooth but never dark. In direct comparison, the CAST-Cu (not tinned) sounds some what stark. I have to be careful here because the CAST-Cu is the most neutral sounding capacitor I know. Saying that the CAST Cu-Sn sounds different could mean that it isn't neutral. But for some reason it simply does come across as the more realistic of the two. I also tried bypassing the CAST Cu-Sn with the 0,01uF Pure Silver Foil. Thinking that this would be turn out extremely good, after all the CAST Cu-Ag is proof that adding a little bit of silver into the mix can realy make a difference. But I prefer the Cu-Sn on it's own. Adding the bypass capacitor does increase the amount of detail but the total sound becomes less coherent (not a good thing), sometimes even a bit "nervous". Comparing the Duelund CAST Cu-Sn to other capacitors, the Cu-Sn seemed to sound more "mature" than for example the Jupiter Copper Foil Paper & Wax. This sense of "matureness" was created by a slightly bigger and more spatious presentation. Swapping the Cu-Sn for the Mundorf Supreme Classic Silver Gold Oil did give an increase in top end detail but at the same time the overall sound was less spatious, actually even a bit flat and technical sounding. Now I am nitpicking here, the Mundorf is an extremely good capacitor, it's just that the Duelund is even better. I could get carried away here if I let personal taste get in the way too much. So as a reality check I tried the much lower cost and still very good Jantzen Audio Alumen Z-Cap, just to see if I should indeed rate the Duelund so high. The Jantzen Audio capacitor is a 100VDC aluminium foil type, the Duelund CAST Cu-Sn a 100VDC copper foil type: huge difference! With the Duelund CAST Cu-Sn all types of music flow, become more involving, to such an extent that I was forgetting that I was testing capacitors - I haven't had that experience for years. For example, listening to Kendrick Lamar's album Damn, it seemed as if Lamar was even "cooler" than usual ("cool" = "swag" for all you youngsters out there). When direct A-B comparing between the Duelund CAST CU-Ag and CAST Cu-Sn I would say that with the Cu-Ag the sound is a fraction more detailed at the very top end where as with the Cu-Sn the overall sound has a fraction more body to it. So by now you must know that I like my music to be as neutral and natural as possible and as coherent as possible. The Duelund CAST Cu-Sn does all these things at an extremely high level - plus it also adds a "being there" effect. The CAST Cu-Sn tinned copper foil capacitor is something special.

Sound: My hand written notes during the extended evaluation period of the Duelund CAST-PP contain many adjectives: open, clear, tidy, smooth, dynamic, warm and intimate. That seems to be quite a diverse range of qualities to describe the subjective character of a capacitor. And I guess you could say that is exactly what the Duelund CAST-PP does, it does a lot of things very well. The combination of clarity and warmth makes the Duelund CAST-PP portray things like cymbals and bells in a very convincing manner. Compared to the similarly priced Mundorf Supreme EVO Oil the Mundorf creates a sharper edge around the cymbals but the overall timbre seems a bit more realistic with the Duelund. In turn, the Duelund CAST-PP has a slightly more forward character creating a sence of intimacy whereas the Mundorf takes a step back in the soundstage. If I go to the top of the range Mundorf Supreme Classic Silver Gold Oil (at three times the price), the SGO creates a more open and spatious image. As does the Clarity Cap PUR-ST. The Duelund CAST-PP is in contrast flatter and more 2D. Comparing capacitors with extremes like that helps put things into perspective. As does comparing the CAST-PP to it's own stable mate the CAST-CuSn. With the aluminium metalized polypropylene foil CAST-PP you don't get the realism of tone nor the rich and spatious nature of a true tinned copper foil / WPIO type. So anyone who was hoping to get 90% of the best sound at a fraction of the cost - keep dreaming :-) What you do get is a capacitor that is capable of conveying the musical content in a coherent and convincing way. Open and dynamic when the music asks for it, smooth and tidy as not to get in the way of things. On a side note: I prefer using the CAST-PP to the CAST-PP Silver (the CAST-PP Silver features a pure silver foil bypass capacitor built in) because the standard CAST-PP gives me the freedom of adding a silver bypass to the mix when the situation requires it. Or for that matter also a tinned copper bypass. The Duelund CAST-PP is a great allrounder and a welcome addition to the scope of high quality capacitors to choose from. I have added the CAST-PP to my favourites list.

Sound: These 0,01uF tinned copper foil bypass capacitors are really fun to work with. Like most copper foil bypass capacitors you get that increase in realism of tone, intimacy and a richness in the harmonic overtones. In direct comparison to the V-Cap CuTF they sound a fraction more forward but that's more down to personal taste and system matching, rather than anything to do with sound quality difference. Top of the range Mundorf capacitors in the value 0,01uF seemed in comparison to add brightness but this brightness was sort of sitting on top of the recording, not merging into it. The Mundorf's came across a tad artificial in that respect. Compared to the silver bypass, I find the tinned copper bypass to be a little darker but all the information contained in the recording does seem to come across in a more natural way, there is more drive and more body. Maybe it's they way I listen to music in general so let me explain this in more depth. My wife and I both come from families where playing a musical instrument is a normal, everyday thing to do. We continue this with our own family, our main instruments being the violin and double bass and our children play acoustic drums, piano and have stared in opera's and theatre productions. All of the instruments are acoustic instruments, which are very complex things to reproduce via loudspeakers. If I just stick to my double bass: it is far more than just low notes, the sound of an acoustic upright bass is a complex mixture of a spruce and maple body resonating, of stainless steel strings vibrating on an ebony fingerboard, of callus covered fingertips plucking or resin covered horse tail's hair bowing the strings. With the Duelund Tinned Copper bypass this complex mix and interaction of timbres comes across in an extremely natural manner, so it just lets me get deeper into the music. It's closer to real music for me. Where I found the Duelund Cu-Ag bypass to perform best parallel to a woofer or midrange driver in a low-pass network, the Duelund Cu-Sn bypass seems to work best when placed parallel to the series capacitor of a midrange or tweeter high-pass network. Since spring 2020, when Duelund moved production in house, the Duelund Cu-Sn Tinned Copper Foil Bypass Capacitor has been significantly reduced in price. With this new lower price it has become a real no-brainer that should be part of every DIY audio enthousiasts tool box.

Sound: I have used these 0,01uF pure silver foil capacitors as bypass capacitors in many different systems. In just about every case there was an improvement in overall openness and realism of tone. With realism of tone I mean that acoustic instruments and vocalists seemed much more tangible, more intimate. The Duelund Silver Bypass Capacitor brings out a certain harmonic richness in overtones, for example with brass wind instruments the tone gets a sort of "glow" or "shine" making them so much more realistic. Big-band music is bright and warm at the same time if you know what I mean, just like in real-life. And now for a cliché: the Duelund Silver Bypass Capacitor really does remove a curtain from the sound, creating more depth and insight to the recording and it generally does a very good job in cleaning things up. It does this without getting harsh nor adding artificial emphasis on any part of the spectrum, something that can happen with certain types of bypass caps. Compared to the Duelund Cu-Sn Tinned Copper bypass the Silver Foil bypass is a little brighter and a tad dryer. This brings me to where I like to use them the most: parallel to the capacitor in a second or third order low-pass network of a (mid)woofer crossover. Their clarity and openness makes (for example) an acoustic drumset sound more realistic. It improves the definition of a bass drum by providing a clearer image of the beater-head hitting the skin of the drum. Without the Cu-Ag bypass it just sounds like any bass-drum, with the Cu-Ag connected across the woofer low-pass capacitor it makes it easier to determine if you are listening to a Pearl, Yamaha, Ludwig or Gretsch drum kit, if you know what I mean. Quite interesting what such a small value capacitor can do. Since spring 2020, when Duelund moved production in house, the Duelund Cu-Ag Pure Silver Foil Bypass Capacitor has been significantly reduced in price. With this new lower price it has become a real no-brainer that should be part of every DIY audio enthousiasts tool box.

Sound: Initialy I didn't find the difference to be that much between the old tinned copper bypass capacitor and this new version. I was expecting more after first having tested the new JDM Silver bypass capacitors. But after a longer burn in things started to improve. Maybe due to the clearer nature of the silver bypass the difference was more obvious with those from the start. The JDM tinned copper, being slightly darker in character, seemd to be more of a "wallflower". Anyway, with burn-in out of the way I found the JDM tinned copper bypass capacitor to be similar in character to the old model with a rich and organic character. I would describe the relative difference to the old type in a positive way as more of the same. So even more rich in harmonic overtones and more organic than the old model. For example if the treble in your loudspeakers is well rendered and already neutral in tone, then adding a JDM tinned copper bypass parallel to the main tweeter capacitor will make the overall sound more convincing. I used to prefer the Tinned Copper Foil bypass over the Pure Silver Foil bypass on overall performance but now the relative difference is smaller. It's more music / recording quality / personal taste / system dependent. So if you are looking to add richness and realism of tone to your system, I can highly recommend to use the Duelund JDM Tinned Copper Foil bypass capacitors.

Sound: The JDM Silver's are similar in character to the old model, so clarity and openness combined with a "glow". Compared to the old model there is an increase in smoothness. This added smoothness makes them suitable for an even larger range of applications. I used to prefer the Tinned Copper bypass on overall performance but now I am leaning more towards the JDM Silver over the JDM Tinned Copper. Their blend of clarity and smoothness can become addictive, I realy like the JDM Silvers on percussion instruments, for example stick definition is wel defined with the correct balance between attack, brightness and warmth. A simliar effect can be found when listening to brass wind instruments. For example the opening number "Money" on Moonchild's NPR Music Tiny Desk Concert starts with an intro of alto saxophone, tenor saxophone and flugelhorn. The three gel together very nicely with the lush wind noise of the instruments being outligned by a bright and at the same time warm leading edge. Vocals also benefit, becoming more tangible. So, like the JDM Tinned Copper bypass highly recommended.

Sound: The Elcod K78-19 is a neutral, well balanced and coherent sounding capacitor. The overall sound has body and seems to do quite well with all types of music in many different systems. Spatial information is above average in this price-range and it's slightly warm presentation makes it ideal for long listening sessions. Furthermore the level of detail is just right, not too much nor not too little. Again, overall very well balanced. Comparing the K78-19 to the K78-34 you do hear that the K78-19 is a little more forward sounding and less spatious than the K78-34 which in turn is more laid-back.

Sound: Suprisingly good sounding polyester type. For tonal balance I actually prefer them to the Epcos B32656 MKP type. Not quite as coherent as the Vishay MKT1822 but still pleasent. I can imagine them to work well in woofer impedance correction networks, where as the Vishay MKT1822 actually works well in the direct signal path.

Sound: Sounds kind of "plastic" with a rather 2D, flat image. Midrange is snappy and there is some pleasent treble bite that brings them just above basic quality polypropylene types. Fine for parallel sections in woofer and midrange sections of a loudspeaker crossover, but personally I would not use them in the direct signal path of a tweeter.

Sound: Similar in looks and sound to the Evox-Rifa PHE 426. Snappy and dynamic but rather up-front and forward in the midrange. The top-end treble has a slight glaze over it (not quite as strong as the Evox-Rifa) and therefore lacks a bit of sparkle and transparancy. Less of a "plastic" taste to it than the Epcos B32656-A6475-J. Fine for parallel sections in woofer and midrange sections of a loudspeaker crossover, but personally I would not use them in the direct signal path of a tweeter.

Sound: Compared to the Transient-X from the same brand, the Pulse-X sounds rather dull and 2D. The treble is produced in a slightly "mushy" manor. This is fine when used in parallel sections and as a less critical midrange series capacitor but if you are looking for something in the tweeter's direct signal path, go for the Transient-X that is far more open, dynamic and has less background noise. Things like massed baroque choir become a mess, the Erse Pulse-X doesn't seem to keep a clear overview when the programme material gets complex. But the Transient-X is in another price-range, so not a fiar comparison. The Pulse-X basically is in the same league as capacitors like the Axon True Cap, Intertechnik Audyn Cap QS, Jantzen Audio Cross Cap, SCR Chateauroux MKP-PB, Solen Fast Cap PB-MKP-FC, etc. It's a fine overall standard quality capacitor for use when your budget is very tight.

Sound: Similar to the Evox-Rifa PHE 450, the PHE 426 is transparent and clear sounding but less grainy. The treble still has a slight glaze over it, but it can be removed by putting a 0,01uF Vishay MKP1837 parallel to it. Imaging is quite good with a nice sized sound stage but only average separation. Dynamics are nice and snappy and the treble is well detailed. Similar in character to the Obbligato aluminium dry type, only it misses the analogue feeling to it. Compared to a Mundorf RXF it is a little brighter. This capacitor has a high price/quality ratio and matching it with other capacitors to create a custom capacitor gives very good results.

Sound: The Evox-Rifa PHE 450 is a very transparent and clear sounding capacitor, some times a little too "fresh" sounding but this character can be compensated by adding a capacitor with a more round character – I had very good results with about 10% of the total value made up from Angela (Jensen) paper in oil. On its own I find the midrange a little under exposed and the treble has a slight glaze over it, which again can be removed by putting a 0,01uF Vishay MKP1837 parallel to it. Imaging is quite good with a nice sized sound stage but only average separation. Dynamics are nice and snappy and the treble is well detailed. It might seem that I am not too keen on the PHE 450 but this is just a way of trying to describe its character in words – I still find it a very nice little capacitor considering the price. This capacitor has a high price/quality ratio and matching it with other capacitors to create a custom capacitor gives very good results.

Sound: Very compact little capacitor that sounds slightly on the bright side of neutrality. It is clearer than a Clarity Cap APW or PWA for example and has a reasonably wide image but lacks depth. So the sound stage is good in left to right positioning but poor in front to back placement, rather 2D. Its sonic character is quite close to that of the polyester Vishay MKT1822. The nice compact build designed for use on PC's can be the reason why one may prefer it above other low priced brands.

Sound: The Fostex CS with it's calm, mellow and smooth nature has lots of flow and texture. It is all about intimacy and richness of tone. Vocals appear more to the front of the soundstage, that combined with the tone being on the warm side of neutral, give them that intimate character. Fresh out of the box they can emphasize "S" and "T" sounds a bit, but they mellow out after about 100 hours of normal use. I found the Fostex CS to be more lush when compared directly to the Duelund RS, Jantzen Audio Alumen Z-Cap and Jantzen Audio Amber Z-Cap but at the same time to have a little more open top-end. This open top end reminded me of the Mundorf Supreme Classic Silver Gold Oil due to the fact that it outlines vocals nicely, making them easy to follow. The Mundorf SGO is a little more transparant, more finely detailed and accurate in the way it does that, the Fostex CS more lower treble forward. The Fostex CS seems to have overall more character (or colour if you wish) than some other high quality capacitors, so this can make them a little more critical to implement. If you have speakers that have lots of detail then upgrading to the Fostex CS will add smoothness and warmth, thus creating a more neutral presentation. If your system is already pleasently intimate and mellow, then the Fostex CS could be too much of a good thing if you are striving for ruler flat neutrality. Even though the Fostex CS is not completely neutral, I still like them a lot ;-).

Sound: "Musicaps deliver fine dynamics, speed, focus, correct timbre and depth of field, and good inter-transient silence" I can't agree more on this! But I must say I have a love/hate relationship with them: they don't mate with all types of tweeters. If in series with a very nice soft-dome tweeter they seem to bring out more detail than usual from such a tweeter compared to when used with other caps. I had good results with Scan speak soft domes and for the Dynaudio D260 Esotec I couldn't imagine a better cap in this price range. But if the tweeter tends to be a tad on the bright or clinic side they sound awful. Of course you do get more detail and a better sound-stage compared to if you used an Audyn Cap or Le Clanché but for example I tried them with the Focal tweeter in the Auriga and this didn't work at all! It hurt my ears! Here's a good tip: When tweaking a combo with a Scan speak D2905-9700 I found the best to be a 50/50% combination of the Hovland Musicap with a Mundorf Supreme Cap.

Sound: Quite detailed without getting edgy or aggressive. High in contrast with a slight emphasis on the top end but always smooth souding. More lush and warm than, for example, a Jantzen Audio Silver Z-Cap. On occasions I could hear a slight "loudness" character in the treble range but nothing to worry about. The overall clean and intimate character combined with good image depth lets you pick out things in the background that would otherwise (with standard quality MKP's) get lost in the total mass of musical information. This character also lets you judge the sound quality of the programme material very well, they are honest. A quality I rather like.

Sound: This industrial type capacitor (like the ASC) is quite nice! They sound a bit dull at first because they take a while to burn-in. But after a few days of normal use they deliver a reasonably wide and open sound stage. Nice and neutral, maybe a slightly warm sound. One of those things that don't impress at first but sort of grow on you after a while, you learn to appreciate their qualities - great! Not the ultimate in sound staging or micro-detail and if you want a lively and bright sounding filter then this is not your cap. But if you are looking for a smooth, warm and relaxed sound then give these a try.

Sound: I find the Intertechnik Audyn Fine First Cap to be smooth and calm in it's approach to music. It will play loud and always stay civilized. The texture of acoustics instruments is quite natural, big-band's sound lush and rich but sometimes I miss that nice rough edge and sense of power you get with massed brass going full steam. Large symphony orchestra's are well spaced out around a realistic and not over-sized sound field. The FFC is not as spatious, nor does it have as much depth as the higher grade Mundorf capacitors but what it projects is still very convincing and realistic. The Fine First Cap scores lots of points for solo piano music giving a very believable presentation of the instrument in size and texture. Natural timbre with rich, although slightly rolled-off harmonic overtones. Works well as a series capacitor for compression drivers.

Sound: The Intertechnik Audyn Cap KP SN has a slightly flat image when compared with higher grade capacitors but does perform better than basic quality MKP's with a tad more detail. On loud passages things can a bit compressed, but again that is only when comparing them with capacitors of many times the price. So basically the Intertechnik Audyn Cap KP SN seems to fill the sonic gap between standard MKP's and high-grade types quite nicely. A good step up from it's cheaper brother the Audyn Cap MKP-QS.

Sound: The Audyn Cap is a good step–up from cheap electrolytic capacitors often found in standard quality factory built speakers. Nothing wrong with them but also nothing exciting. Compared with electrolytics they have much more detail, smoothness and a wider stereo image. Compared to an Audyn Cap Plus they sound dull, mushy and closed-in. Your basic good old MKP for all simple filter applications, especially when not in the signal path. A good substitute for bi-polar electrolytics.

Sound: The Audyn Cap Plus is a nice capacitor! They sound a bit hard and up-front at first and have a sort of midrange haze because they take quite a while to burn-in. But after a few weeks of normal use they deliver a spatial sound with lots of depth that only gets better as time passes. Good reproduction of musical nuances. Clarity, depth, detail and openness are there. When I first switched over to these I thought "this is it!" (but that was a few years ago). They do sound a little more mid-range forward compared to the equally good but more transparant sounding Mundorf Supreme Cap.

Sound: The Audyn Cap Reference is a very nice capacitor! After plenty of burn-in time they produce very good lower treble articulation. In direct comparison to an Erse Transient-X of Mundorf Supreme Silver Gold they are not as direct, but personally I like that. They make a Jantzen Audio Superior Z-Cap seem a little nervous. The Intertechnik Audyn Cap Tri-Reference is very coherent, maybe not as "round" as a Clarity Cap MR or Jupiter Condensers BeesWax, but a little clearer with a blacker background. I find the Tri-Reference to be spatious and have good seperation of the individual instruments with a realistic amount of fine detail. They let you hear deep into the recording without ever exaggerating any part of the spectrum. There seems to be a nice "one-ness" feel about their overall character.

Sound: The Audyn True Copper Cap is quite spatial with lots of air around the individual instruments. Very nice and coherent sounding with rich natural harmonics, all in all rather musical. Woodwind instruments come across with natural ease and brass instruments sound bright and warm at the same time - very convincing. The Audyn True Copper Cap has a perfect balance between warmth and detail. The amount of detail and spatial information lets you hear the acoustics of the recording venue well, placing an orchestra correctly about the stage (recording quality permitting of course). Very nice indeed and one of my personal favourites!

Sound: The Audyn True Copper Max is expremely honest, neutral and natural. Like the Audyn True Copper Cap, the True Copper Max has a very nice and coherent sound with rich natural harmonics and does so in an even more convincing manner than the already excellent Copper Cap. Woodwind instruments come across with natural ease and brass instruments sound bright and warm at the same time. The Audyn True Copper Cap has a perfect balance between warmth and detail. Vocals are tangible and have space around them. The amount of detail lets you hear the acoustics of the recording venue well without ever getting too detailed. For example, in direct A-B comparison to the higher grade Mundorf capacitors, the Copper Max might seem to focus a tad more on the lower treble but that is only because the Mundorf's put most of their energy in high-lighting the top octaves. The Copper Max has a much more rich and full bodied sound than the Mundorf Supreme EVO Silver Gold Oil, maybe not quite as rich as the Jupiter Copper Foil Paper & Wax, but not far off. Comparing the Intertechnik True Copper Max to various Duelund capacitors I found the Duelund "signature" in general to be just a tad richer, but again the Copper Max wasn't far off. Very nice indeed and one of my personal favourites. They are now used in the Plutone DIY loudspeaker kit as standard!

Sound: The Intertechnik Audyn Cap True Silver can be a bit "toppy" sometimes, it depends a bit on the system you use it in and the programme material you feed it. The Audyn Cap True Silver reminds me of the Jantzen Audio Silver Z-Cap in character although I do find the Audyn Cap True Silver to be the more neutral of the two. There is heaps of detail and lots of transparancy, all well in balance with it's other qualities, but it does need some attention when implementing it as an upgrade in an existing system. If you will be using this capacitor as the bases for a new crossover-design in which you can create good synergy with the rest of the system, then you will be rewarded with music that sounds rich detail, well balanced and never over-etched. It lets you look deep into recordings like Consort Music by William Lawes for example with all it's complex textural interaction.

Sound: Like many basic quality MKP's they lack sophistication but their overall tonal balance is quite neutral. Due to their very low cost they are ideal for parallel capacitors in the low-pass of a woofer for example where in low budget systems electrolytics are often found. Also fine in basic quailty parallel correction networks. They are also quite compact in size, so they can turn out handy when space is critical.

Sound: A step up in clarity from the Jantzen Audio Cross Cap but they lack the sophistication of the Jantzen Audio Superior Z-Cap. After extensive burn-in they smooth out nicely. In a direct A-B comparison they make the Cross Cap sound a little midrange forward. The Superior Z-Cap paints a bigger and quieter image. The Standard Z-Cap is good if you are looking for a capacitor that renders well without getting too bright. Compared to the Mundorf EVO I would say the Standard Z-Cap is a fraction more neutral but the difference is small. The Standard Z-Cap doesn't have that "mushy" sound the Audyn Cap QS has and their tonal balance is quite neutral. They do emphasise "S" and "T" sounds a little, but that is quite normal for all low-cost capacitors. Due to their low cost they are ideal for budget sensitive systems in the series signal path or for higher grade parallel capacitors in the low-pass of a woofer for example where in low budget systems electrolytics are often found. They are compact in size, so they can turn out handy when space is critical.

Sound: Very neutral and coherent balance, they don't seem to high-light anything and I mean that in a positive way! They are a little flatter in presentation than their more expensive brother, the Silver Z-Cap but still better than the Clarity Cap ESA in depth and spatial information. In direct comparison with a Clarity Cap ESA they are less up-front in the lower treble and have a better texturing of acoustic instruments like a violin for example. In the upper treble they are slightly clearer than a Mundorf Supreme Silver/Gold which probably explains the good spatial information and separation. Compared to the Jantzen Audio Silver Z-Cap I find them the more musical of the two. The Jantzen Audio Superior Z-Cap is a no-brainer if you are looking for a capacitor that performs well in all area's and is very well balanced. One of my personal allround favourites :-)

Sound: More transparent than the slightly less expensive Superior Z-Cap, very detailed. This can make them less coherent than the Superior Z-Cap but this can only be an issue in systems that are already on the bright side of neutral. They give some emphasis on the upper treble but are still more civilised than a Clarity Cap ESA for example; they have a so-called "high-end" flair. Objectively speaking they are better than the Superior Z-Cap but I prefer the Superior Z-Cap for it is more neutral presentation. I guess you could call the Jantzen Audio Silver Z-Cap the "audiophile" capacitor and the Jantzen Audio Superior Z-Cap the "musical" capacitor.

Sound: Also like the Silver Z-Cap, the Janzten Silver Gold Z-cap is very detailed and sometimes too detailed for my liking, although I do find them less analytic than the Silver Z-Cap, they are smoother and therefore more pleasant to listen too. They do well in upgrading existing crossovers of speakers that are a bit on the laid-back side of neutral, they will pump some life and energy into such a system. Jantzen Audio themselves state: "more resolution, more sound stage. Lots of dynamics. Fast reaction, live feeling and natural sound" I would say the same except for the last bit, live pop-music feeling yes, live classical music feeling and natural sound, no. But still overall a very nice capacitor.

Sound: Jantzen Audio seem to know what they are doing with this Alumen Z-Cap. They have created a modern day capacitor that doesn't sound "modern". This might be a strange way of describing what I mean, but to me it combines the best of both "modern" and "vintage" worlds. The music flows, has a smooth presentation and at the same time it is high in contrast. The Alumen Z-Cap has high resolution in a natural way, it is without glare that you usually get with some of those "high-end" capacitors. There is an adictive balance between warmth on one side and and openness on the other. Tonally speaking it is the exact opposite of the Mundorf Supreme EVO Gold Oil that is at a similar high quality level. The Mundorf MCap Supreme EVO Silver Gold Oil is a very clean, detailed and open sounding with lots of contrast, great depth and heaps of micro detail. The Jantzen Audio Alumen Z-Cap is also open and also has lots of contrast but does it with a warmish undertone. Where as the Mundorf can get a bit on the lean side of neutral in some situations, the Jantzen maintains coherency under all conditions. The combination of and balance between these characters is spot on and make the Jantzen Audio Alumen Z-Caps create music with a great sense of realism. Comparing the Alumen Z-Cap to other aluminium foil capacitors like the Jupiter HT BeesWax Paper you understand what I mean with a modern day capacitor that doesn't sound "modern". The Jupiter HT Beeswax has a similar clear and open presentation but also slightly rounder and softer, more "vintage" if you like. In direct comparison the Alumen Z-Cap is more neutral (as you might of guessed by now, I like my music to sound neutral). Compared to the extremely neutral Duelund RS copper foil, the Duelund gives you richer harmonic overtones but with slighlty less sparkle at the top. In the end the Duelund does show you what real absolute neutrality is - although to obtain that you need to spend a lot more money. Taking that into consideration, the Jantzen Audio Alumen Z-Cap is an absolute bargain! I also found the Jantzen Audio Alumen Z-Cap to mix extremely well with the Clarity Cap CSA and CMR. Both types blend together seamlessly with the Alumen Z-Cap. Overall the combo with the CMR is more lush and spatious with a wide and deep image. It paints a bigger image. The combo with the CSA projects the image more forward and sounds a little brighter. Although the slightly brighter presentation with the CSA can be welcome in some cases / recordings, over extended periods of time I prefered the smoother sound of the Clarity Cap CMR with the Alumen Z-Cap. The Alumen is a very nice capacitor with a nice balance between clarity, timbre and texture. Very good price / performance ratio. Objectively speaking the Amber are better, but they just cost a lot more to get you from 11,5 points to 12,5 points ;-) I have added the Jantzen Audio Alumen Z-Cap to my favourites list.

Sound: In general (like all copper foil types) the Jantzen Audio Amber Z-Cap has a nice realism of tone, very convincing in the way it portrays vocals and acoustic instruments. The Amber Z-Cap is extremely neutral, nothing stands out (in a positive way) so I would group it with other very neutral copper foils like the Duelund RS and Audyn True Copper Max. Not quite as dynamic as the Rike Audio S-Cap nor as rich and lush as the Jupiter copper foils and Duelund CAST Cu-Sn, just simply middle of the road neutral which I find to be very pleasing when listening to a wide range of music types and recording qualities. Basically copper foil capacitors can be split into two camps, one that is absolutely neutral, the other that has a slightly more "character" to the tone. I would consider the Audyn Cap True Copper Max, Duelund RS, Jantzen Audio Amber Z-Cap and Miflex KPCU-01 to be very neutral. All Jupiter types, Duelund CAST series, Rike Audio Q-Cap have a bit more character or colour. It's up to you which suits your system and taste the best! I have added the Jantzen Audio Amber Z-Cap to my favourites list.

Sound: First of all I must mention that JB Capacitors were very kind to send me a large selection of different values and voltage ratings of their JFX capacitors. This made it easier to test the capacitors in a large range of different loudspeakers and I could also check the tolerance ratings. All the capacitors that I received measured well within the 5% tolerance rating. How do they perform? Well, after plenty of burn-in time (that they need to open-up) they deliver a wide and open sound stage. Nice and neutral, but the signature can be a bit upfront and flat. In some cases the "flat" sound can work well, for example if you just want to keep things tame or if you are replacing some old electrolytics or MKT's and don't want to shift the tonal balance too much. One of those things that doesn't impress at first but sort of grows on you after a while. They are also fine when used in parallel woofer sections or as a less critical midrange series capacitor. But if you are looking for something in the tweeter's direct signal path I would advise to look elsewhere - in a similar range their JSX types for example are more open and clear, especially the higher voltage types. During testing, the JB Capacitors JFX actually reminded me quite a lot of the Erse Pulse-X that I tested a couple of years ago, so I got the Erse out again and plugged them into the same test loop. They seem so similar that, to be honest, I couldn't tell if I was listening to a JB Capacitors JFX or an Erse Pulse-X! With the JFX things like massed baroque choir become muddled, they don't seem to keep a clear overview when the programme material gets complex. Also brass missed that shine that is so typical for such wind instruments. I guess I would add the JB Capacitors JFX to the list of capacitors like the Axon True Cap, Intertechnik Audyn Cap QS, Erse Pulse-X, etc. The price / quality ratio is very good. I can highly recommend this capacitor if you are looking for a nice, but not too expensive MKP.

Sound: Sound: The JB Capacitors JFX Premium sounds quite organised when compared with other standard MKP's in this price range. Like all basic MKP's thay can get a bit muddled when complex progamme material is fed to them but they do have a certain tidyness to them which makes them go further before that sets in. The JFX Premium is reasonably well balanced and neutral and in a positive way nothing sticks out. If you are looking for a basic MKP at a very fair price then the JB Capacitors JFX Premium is a good contender.

Sound: The physical size and shape of the JB Capacitors JLX is very similar to that of the Jantzen Audio Alumen Z-Cap 100VDC and Cicada Pure Aluminium Foil 100VDC. The JLX has a clear top end, more detailed than that of the Alumen Z-Cap but therefore less smooth. The Alumen's smoother nature makes it sound more intimate in a direct A-B comparison. Furthemore the Alumen had better depth, imaging and a slightly richer tone. Compared to the Cicada Pure Aluminium Foil the JLX Aluminum Foil and Metallized Polypropylene is far more open and clear, it just sounds less closed-in. If we go to a different breed of capacitors from the Mundorf stables the Supreme Classic sounds less mature than the JLX although it does have a similar amount of clarity in the top end. Vocal with the JLX have more richness making the Supreme Classic sound a little forward, a little more in your face. From Mundorf's EVO range, the Supreme EVO Oil also lacks a little overview compared to the JLX. But if we go up the Mundorf scale to the Supreme EVO Silver Gold Oil we get far better reverberation information and heaps more low level detail. This makes the Supreme EVO Silver Gold Oil keep the overview in complex orchestral music where the JLX tends to get muddled up. In direct comparison the JLX sounds rather bland. So all in all I found the JLX to be the best capacitor so far from JB Capaitors that I have tried. Maybe not quite at the same level as the higher grade Mundorfs or Jantzen Audio's aluminium foil Alumen Z-Cap but still a reasonably neutral and very usable capacitor.

Sound: First of all I must mention that JB Capacitors were very kind to send me a large selection of different values and voltage ratings of their JSX capacitors. This made it easier to test the capacitors in a large range of different loudspeakers and I could also check the tolerance ratings. All the capacitors that I received measured well within the rated 5% tolerance. Soundwise you can hear that the JSX comes from the same family as the JFX but I prefer the JSX to the JFX because they are clearer (especially the higher voltage types) which makes them less muddled and therefore easier to follow the musical content. When compared to one of my favourite low-cost capacitors, the Mundorf EVO Oil, it is evident that the JB Capacitors JSX still lacks some clarity and sound a bit forward. The Mundorf EVO Oil emphasizes the top-end a fraction anyway, so maybe that comparison is not completely fair. But on the otherhand it does explain on which side of neutral both capacitors stand regarding the amount of top end clarity. What the EVO Oil does do much better is reproducing spatial information, the image lacks some depth with the JSX but not as much as with the JFX. Comparing the JB Capacitors with other low cost types I would say that it comes closest to the Jantzen Audio Cross Cap or Jantzen Audio Standard Z-Cap. Comparing them to the Obbligato aluminium-foil MKP there are similarities in that they are both a little upfront sounding when compared to higher grade types, but at least the Obbligato aluminium-foil MKP shows a more open tonal balance. Like many of these basic quality MKP's JB Capacitors JSX lacks some sophistication but their overall tonal balance is reasonably neutral. The price / quality ratio is very good. I can highly recommend this capacitor if you are looking for a nice, but not too expensive MKP. Good overall qualities and an upgrade from the standard JFX.

Sound: The white JB Capacitors JSX Superior is similar in character to the old black JSX type but now has added clarity making them a little more open sounding. This works especially well on recordings of jazz-trio's or other small ensembles making it easier to pick out the details. The Clarity Cap SA and ESA will give you more image depth and richer harmonic overtones and the Mundorf EVO Oil will give you sharper leading edges to notes but it must be stated that those capacitors are in a higher price bracket. It is just to give you an idea in what sound quality range we are looking at here. Personally I actually prefer the JFX Premium in being a tad more expressive and coherent but I could imagine the JSX Superior to work well if you are looking for a more clean presentation.

Sound: I found the Jupiter HT BeesWax Paper to be very spatious and rich in harmonic texture. They are clear and open but there is never and over-emphasis on any area. Compared to AmpOhm aluminium foil types the Jupiter has more air and they produce a wider image where as the AmpOhm project more front to back. Still not quite as neutral and coherent sounding as the Duelund VSF but at the same high quality level as the top of the range Mundorf's. They have a nice fleshy treble with a rich midrange to match. They act well under all conditions and don't seem to have any preferences. I find them very pleasing to listen to.

Sound: The Jupiter Flat Stacked capacitors are similar in sound to the HT BeesWax Paper types in that they are very spatious and have a nice fleshy treble and a rich harmonic texture. Compared to the HT BeesWax Paper types the Flat Stacked capacitors are actually even meatier and more intimate, in a direct A-B comparsion the HT BeesWax sounds a tad more forward. The Flat Stacked are warmer and richer in texture than the Rike Audio S-Cap but also a little more laid-back in presentation, slightly romantic sounding if you like but never to the point where you could call them "slow" - on the contrary. The Rike Audio S-Cap seems a little more dynamic and open but also more "in your face" than the Jupiter's. When comparing the Flat Stacked to a Jantzen Audio Superior Z-Cap you get a more rich and colourfull image with the Flat Stacked, especially noticable when listening to things like a solo piano where the harmonic overtones have more layers to the texture making things more convincing. I found the Jupiter's to take all types of music with no particular preference for one type over another, which is a good thing in my opinion. Also, the higher voltage types seemed to sound a tad more spatious, not much, but noticable in a direct AB comparison. Overall very nice indeed! Another plus point: their tolerances are relatively small for paper based capacitors, you usually see higher tolerances with this type of capacitor.

Sound: The Jupiter Copper-Foil Paper & Wax seems to have everything you are looking for in a capacitor: a coherent and organic presentation, detail and smoothness come hand-in-hand, a well controlled and focussed image, rich and transparant overtones, they are all there. The image is produced against a quiet background making it sound spatious with good retrieval of the recording venue. For example on Jordi Savall's mulit-channel recording of "Esprit d'Armenie", when you close your eyes it is as if you are sitting there in the old church building with the musician's only a few metres away. The texture and timbre of acoustic instruments seems very realistic. Comparing the Jupiter with other high quality capacitors, you get similar amounts of fine detail as you do with the Mundorf Supreme Silver Gold Oil but with more weight and coherence. The top end clarity of the Jupiter also has certain richness to it. It's organic texture and smoothness is very similar to that of the Duelund RS but with a tad more "shine" in the top octave. I guess if you want to be as close to absolute, ruler flat neutrality as possible then the Duelund RS would be your favourite. If you are looking for a tad more air at the top, then the Jupiter Copper-Foil Paper & Wax is a serious alternative. A matter of personal taste I would say. Switching to a different copper-foil capacitor, the Rike Audio Q-Cap, you get more body especially noticable with solo piano. But the Q-Cap doesn't have that same lush and intimate character that makes the Jupiter so convincing and lovable. Comparing the Jupiter with the Duelund CAST-Cu, I found there was a tad more blacker background and a little more "being there" effect with the CAST-Cu but the Jupiter did seem more airy than the Duelund. Anyway, the Jupiter Copper Foil Paper & Wax is one of my favourite capacitors!

Sound: The Jupiter Copper-Foil Paper & Wax used as a bypass capacitor in loudspeaker crossovers creates a nice balance between warmth and detail creating a very pleasent overall sound. I found myself plugging them in and leaving them there, easy to listen to. Comparing the Jupiter with the Duelund bypass types, I found there was a more black background and a more "being there" effect with the Duelunds but the Jupiter only costs about half, so very well done Jupiter! Compared to the low cost Cornell Dubilier 940C / 0,01uF / 3000VDC the Jupiter sounds more mature with more natural harmonic overtones.

Sound: The KZK K78-34 is a full bodied, slightly warmish sounding capacitor with a very smooth top end. The tonal balance gives slightly more attention to the lower part of the treble making it not as finely detailed as Mundorf capacitors for example but which does give it a nice intimate character that is very pleasing on long term listening sessions. The smooth top end gives a calm and natural presentation that is slightly on the dark side of neutral. As a reality check I compared the K78-34 with the absolutely ruler flat (and far more expensive) Duelund RS-Cu. The Duelund sounded in a direct A-B comparison more open in the top end and overall more balanced. Switching to the other end of the scale, comparing the K78-34 with standard quality MKP's such as the Intertechnik Audyn Q4 or Solen Fast Cap PB-MKP-FC, you notice how nicely full-bodied and rich the presentation of the K78-34 is. It can get a little bit muddy on complex orchestral works or massed choir music but I guess that is due to it being slightly on the dark side of neutral. The soundstage is placed slightly in front of the speakers, again making the overall sound quite intimate. In contrast to various Mundorf capacitors that tend to place the soundstage a little more to the back. That the K78-34 doesn't have heaps of outlined detail at the top end can be quite usefull at times, for example, if your system is a bit on the hot side of neutral the K78-34 should bring everything nicely back into balance.

Sound: Like the Vishay MKP1837 they really clear things up when used as a small parallel capacitor. They take away the grainy edge from most capacitors. They give a gain in clarity and detail making instruments better separable from each other, the violins in an orchestra are a group of individual violins instead of one mass. They don't do the disappearing-act quite as well as the Vishay MKP1837 but they come close. I also find them to match well with "analogue" sounding capacitors like paper-in-oil types, etc in which they improve clarity at the top end of the spectrum.

Sound: Similar in character to the Mundorf M-CAP but with more detail right down into the midrange. Pleasant open sounding and smooth. Less depth than the ASC MKP in oil. I quite like these!

Sound: The Lefson C-MON SPK brings flow to the music with a clear, neutral and tangible midrange without any rough edegs. This clear and smooth timbre is similar to what you get with silver foil capacitors, it wouldn't surprise me if inside the potted enclosure there is a small silver foil bypass capacitor added into the mix. But that is just speculation. Although it doesn't have the nice, rich organic qualities of a copper foil capacitor the C-MOD SPK does gain points for its addictive "see through" nature. Compared to a Jantzen Audio Alumen Z-Cap the Jantzen has more contrast but the Lefson presents the image in a more mature way, also slightly bigger. The amount of clarity that the Lefson produces is similar to that of the Mundorf Supreme EVO Silver Gold Oil but without the edge, therefore being more pleasent to the ear. Solo piano music is well defined and above middle C realistically dynamic. The Mundorf has a bit more emphasis on the very top end making it do things like brass instruments sound nice and shiny. The Lefson C-MOD SPK doesn't high-light anything and is (in direct A-B comparison) a tad more forward sounding in the lower treble making it smoother and therefore better suited for long term listening sessions. Long term listening is something that the Jupiter BeesWax HT is well suited for, comparing the Lefson with that capacitor shows that the BeesWax HT is more intimate and warmer than the C-MOD SPK. In a direct A-B comparison the Lefson sounds a bit flatter and less liquid than the Jupiter, on the other hand the Lefson has this "see through" nature that I mentioned earlier. But everything is relative, the BeesWax HT might be more intimate than the Lefson in certain situations but in turn I found the Lefson to be more intimate than a Mundorf Supreme Silver Gold Oil. Especially noticable with vocals. For example Diana Krall singing "Day in, Day out" on her album "From this moment on" was more in my listening room with the Lefson. My listening notes also stated good seperation of individual choir members and the acoustics and reverberation of the concert hall can be easily distinguished. Very good on big-band music and large symphony orchestra's. Smooth, neutral and detailed at the same time, I quite like these!

Sound: Neutral and coherent but slightly midrange forward which can make them sound subjectively louder than more "laid back" capacitors. In that respect they remind me a little of the Intertechnik Audyn Cap Plus, although overall I do rate the Audyn Cap Plus higher. For fun I also compared the Miflex MKP-10 to the Wima MKP-10 seeing that they both have the same type number: the Miflex sounded a little congested in direct comparison to the Wima. Comparing then with all the Clarity Caps I would say that they are just about on the same level as the Clarity Cap PX or SA but without the hint of warmth you get from Clarity Cap. If that is a good thing or a bad thing is up to you to decide, personally I preferred the Clarity Cap's. And to put things into perspective: the Clarity Cap CSA was more intimate and had a tad more top end detail and the higher range Clarity Cap CMR was much more spatious. Comparing the Miflex MKP-10 to the Intertechnik Audyn Cap MKP-QS turned out in favour of the Miflex for sounding a little fuller, although there was still that hint of midrange forwardness with the Miflex. I guess this forwardness is also partly to do with a slightly rolled off top end of the MKP-10. This can make lesser quality recordings sound a bit in your face at times. But if the character of the Miflex MKP-10 is taken into consideration when voicing your loudspeakers, they can be a nice alternative.

Sound: The Miflex KPCU-01 brings texture to music in a nice organic manner. At times the presentation can be quite tangible. For example on Garry Willis' album Retro it sounds like he has just re-strung his five-string bass. The harmonic overtones of the instrument become more evident making the bass-lines easier to follow. This is not done by artificial emphasis on the top end, it is more "just right". Long term listening sessions are very pleasent which shows that there is nothing artificial about the sound at all - on the contrary. The sound sort of grows on you after a while. Comparing the KPCU-01 to other foil capacitors I found it to be more forward sounding than the both the Duelund CAST Cu and the CAST Cu-Sn and the Jupiter Copper Foil Paper & Wax. In direct comparison the KPCU-01 is a little less transparant in the top end but still rich in tone, smooth and coherent. Although with the Jupiter Copper Foil Paper & Wax music did seem to sound more "complete". A-B switching between the Miflex KPCU-01 and the Duelund RS-Cu revealed that the RS-Cu is more ruler flat neutral of the two but the KPCU-01 did very convincing harmonic overtones. On the other hand, comparing it to the Jantzen Audio Alumen Z-Cap you get a richer tone with more flow and air with the Miflex. Another example: the Mundorf Supreme Classic Silver Gold Oil sounds in direct A-B comparison to have less body and a less natural tonal palette than the Miflex. A very nice capacitor, the KPCU-01.

Sound: The Monacor MKPA reminds me a bit of the Solen Silver Sound but less sophisticated. Compared to the Solen PPE-MKP-FC I actually prefer the Monacor for being a little smoother, with the Solen PPE-MKP-FC piano can sometimes sound a bit hard. The Monacor doesn't have this "problem". So all in all I can say that the Monacor is a good, general purpose capacitor.

Sound: The Mundorf MCap 250VDC has exactly the same tonal balance as the 400VDC type I originally tested. The only difference being a very small lack of fine detail and image size compared to the higher VDC rating MCap's.

Sound: I find the Mundorf MCap a little better than the Intertechnik MKP QS. Nothing extreme, but noticeable, especially if all capacitors in your filter are MCap's. A little more lively and with better speration than the Audyn Cap MKP-QS with slightly more midrange openness.

Sound: The Mundorf MCap is available in three different VDC ratings (250/400/630VDC). What seems to happen whith an increase in VDC rating, is the more you get regarding terms as seperation of the individual instruments (massed violins for example), the deeper the image size and there is also an increase in the amount of fine detail. The differences are very small and there is absolutely no change in tonal balance, they all have the same character. On some types of music I couldn't hear any differences at all but with high quality recordings on a high quality system the relative differences could be heard - nothing shocking, but noticable most of the time. Also these relative differences could only be distiguished when A-B switching between the three, I mean sometimes I was listening to (what turned out to be) a 250VDC type and said "this sounds great" (thinking this must be the 630VDC MCap), then when switched to another VDC rating I sensed a very slight improvement. So one could be perfectly happy with the lower VDC capacitors but if one has the possibility to choose, go for the MCap 630VDC types.

Sound: I found the Mundorf MCap ZN Classic to produce a clean an accurate midrange combined with a detailed top end. The overall precise and pleasent nature is clear but never edgy. In direct comparison to the also precise sounding Mundorf EVO Silver Gold Oil (that costs roughly twice the price) the ZN Classic comes across slightly less civilized but I did find vocals to be more realistic than the EVO Silver Gold, they had a little more body with the ZN Classic. Comparing the tin foil ZN Classic with the copper foil Fostex CS you notice that with copper foil you get more body and more weight. But again, copper foil capacitors are far more expensive so this is just to find where the ZN Classic sits in the range. The ZN Classic is less "toppy" than the standard EVO Oil which gives it a bit more body. Compared to capacitors that are more midrange quality focussed (like the Duelund RS) the Mundorf ZN Classic would appear to have a mild loudness character. But again, all is relative. All in all the Mundof ZN Classic gains points for it's nice balance between clarity, openness without getting rough around the edges.

Sound: Compared to the standard MCap they are cleaner and more transparent. The MCap's are slightly more midrange focussed. The RXF are nicely detailed without being edgy but could be a little smoother sometimes, they tend to draw your attention to the top-end more than the rest. This top-end focus does gather points regarding the retrieval of ambient information and reverberation. But I find the lower treble lacks some refinement, a bit "in your face". They do get better over time but a slight glare stays. The Supreme is similar in spatial information but far more refined and therefore better. I also find the Clarity Cap PX to be smoother, rounder and therefore scores better in long term listening. This is most evident on well-recorded classical music. Overall I am still very positive about the RXF (especially considering the price) and see them as a welcome arrival for the budget sensitive user. They could also be a handy upgrade for existing crossovers were space is limited because they are built more compact than regular axial capacitors, especially when you need large values.

Sound: The compactly built Mundorf MCap EVO Aluminium is basically overall pleasent to listen to and has the well kwown Mundorf sound signature. Reasonably neutral with a slight emphasis towards higher frequencies making it sound a little more transparant than some darker, more rounded-off types. Compared to the higher grade Mundorf EVO capacitors is can sound a bit flat at times, lacking some depth in the image but don't lean too heavy on this - the EVO Aluminium as a low priced capacitor so don't expect miracles. In direct comparison to a Vishay MKP1839HQ they are more open, in direct comparison to the more expensive, but also very affordable Intertechnik Audyn Cap Plus the EVO Aluminium offers more transparancy but at the same time less coherency. The Audyn Cap Plus has a more balanced and tonally even presentation.

Sound: The compactly built Mundorf MCap EVO Oil is a big step up from the basic MCap EVO Aluminium and actually it is my personal favourite of the three EVO type's although it's more expensive brother, the EVO Silver Gold Oil, does still excel in fine, airy top-end detail. I found the MCap Evo Oil to do especially well on vocals, male and female voices come out well rendered and relatively natural sounding with a certain richness. Wind instruments (brass or wood) also sound convincing with the EVO Oil, they seem to have a natural edge to them. Image depth is another strong feature of the EVO Oil although not up to the high level of Mundorf's Supreme range. All in all the MCap EVO Oil seems to be the best overall performer of the EVO range unless you are into piano music - then the MCap EVO Silver Gold Oil scores lots of points for top-register clarity. Brighter than an Intertechnik Audyn Cap Plus that costs roughly the same but at the same time not as full sounding. I found that the EVO Oil likes to be mixed with Jantzen Audio Superior Z-Caps, the slightly bright nature of the EVO Oil blends well with the very neutral and spatious sounding Superior Z-Cap. For example when used for a large value midrange series capacitor: mixed at about one third Jantzen Audio Superior Z-Cap and two thirds Mundorf MCap EVO Oil, together they form a well-balanced rich and spatious combo at a reasonable price.

Sound: The Mundorf MCap EVO Silver Gold Oil really stands out when it comes to instrumental classical music. Especially if you have a fetish for grand piano's you will like the MCap EVO Silver Gold Oil! The rich clarity in the range from C5 upwards is addictive, making a Yamaha Concert Grand sound very articulate and realistically bright. The overall sound is clean and airy with actually more fine detail than the Mundorf Supreme but the Supreme win's when things get complicated and loud by keeping the overview. Due to the clear nature of the EVO Silver Gold Oil sibilance is a little more pronounced than with the MCap Supreme that comes across more civilized and coherent. The MCap EVO Silver Gold Oil does need some time to burn-in and calm down. Fresh out of the box I found them rather nervous, give them at least 50 hours to mellow out. One major plus point about the MCap EVO Silver Gold Oil is it's very compact build, compared to the MCap Supreme it is only a third to a quarter of the size (depending on the capacitance value) which makes it handy if you are looking for a high quality capacitor and the available space is rather limited. The EVO Silver Gold Oil can be slightly on the "toppy" side of neutral at times, so it does mix well with capacitors that sound a little mid-range forward, like the Intertechnik Audyn Cap Plus for example.

Sound: The Mundorf MCap Supreme EVO Oil has a slightly calmer presentation than the Supreme EVO Silver Gold Oil. Also, in direct comparison there is less micro detail, a less black background and less contrast. But what do you expect at about a quarter of the price! Going down the scale and comparing them to the Supreme Classic Silver Oil I found the EVO to be a little clearer and more transparant, the Classic was a little smoother and had more rich harmonic overtones. For example large crash and ride cymbals had more "shine" with the Supreme EVO Oil but a more realistic and convincing "metallic warmth" with the Supreme Classic Silver Oil. But again, what do you expect with the classic being about three times the price! Next comparison was with the standard MCap Supreme Classic that is a fraction cheaper the the Supreme EVO Oil. Here the EVO had the leading edge (literally) with slightly more definition and precision. But the Supreme Classic was also quite nice with (in direct comparison) a little more warmth and "lushness". Comparing the new Supreme EVO range in general with the EVO range and Classic Supreme range it seems that Mundorf has succeeded in combining the detailed and precise nature of the EVO with the rich and spatious nature of the Supreme. Sounding more mature than the basic EVO range and having more contrast than the Supreme Classic range. If you actually need more contrast is up to you.

Verdict: 10,5

Mundorf MCap Supreme EVO Silver Gold Oil 800VDC - 2% tolerance

Technical specifications (according to manufacturer): "Since 2015, the MCap Supreme EVO Silver Gold has been our undisputed top capacitor model. It combines all our technical highlights, such as Silver Gold metallisation, Supreme and Evolution winding technology and over 30 years of experience in the manufacturing of audiophile masterpieces into a unique capacitor type of equally unique musicality: finely nuanced and lively shining acoustic colours, which combine into a breathtaking, beautiful, live-like music experience with the utmost precision, presence and three-dimensional plasticity. Metallised polypropylene as the dielectric guarantees low tolerances and the highest standards of safety in use thanks to its self-healing properties. After running through our new top-quality winding process, the capacitor winding is potted by hand into aluminium tubes to minimise microphony. The directly gold-plated, asymmetrical pure copper wires make it possible to assemble it in a classic, horizontal style or vertical. The shorter lead also indicates the capacitor's outer foil. Thanks to its oil impregnition, the MCap Supreme EVO Silver Gold Oil offers even superior presence and dynamics. Dielectric: polypropylene (PP); Metallisation: 99% silver + 1% gold; tan d: 0,0002@1kHz - 0,0001@10kHz."

Verdict: 12-

Mundorf MCap Supreme Classic 800VDC - 2% tolerance

Technical specifications (according to manufacturer): "1. Special induction-free winding technology: two capacitor windings are interleaved so that their inductances effectively cancel each other out. These two windings are connected in series. This means that it takes two 2uF windings to make a single 1uF MCap Supreme capacitor - the same amount that it would take to produce a full 4uF of capacity using conventional technology! 2. Best available materials: The polypropylene film used for the MCap Supreme has exceptionally low loss characteristics. 3. Sturdy plastic and aluminium cases: This prevents microphone effect feedback thus protecting important signal details."

Verdict: 11-

Mundorf MCap Supreme Silver Oil MKP 1200VDC - 2% tolerance

Technical specifications (according to manufacturer): "The MCap Supreme Silver Oil is an oil impregnated metallised polyprophylene dielectric capacitor. As the name indicates, high-purity silver is used for the capacitor coating, and the winding is impregnated with a special oil developed in an exhaustive series of experiments and listening tests. Both these features contribute to an even fuller and smoother tonal richness and diversity. Our state-of-the-art metallised polyprophylene foils make it possible to maintain extremely low production tolerances that cannot be achieved with traditional oil/paper capacitor designs. This is also the first time that the benefits of oil-impregnated capacitor design have been successfully combined with the well-known long-term stability of polypropylene foil and internal series wiring for induction-free SUPREME performance. Its lively reproduction of music impresses in particular with its subtly dynamic speed, precision and marked fine detail."

Verdict: 11,5

Mundorf MCap Supreme Silver Gold 1200VDC - 2% tolerance

Technical specifications (according to manufacturer): "The metallization of the capacitor foil for our MCap Supreme Silver Gold consists of pure silver with an admixture of 1% pure gold. Gold alters the crystalline structure of silver and maximises its very good electrical conductivity. The outstanding properties of the MCap Supreme - high definition and auditory ambiance of the music playback - are once again audibly enhanced and substantially enriched in finely nuanced timbres through the utilisation of silver/gold. In this capacitor MCap Supreme silver/gold speed and precision combine harmonically with beauty and elegance."

Verdict: 11,5

Mundorf MCap Supreme Silver Gold Oil 1200VDC - 2% tolerance

Technical specifications (according to manufacturer): "The MCap Supreme Silver Gold Oil is definitely the top-of-the line model of our oil impregnated capacitors. In comparison with the Silver/Oil version, it technically features a further extended lifetime. More importantly, sonically the Silver/Gold/Oil version stands out due to its wonderful natural singing and exceptional micro dynamic, same time. Capacitance: 0.010uF-10uF; Dielectric: Polyprophylene; Metallisation: 99.99% silver, 1% gold; Purity of silver: min. 99.97% typ. 99.99%; Purity of gold: min. 99.97% typ. 99.99%".

Verdict: 12+

North Creek Crescendo Film and Foil MKP 200VDC - 10% tolerance

Technical specifications (according to manufacturer): "Released in 1996, these capacitors were designed with a lush, rich midrange and romantic but detailed top end; a tonality opposite that of other large film-and-foil capacitors. Proper application of the thick 200 Volt film results in a tonal continuity from the midrange through the treble extremes, and balances the midrange correctly with the upper octaves. The extreme top end of the Crescendo capacitors is soft and very quiet. Although Crescendo Harmonically Balanced film-and-foil capacitors were designed to operate as a single capacitor in most tweeter circuits, they also benefit from paralleling and cascading with the higher voltage Crescendo capacitors. They also make an excellent parallel cap when paired with most other base caps for high performance midrange circuits, and can be configured in large pure film-and-foil stacks for the ultimate in midrange performance." Although the tolerance stated is meant to be a poor +/- 10%, I measured all of them and they were all within about 1% the stated capacitance - the worst one measured 10,12uF.

Verdict: 8

Obbligato aluminium-foil MKP 630VDC - 5% tolerance

Technical specifications (according to manufacturer): Chinese built, extra tight winding, no voids and thick-coated aluminium film imported from Germany. Very low inductance. Lead-outs are tinned copper, solid core.

Verdict: 10-

Obbligato Film Oil MKP 630VDC - 5% tolerance

Technical specifications (according to manufacturer): Chinese built, extra tight winding, no voids and thick-coated aluminium film imported from Germany. Very low inductance. Lead-outs are tinned copper, solid core.

Verdict: 9

Panasonic EZP-E 1100VDC - 10% tolerance

Technical specifications (according to manufacturer): "Panasonic EZP-E capacitors are constructed from a metallised dielectric with segmented pattern and polypropylene film. The use of a case and a sealing resin ensures that these film resistors are flame retardant. With a built-in self-protecting function, these capacitors are self-healing and are a high safety option; low loss; low ESR; high reliability; long product life; tinned wire terminals. Recommended for DC filtering and DC link circuits, suitable applications include wind power generation, industrial power suppliers, inverter circuits in appliances and solar inverters."

Verdict: 8+

Rike Audio M-PP 600VDC - 5% tolerance

Technical specifications (according to manufacturer): "Metallized polypropylene film capacitor; capacitance tolerance 5%; rated voltage 600VDC; lead diameter 1,0mm tinned copper."

Verdict: 8

Rike Audio Q-CAP 600VDC - 5% tolerance

Technical specifications (according to manufacturer): "Copper Foil and Polypropylene Film capacitor; capacitance tolerance 5%; rated voltage 600VDC; lead diameter 1,5mm pure copper."

Sound: I found the Rike Audio Q-Cap to be neutral with a nice balance between dynamics and smoothness, sort of snappy, tidy and rich at the same. Switching to the Intertechnik Audyn Cap Tri-Reference seems things to sound a little dull, switching back to the Q-Cap brings you closer to what is happening. The Tri-Reference is strictly speaking closer to absolute neutrality. The general overview of the Q-Cap is very good and also has a tad more dynamic expression than the Jupiter Copper-Paper-Wax, which in a direct A-B comparsion has a fraction more flow. The Q-Cap has plenty of detail although not to the same extent and clarity that you get with the Mundorf Supreme Silver Gold Oil. This does make the overall presentation of the Q-Cap more relaxing to listen to. Comparing the Rike Audio Q-Cap with the very neutral (and less expensive) Jantzen Audio Superior Z-Cap you know what you pay the extra for: the Q-Cap produces a bigger image, especially when it comes to things like the width of the sound-stage. Also there is a more convincing placing of the instruments in an orchestra. Vocalists and solo violin stand at the front of the sound-stage. One of the things I listen for when evaluating capacitors is how well the harmonic overtones, which determine the timbre of an instrument, are portrayed. This the Rike Audio Q-Cap does very well. Listening to traditional Chinese guzheng music on 24bit / 96kHz flac's or Armenian duduk ensembles on multi-channel SACD, I got the impression of a very tangible presentation with rich timbres. In direct comparison it made the Mundorf Supreme Silver Gold Oil sound a tad "plastic" in the top most registers of these traditional instruments. On the other hand the Mundorf Supreme Silver Gold Oil did very well with jazz drum-kits, giving ride cymbals and brushes a bit more "edge". In general when the Q-Cap is compared to other copper-foil types, you could say that the other types that use paper between the copper foil could be described as sounding "traditional" and the Q-Cap that uses polyproylene between the copper-foil sounds "modern". Neither is better than the other, just different and it will depend on personal taste and system matching which character you prefer. All in all I quite like the Rike Audio Q-Cap, a welcome newcomer to the top range of capacitors.

Technical specifications (according to manufacturer): "Metallized film capacitor; dielectric: polypropylene film; electrodes: aluminum metallized, vacuum deposited; construction: round tubular "Square Aspect Ratio" type; axial leads; winding: bifilar extended metallized film; contact: non-inductive, zinc thermally sprayed extended film; coating: black plastic tape wrapped, grey epoxy resin sealed; leads: tin plated oxygen free pure copper; capacitance 0,10uF - 330uF."