⌈ Static electricity is a term that refers to phenomena occurring when an imbalanced electrical charge is generated in materials characterized by low electrical conductivity (dielectrics, insulation materials), or in conductive objects isolated from the Earth (e.g. human body, elements of devices, etc.). The charges generate an electrostatic field around them, whose value is proportional to the electrostatic charge value. pl.wikipedia.org ⌋

saw the first advertisements of the CS PORT brand about two years ago in the “Stereo Sound” magazine. It is a Japanese manufacturer whose first product advertised there was instantly a top-of-the-range device. I am talking about a turntable with a heavy weight stabilizer, looking like a “thousand dollars”, or rather 48,000 British pounds. The LFT1 has a 27 kg air-floating platter, which makes it similar to Micro Seika and TechDAS turntables. However, all the technologies that have been implemented in it, have been developed by the company itself. What is more, the firm offers its own linear tracking arm.

It is not everything. Apart from three turntables (the LFT1 and two cheaper models: the TAT1 and TAT2), CS Port also offers a broad range of electronics, including the enormous, 212A triode-based 212PA monoblocks. As far as their design is concerned, our attention naturally turns to the tube used in the device, a modern incarnation of the Western Electric STC4212E, with 1400 V of anode voltage and 40 W of output power. However, there is one even more interesting solution here – voltage is supplied to the tube using an impulse amplifier. It is an absolute exception as far as common practice is concerned and the only company apart from CS Port, which uses its own solution of this type that I know of is Ancient Audio.

Apart from the epic monoblocks, CS Port also offers a stereophonic power amp, a line preamp, two phonostages, the linear AFU-1-2 tonearm that I have mentioned and the latest addition – the IME1, i.e. a two-in-one static eliminator demagnetizer. Its company name is the “Static Electricity Removal & Magnetic Eraser”.

Accessories such as the IME1 have been known in the vinyl world for many years, but they have usually taken on the form, if I may put it this way, offline devices. The most well-known ones are: the Milty Zerostat anti-static gun (the currently available version is ‘3’) and the DeMag demagnetizer produced by Furutech. The Stein Music company also offers a similar product, the DE-3. The former serves to ionize the surface of a vinyl disc, which leads to the neutralization of static charges that attract dust particles to a record, whereas the latter neutralizes magnetized iron molecules that are found in vinyl, or rather in the dye used in vinyl records.

Ionization | Electrification occurs when two bodies are rubbed against each other, as well as when two bodies that are initially not electrified come into contact and then are separated. It also takes place when a drop of fluid hits a solid object. A body can also be electrified through induction. This method of electrification consists in bringing an electrified body to a body that is being electrified. If the generated charges in the body that is being electrified are not transferred to other bodies or are able to return to their previous locations, the electrostatic field disappears after the electrified body is taken away. Vinyl and vinyl record mats get insanely electrified.

The Zerostat 3, which is used to minimize the electrostatic effect on vinyl records, has the form of a gun with a large trigger, so it is often referred to as a “gun”, while on Polish websites it is usually called an “antistatic gun” or, more rarely, an “antistatic neutralizer”. The “barrel” should be pointed to a record, you press the trigger and after a moment the record stops attracting dust – you can find a lot of videos on the Internet that illustrate it. This type of a device was highly praised by John Zurek, our friend from “Positive Feedback” (more about John HERE). A disadvantage of the Zerostat is that it does not work when a record is being played.

Demagnetization | A less intuitive product is the Furutech demagnetizer that resembles a UFO from the movie Man in Black II (directed by Barry Sonnenfeld, 2002), i.e. an exaggerated one.

Demagnetizers are electrical devices powered with alternating current, generating an alternating magnetic field. The field makes it possible to demagnetize steel elements that have been magnetized. The phenomenon of residual magnetism occurs most often during the mechanical processing of elements held using magnetic or electromagnetic clamps, or during contact with a magnet, or a magnetized element (source: magnesy.pl).

The Furutech DeMag is such a demagnetizer. We put a record on it, press a button and, after a moment, the molecules which have a tendency to magnetize are neutralized. Such molecules can be found in the dye that is added to vinyl and, even though they generate a weak magnetic field, it is strong enough for the magnetic system of the turntable cartridge to detect and change the signal a little as a result.

That is why, already a long time ago, the Classic Records record label started offering transparent vinyl records without any dye. After a series of tests, it was confirmed that the problem was largely gone, but using a demagnetizer still brought about sound benefits even in the case of see-through discs. How come? Let me add that similar products, but designed to be used with CDs, are offered by the Acoustic Revive company – I have been using them for many years. CS Pro offers a different solution.

| IME1

I do not know if, after reading the introduction, you can see where I am going. If not, let me give you a hint: it is a company that is not afraid of implementing solutions different from what everyone else is using and it combines these solutions with technologies that have been developed for years by other companies. One of them is the device used for ionizing and demagnetizing an LP record.

It is not the only device of this type on the market, as another Japanese manufacturer, the DS-Audio company, offers its own version of a ionizer by selling turntable cartridges in which the role of a magnetic system has been taken on by an optical system – these are cartridges that do not magnetize. The DS-Audio ION-001 has the form of a small and nice obelisk that is placed next to a turntable, with its little “windows” directed towards the record.

Design | The IME1 has a much more classic look and, apart from the ionization function, it also offers the demagnetization function. However, it is a little more difficult to use. Not that it is generally complicated, but some time needs to be devoted to it. The design resembles a crane with a large active element on the jib. The base is a heavy round metal plate with drilled openings, thanks to which we can screw the device to a table or platform.

There is a steel pin attached to the base. We put a metal element onto it and then insert another pin into this element, at the angle of 90 degrees – this time with an ionizer/demagnetizer on one side and a small counterweight on the other side. The connector is equipped with a wing screw which makes it possible to stabilize it in the vertical axis and an Allen bolt which is used to determine how far the main module is moved. This depends on how far the device is situated from a turntable and on the turntable base size.

Use | The ionizer module is set at an angle of 45º with respect to ourselves and 30º with relation to a record surface. There are two openings in the bottom panel, through which voltage that aids ionization is emitted; demagnetization takes place with the use of the whole surface. During demagnetization, we bring the device closer to the distance of 10 mm and press the button with a red flashing diode, while during ionization we move it away at the distance of 100 mm and press the green button.

Demagnetization takes several seconds – we are informed about the end of the process by a sound emitted by the device – and it is performed before a record is played, while ionization is conducted for 30 seconds before playback, but it is also active when we listen to music. As I have said, it takes some time and attention to learn how to use the device. That is why I have missed some spacers that would be possible to attach on the vertical pin permanently and would limit the downward movement of the module during demagnetization and its upward movement during ionization.

The IME1 can be used not only while playing records, but also when lacquer is cut for LPs. So, the IME1 operates at the Japanese mastering STUDIO Dedé (Toshima-ku, Tokio).

Recordings used for the test (a selec- tion)

AC Records – Two For Two: “Godzinki” & For D.”, AC Records ACR 016, „AC Records Acoustic References For Audiophiles”, 12”/45 rpm, Test Pressing LP (2020)
The Famous Sound Of Three Blind Mice Vol. 1, Three Blind Mice/Impex Records ‎IMP6027, 2 x 180 g LP (2018)
The Jazz Greats Volume III • Giant of Jazz Reeds-Part I, EmArcy MG 36050, LP (1955)
CHOPIN, Klaviersonaten • Piano Sonatas Nos. 2&3, wyk. Pollini, Deutsche Grammophon 415 346-1, LP (1986)
STAN GETZ & CHARLIE BYRD, Jazz Samba, Verve/Speakers Corner Records V6-413-2, 180 g LP (1962/1998)
THE DUKES OF DIXIELAND, The Dukes of Dixieland, Audio Fidelity AFSD 9004, LP (1957)

The IME1 is one of those ‘unnecessary’, yet ‘desired’ products. On the one hand, it is not a basic audio element and I both had done without it before the test and survived after I sent it back to the Polish distributor of the CS Port company. On the other hand, when I used it, I appreciated what it was doing for me and I was happy about its presence. It is because records played using the TechDAS Air Force III turntable with the SAT LM-09 tonearm and My Sonic Lab Signature Platinum cartridge sounded even better with it than without it.

The changes that the IME1 introduces into sound can be divided into two categories: a derivative of the interference caused by the sole way an LP record is played and corrections in music playback. Ultimately, both combine and together they form our reception of sound, even though they are actually separate sound components.

As far as mechanics is concerned, the Japanese device minimizes crackling noises and those that are left have a smaller amplitude, so they do not disturb us. This is how ionizers work and the IME1 does not fail us in this respect. These changes are not as big as those that you get after using a good cleaner, e.g. the AudioDesk Pro Vinyl Cleaner that I use. Thus, there is no way an ionizer can replace washing.

However, if everything is ordered, if we are satisfied with the sound of our turntable and if we have cleaned the record, the IME1 will be a valuable addition to our system. The crackling noises (small rather than large ones) that it modifies, do not have a strong attack with it, seem quieter and perhaps even smoother. They are normally sharp, but after the ionizer has been used, their attack seems blunter and muffled, which results in more pleasant sound.

It was interesting that the effect was clearer with newer, rather than older albums. The Jazz Greats Volume III • Giant of Jazz Reeds-Part I released in 1955 by EmArcy features the archive recordings of such jazz giants as Lester Young, Ben Webster and Coleman Hawkins. The first two tracks, performed by Young, come from a recording session that took place on December 28th 1943. The sound is typical for such a type of a recording – firm, fleshy, but also distanced and without a clear foreground. After the IME1 was turned on, the whole recording was a little clearer and more “unambiguous”, as if the needle had read more information.

It may only be my impression, but it was the same with each subsequent album and it would happen in exactly the same way, according to the same pattern. It was so, for example, with the recording of Chopin’s music, Klaviersonaten • Piano Sonatas Nos. 2&3, performed by Maurizio Pollini. The recording was made in 1984, so at a fairly early “digital” phase of Deutsche Grammophon, using a Sony recorder (we do not know if that was the multi-track PCM-3324, or the stereophonic U-matic PCM-1610).

The sound of the record is quite light tonally, but very clear, while the pressing is almost entirely free from noise or crackling. However, even with that record, the ionizer/demagnetizer allowed Pollini to sound smoother and denser. I had the impression that the IME1 made the piano sound thicker. I controlled this using contemporary recordings and re-issues, and I obtained the same effect. I could describe it as “more” of the recording itself, as if the Japanese device was able to make a given record sound “fuller”.

The thing is that the device does not change the sound character of records. It frees up their own sound, thanks to which the features of the given recording are more clearly audible. I could hear it very clearly with the test pressing of the AC Records – Two For Two: “Godzinki” & For D.” album. Test pressings are made in a slightly different way than regular vinyl discs, so they produce a little more hum and usually more crackling noises. Their sound attack, which disappears when vinyl discs are pressed, is also more emphasized. The IME1 did the same thing as with the other recordings here, but the effect was clearer: the sound was cleaner, clearer and with less “mechanics”, i.e. the remains of the way they are played.

| CONCLUSION

It is, of course, all about the ‘blacker’ background behind the performers that we get, but not about having more of it. The effect that I am talking about is characterized by less noise in sound, so “more” black background actually means that there is less of the “something” that is “behind” music. And it was so in this case, independently of the record, pressing or type of music used. However, at the end of the listening session I was almost sure that new pressings benefited the most from the perspective of mechanics (the removal of crackling noises or noise), while the oldest ones benefited the most from the perspective of music.

The sound of all the discs was clearer and better arranged. Each of the recordings had more of its own unique features with the device than without it. The differences are neither enormous, nor quite clear and they are also recurrent. It is a very expensive element that does not directly take part in sound reproduction, but constitutes some kind of an “assistant”. On the other hand, it takes us one step forward, which makes it worth recommending, indeed. It is worth trying out in all cool, well-sounding systems, no matter how much they cost. You will be surprised with what can still be obtained from them. ■