Even without a direct comparison, I can say with certainty that even a frozen Yurkon does not come close to the Dragon. Even cryo technology cannot perform miracles. However, after switching to the original Yurkon, it is clear to me that the cryogenic process does have positive consequences: For example, the Yukon, which is subjected to cryogenic temperatures, provides a somewhat better definition in Ravi Shankar's "West Eats Meat". Although a certain amount of reverb surrounds the Tablas during the intro in the Yukon's original state, this results in a rather diffuse impression of space. With the treated Yukon, the spatial illusion is a bit more credible. The words, which can be heard three times and then twice in the following part thanks to the echo effect, fade away in the depth of the room in the cryo Yukon, whereas the virtual distance to the listener hardly changes in the "normal" Yukon.

In Shostakovich's Symphony No. 15, it is again primarily the space that makes the difference: it reaches a bit more into the depths when the deeply cooled Yukon is in play. This also takes a bit of sharpness out of the highs and makes them a touch smoother. Admittedly, these are small things, but they intensify the music enjoyment. If one wanted to achieve the same positive changes by using filters or new cables in the digital playback chain, for example, one would have to invest considerably more than the sum required for a cryo-treatment.