• 14x 5N solid silver wires per channel (12x 28awg + 2x 26awg) in oversized PTFE Teflon insulation.
• Terminated with silver plated AECO RCAs (signal & ground pins are made of pure copper)
• Soldered with Mundorf 4% fine silver audio solder.
• Woven Teflon Litz construction is ideal to deliver RFI and EMI rejection and provides low capacitance.
• 5N silver transmits electrical signals faster and with less distortion than ordinary OFC wires.
• High grade Teflon insulation gives a predominant air dielectric and is regarded as the best insulator for bare cable.
• ‘Skin effect’ is noticeably reduced via separated 14 cores of silver.
I have been busy enjoying the new improved sound of my system and allowing the cables to burn in.
Its not easy to compare just the 10 or 14 core in isolation as the cable lengths are different but here are my impressions.
Firstly both are outstanding cables, the effect of changing over from OFC copper or my previous cheap silver interconnect is just like having a totally new and better Hi-Fi system.
The 1 meter 10 core is bright and clear, the tonal colours of midrange instruments are clearly presented, the atmosphere of the recording is revealed and attention is drawn to the clean accurate high frequencies. The cable excels at portraying the coherent feeling of the piece of music.
Changing over to the 0.6 meter 14 core, causes a surprising transformation. The first impression is of a change in the presentation away from the high frequencies and towards the midrange and bass which acquire a solidity and authority which you do not realise was missing until you hear it. Instead of focussing on the overall pace and shape of the piece of music, your attention is drawn to the tone and feeling of the individual instruments, the sound picture is opened out revealing the inner detail, the individual acoustics of the elements of the recording. Transient response, which was already to a high standard is improved even further, the attack on percussive instruments becomes very realistic. Sometimes I looked around feeling that someone had entered the room or was knocking on the door, but it was just the bass drum or voices in the recording. Some might find this cable too analytical and prefer the simpler presentation of the 10 core. The difference is rather like comparing a high definition photo to a 3D Xray of the same object.
I have been slow to update. I ended up swapping speaker cables twice, so I wanted to be sure what I am hearing.
After 40 hours I did not notice a big change until just about 100 hours. I will leave describing it to the sprites and spirits that sometimes seem to to inhabit audio systems, but something good seemed to happen – maybe they just got smoother. They are now well over 150 hours.
First of all I regard these as superb cables. I placed them in between an English Audiolab preamp and a pair of Rotel RB-1091 monoblock Class D amps, which are quite powerful.
These drive the L&R speakers from a 1980’s JBL L212 speaker system. This was one of the first subwoofer systems. I have since replaced the subwoofer with SVS subwoofers.
The bass in the L&R speakers is rolled off at 70 Hz. These L&R speakers need a lot of power to make them sing.
I had intended to experiment with your cables in different places, but they work so well where they are, that this is where they will stay. They replaced Morrow MA3’s that have standard RCA plugs. (Morrow cables can be ordered with Eichmann plugs.) I had been very happy with the MA3’s and they were the result of much cable swapping. But your 14’s are probably better cables, and they work better in this location.
It had been difficult to achieve the bass that the L&R speakers are capable of and the midrange and tweeter drivers were turned down. I have now turned the midrange and tweeter drivers back up a little bit, although this is also a result of switching from 12 AWG to 10 AWG speaker wire.
The sound is big and full. The treble is there with no harshness or excessive brilliance. For me the real high point of these cables is their ability to convey the volume and timbre of the lower instruments such as trombone or baritone sax. Despite saying that, I would also describe them as neutral. There is no exaggeration of any particular frequency, they are just conveying what is in the recording. To my ears they help handle dynamic changes very well. I think that they have taken my equipment as far as it can go.
I had been watching your cables and when it appeared that the newer models would be going up in price I decided to buy while I could. I am very glad I did.