What annoys me today in marketing and media that too often today then talking on hi-fi, science is replaced by bizarre belief structures and marketing fluff, leading to a decades-long stagnation of the audiophile domain. Science makes progress, pseudo-science doesn’t. Hi-fi world is filled by pseudoscience, dogma and fruitloopery to the extent that it resembles a fundamentalist religion. Loudspeaker performance hasn’t tangibly improved in forty years and vast sums are spent addressing the wrong problems.
Business for Engineers: Marketers Lie article points tout that marketing tells lies — falsehoods — things that serve to convey a false impression. Marketing’s purpose is to determining how the product will be branded, positioned, and sold. It seems that there too many snake oil rubbish products marketed in the name of hifi. It is irritating to watch the stupid people in the world be fooled.
In EEVblog #29 – Audiophile Audiophoolery video David L. Jones (from EEVBlog) cuts loose on the Golden Ear Audiophiles and all their Audiophoolery snake oil rubbish. The information presented in Dave’s unique non-scripted overly enthusiastic style! He’s an enthusiastic chap, but couldn’t agree more with many of the opinions he expressed: Directional cables, thousand dollar IEC power cables, and all that rubbish. Monster Cable gets mostered. Note what he says right at the end: “If you pay ridiculous money for these cable you will hear a difference, but don’t expect your friends to”. If you want to believe, you will.
My points on hifi-nonsense:
One of the tenets of audiophile systems is that they are assembled from components, allegedly so that the user can “choose” the best combination. This is pretty largely a myth. The main advantage of component systems is that the dealer can sell ridiculously expensive cables, hand-knitted by Peruvian virgins and soaked in snake oil, to connect it all up. Say goodbye to the noughties: Yesterday’s hi-fi biz is BUSTED, bro article asks are the days of floorstanders and separates numbered? If traditional two-channel audio does have a future, then it could be as the preserve of high resolution audio. Sony has taken the industry lead in High-Res Audio.
HIFI Cable Humbug and Snake oil etc. blog posting rightly points out that there is too much emphasis placed on spending huge sums of money on HIFI cables. Most of what is written about this subject is complete tripe. HIFI magazines promote myths about the benefits of all sorts of equipment. I am as amazed as the writer that that so called audiophiles and HIFI journalists can be fooled into thinking that very expensive speaker cables etc. improve performance. I generally agree – most of this expensive interconnect cable stuff is just plain overpriced.
I can agree that in analogue interconnect cables there are few cases where better cables can really result in cleaner sound, but usually getting any noticeable difference needs that the one you compare with was very bad yo start with (clearly too thin speaker wires with resistance, interconnect that picks interference etc..) or the equipment in the systems are so that they are overly-sensitive to cable characteristics (generally bad equipment designs can make for example cable capacitance affect 100 times or more than it should). Definitely too much snake oil. Good solid engineering is all that is required (like keep LCR low, Teflon or other good insulation, shielding if required, proper gauge for application and the distance traveled). Geometry is a factor but not in the same sense these yahoos preach and deceive.
In digital interconnect cables story is different than on those analogue interconnect cables. Generally in digital interconnect cables the communication either works, does not work or sometimes work unreliably. The digital cable either gets the bits to the other end or not, it does not magically alter the sound that goes through the cable. You need to have active electronics like digital signal processor to change the tone of the audio signal traveling on the digital cable, cable will just not do that.
But this digital interconnect cables characteristics has not stopped hifi marketers to make very expensive cable products that are marketed with unbelievable claims. Ethernet has come to audio world, so there are hifi Ethernet cables. How about 500 dollar Ethernet cable? That’s ridiculous. And it’s only 1.5 meters. Then how about $10,000 audiophile ethernet cable? Bias your dielectrics with the Dielectric-Bias ethernet cable from AudioQuest: “When insulation is unbiased, it slows down parts of the signal differently, a big problem for very time-sensitive multi-octave audio.” I see this as complete marketing crap speak. It seems that they’re made for gullible idiots. No professional would EVER waste money on those cables. Audioquest even produces iPhone sync cables in similar price ranges.
HIFI Cable insulators/supports (expensive blocks that keep cables few centimeters off the floor) are a product category I don’t get. They typically claim to offer incredible performance as well as appealing appearance. Conventional cable isolation theory holds that optimal cable performance can be achieved by elevating cables from the floor in an attempt to control vibrations and manage static fields. Typical cable elevators are made from electrically insulating materials such as wood, glass, plastic or ceramics. Most of these products claim superior performance based upon the materials or methods of elevation. I don’t get those claims.
Along with green magic markers on CDs and audio bricks is another item called the wire conditioner. The claim is that unused wires do not sound the same as wires that have been used for a period of time. I don’t get this product category. And I don’t believe claims in the line like “Natural Quartz crystals along with proprietary materials cause a molecular restructuring of the media, which reduces stress, and significantly improves its mechanical, acoustic, electric, and optical characteristics.” All sounds like just pure marketing with no real benefits.
CD no evil, hear no evil. But the key thing about the CD was that it represented an obvious leap from earlier recording media that simply weren’t good enough for delivery of post-produced material to the consumer to one that was. Once you have made that leap, there is no requirement to go further. The 16 bits of CD were effectively extended to 18 bits by the development of noise shaping, which allows over 100dB signal to noise ratio. That falls a bit short of the 140dB maximum range of human hearing, but that has never been a real goal. If you improve the digital media, the sound quality limiting problem became the transducers; the headphones and the speakers.
We need to talk about SPEAKERS: Soz, ‘audiophiles’, only IT will break the sound barrier article says that today’s loudspeakers are nowhere near as good as they could be, due in no small measure to the presence of “traditional” audiophile products. that today’s loudspeakers are nowhere near as good as they could be, due in no small measure to the presence of “traditional” audiophile products. I can agree with this. Loudspeaker performance hasn’t tangibly improved in forty years and vast sums are spent addressing the wrong problems.
We need to talk about SPEAKERS: Soz, ‘audiophiles’, only IT will break the sound barrier article makes good points on design, DSPs and the debunking of traditional hi-fi. Science makes progress, pseudo-science doesn’t. Legacy loudspeakers are omni-directional at low frequencies, but as frequency rises, the radiation becomes more directional until at the highest frequencies the sound only emerges directly forwards. Thus to enjoy the full frequency range, the listener has to sit in the so-called sweet spot. As a result legacy loudspeakers with sweet spots need extensive room treatment to soak up the deficient off-axis sound. New tools that can change speaker system designs in the future are omni-directional speakers and DSP-based room correction. It’s a scenario ripe for “disruption”.
Computers have become an integrated part of many audio setups. Back in the day integrated audio solutions in PCs had trouble earning respect. Ode To Sound Blaster: Are Discrete Audio Cards Still Worth the Investment? posting tells that it’s been 25 years since the first Sound Blaster card was introduced (a pretty remarkable feat considering the diminished reliance on discrete audio in PCs) and many enthusiasts still consider a sound card an essential piece to the PC building puzzle. It seems that in general onboard sound is finally “Good Enough”, and has been “Good Enough” for a long time now. For most users it is hard to justify the high price of special sound card on PC anymore. There are still some PCs with bad sound hardware on motherboard and buttload of cheap USB adapters with very poor performance. However, what if you want the best sound possible, the lowest noise possible, and don’t really game or use the various audio enhancements? You just want a plain-vanilla sound card, but with the highest quality audio (products typically made for music makers). You can find some really good USB solutions that will blow on-board audio out of the water for about $100 or so.
Although solid-state technology overwhelmingly dominates today’s world of electronics, vacuum tubes are holding out in two small but vibrant areas. Some people like the sound of tubes. The Cool Sound of Tubes article says that a commercially viable number of people find that they prefer the sound produced by tubed equipment in three areas: musical-instrument (MI) amplifiers (mainly guitar amps), some processing devices used in recording studios, and a small but growing percentage of high-fidelity equipment at the high end of the audiophile market. Keep those filaments lit, Design your own Vacuum Tube Audio Equipment article claims that vacuum tubes do sound better than transistors (before you hate in the comments check out this scholarly article on the topic). The difficulty is cost; tube gear is very expensive because it uses lots of copper, iron, often point-to-point wired by hand, and requires a heavy metal chassis to support all of these parts. With this high cost and relative simplicity of circuitry (compared to modern electronics) comes good justification for building your own gear. Maybe this is one of the last frontiers of do-it-yourself that is actually worth doing.
2,332 Comments
Tomi Engdahl says:
Audiophiles have spent years debating this, and musicians are finally setting the record straight.
Full story: https://www.headphonesty.com/2025/08/reasons-musicians-care-less-hi-fi/
Tomi Engdahl says:
Good speakers -unlike most other components- do actually make a difference though.
Tomi Engdahl says:
To determine the difference between Hi-Fi cables, electrical properties like resistance, capacitance, and inductance, as well as factors like shielding and construction, should be measured. These measurements can then be correlated with perceived sonic differences.
Here’s a breakdown of how to approach measuring the differences:
1. Understanding Electrical Properties:
Resistance:
Lower resistance is generally better, as it minimizes signal loss and voltage drop, especially over longer cable runs.
Capacitance:
Cables with lower capacitance can prevent signal degradation, particularly with higher frequencies.
Inductance:
Similar to capacitance, lower inductance is preferred to minimize signal distortion.
Shielding:
Proper shielding can reduce noise and interference, improving signal clarity.
Cable Construction:
The materials used, the type of insulation, and the overall design can affect electrical properties and sound.
2. Measurement Techniques:
Impedance and Frequency Response:
Using specialized equipment like a Prism dScope, you can measure how the cable affects the frequency response of an audio signal, identifying potential peaks or dips.
Damping Factor:
Measuring the damping factor can indicate how well a cable controls the movement of a speaker cone, which can affect the bass response.
Noise Measurement:
Specialized software, like a 256K FFT, can analyze the spectral content of the signal to detect noise picked up by the cable.
Bit Error Rate:
For digital signals, measuring the bit error rate can reveal how well the cable transmits data without errors.
3. Correlation with Sound:
Sonic Differences:
By measuring these electrical properties, you can gain insights into how the cable might affect the sound, such as changes in frequency response, noise levels, or transient response.
Subjective Listening:
It’s also important to subjectively evaluate the cables through listening tests (ideally blind) to see if you can hear the perceived differences.
4. Considerations:
Cable Length:
The length of the cable can significantly impact its electrical characteristics.
System Compatibility:
The best cable for a particular system depends on the components and their characteristics.
Real-World vs. Theoretical:
While measurements can provide valuable insights, they don’t always perfectly predict the subjective listening experience.
In summary, to measure the differences between Hi-Fi cables, you need to measure their electrical properties (resistance, capacitance, inductance, shielding, etc.) and correlate those measurements with the perceived sonic differences. Specialized equipment and techniques can be used to quantify these properties, while listening tests can help determine the subjective impact on the sound
Tomi Engdahl says:
https://www.stereophile.com/content/what-difference-wire-makes
https://www.audiosciencereview.com/forum/index.php?threads/measured-differences-between-interconnect-cables.37661/
Tomi Engdahl says:
https://www.quora.com/Can-people-really-hear-the-difference-between-audio-cables
The question of whether people can hear differences between audio cables is a topic of considerable debate among audio enthusiasts, engineers, and scientists. Here are some key points to consider:
1. Scientific Studies
• Blind Tests: Many studies involving blind listening tests have shown that listeners often cannot reliably differentiate between high-quality cables and standard cables when they are not aware of which one they are using. This suggests that any perceived differences may be more psychological than acoustic.
• Physical Properties: Audio cables do have measurable differences in terms of resistance, capacitance, and inductance, which can affect signal quality. However, in most typical consumer audio setups, these differences are often negligible.
2. Context Matters
• Equipment Quality: The quality of the audio equipment plays a significant role. In high-end audio systems, where other components are optimized for performance, differences in cables may be more discernible.
• Environment: Acoustic environment and listener perception can also influence the experience. Factors like room acoustics, speaker placement, and listener familiarity with the system can all impact perceived sound quality.
3. Psychological Factors
• Expectation Bias: The belief that more expensive or specialized cables will sound better can lead to a psychological effect known as expectation bias, where listeners perceive differences that may not objectively exist.
• Branding and Marketing: The audio industry often markets high-end cables with claims of superior performance, which can influence consumer perception and lead to a belief that these cables sound better.
4. Conclusion
In summary, while there are measurable differences in audio cables, whether these differences are audible to the average listener is often disputed. Many audiophiles and professionals recommend focusing on the quality of audio components and overall system setup rather than investing heavily in high-end cables, especially in typical consumer environments. If you enjoy the sound of your system and feel that certain cables improve your experience, that personal satisfaction is valid, regardless of scientific debate.
Tomi Engdahl says:
Wire crystals? Do they mean wire? If the wire has crystals isn’t that corroded? You can get a new wire from a hardware store
Roger Merrick too many wire crystals are said to be bad and the aim is one crystal. Most of the “single-crystal” wire in the audio business is made using the Ohno Continuous Casting (OCC) process.
Tomi Engdahl I had to look it up. I’ve learned something today. Metal is crystalline. Still think adding shark oil is a modern variation of snake oil
Roger Merrick most metals are polycrystalline. It’s just the individual grains are so small we don’t typically see them. The boundaries between grains causes uncertainty in electron flow that could be considered distortion if you’re dealing with a small number of electrons. Since everything audio has such a large number of electrons it averages out. This is a classic case of someone with a tiny bit of knowledge using it to sell Ophidian oil.
Tomi Engdahl says:
Here’s how the high-end audio industry uses patents to sell hype.
Full story: https://www.headphonesty.com/2025/08/highend-audio-gear-useless-patents-hype/
Tomi Engdahl says:
The latest example? Cable lifters are marketed with claims like “decreases smear” and “increases resolution.” When audiophiles looked up the patent number, they discovered it covered nothing but the device’s appearance.
Tomi Engdahl says:
Unbalanced cables introduce NOISE but they do not necessarily add distortion. Distortion is usually caused by clipping.
In Hi-Fi systems, cable distortion and signal source quality both contribute to the overall audio fidelity, but they affect the sound in different ways. Cable distortion, such as capacitive effects or signal interference, can introduce subtle changes to the signal’s waveform, while the signal source itself (e.g., a turntable, CD player, or DAC) can introduce its own inherent distortion and noise.
Cable Distortion:
Types:
Cable distortion can manifest as various forms of signal alteration, including:
Capacitive effects: Long cables, especially those with high impedance sources, can act as capacitors, attenuating high frequencies and potentially causing a loss of clarity.
Interference: External electrical noise can be picked up by cables, especially if they are not properly shielded, leading to hum, hiss, or other unwanted sounds.
Non-linear distortion: Cables can introduce subtle non-linearities in the signal, causing harmonic or intermodulation distortion.
Impact:
Cable distortion can reduce the overall clarity, detail, and dynamic range of the audio signal.
Minimizing:
Proper cable selection (e.g., using shielded cables), careful cable management (keeping them away from power cords), and using shorter cables can help minimize cable-related distortion.
Signal Source Distortion:
Types:
Signal source distortion can arise from various factors, including:
Non-linearities in components: Amplifiers, DACs, and other components can introduce non-linearities, especially at higher volumes or when pushed to their limits.
Noise from components: Noise can be generated by various components within the source device, such as power supplies or digital circuitry.
Mechanical or electrical issues: Issues with turntables (e.g., rumble, motor noise) or other sources can also contribute to distortion.
Impact:
Signal source distortion can significantly impact the overall sound quality, potentially masking details, introducing harshness, or reducing the sense of spaciousness.
Minimizing:
Investing in high-quality source components, ensuring proper grounding and power conditioning, and minimizing vibration can help reduce source-related distortion.
In essence: Cable distortion can be thought of as introducing subtle alterations to the signal, while signal source distortion can be more pervasive, affecting the overall character and fidelity of the sound. It’s important to address both to achieve optimal audio quality
Tomi Engdahl says:
https://www.reddit.com/r/audioengineering/comments/m08q4a/what_is_the_difference_between_distortion_and/
https://forums.audioholics.com/forums/threads/using-a-distortion-meter-or-oscilloscope-to-see-distortion.116215/
https://www.nutsvolts.com/magazine/article/build-a-basic-audio-distortion-analyzer
https://sound-au.com/articles/distortion.htm
Tomi Engdahl says:
To measure hi-fi cable distortion, use a spectrum analyzer to observe the output spectrum, identifying harmonics and their relationship to the fundamental frequency. Alternatively, a distortion analyzer can be used to measure the difference between the input and output signals after removing the fundamental frequency.
Methods for Measuring Hi-Fi Cable Distortion:
1. Spectrum Analyzer:
A spectrum analyzer displays the frequency spectrum of a signal, showing the magnitude and phase of each frequency component.
By injecting a sine wave into the cable and analyzing the output, you can identify harmonics (multiples of the fundamental frequency) and their amplitudes.
Harmonic distortion is then calculated by comparing the amplitude of the harmonics to the fundamental frequency.
2. Distortion Analyzer:
A distortion analyzer, also known as a THD (Total Harmonic Distortion) analyzer, measures the distortion introduced by a device (like a cable).
It works by injecting a low-distortion sine wave into the cable and then filtering out the original sine wave frequency.
The remaining signal represents the distortion products (harmonics and noise).
The analyzer then calculates the THD by comparing the level of the distortion products to the level of the original sine wave.
3. Audio Analyzer Software:
Software like Room EQ Wizard (REW) can be used with an audio interface (e.g., Focusrite Scarlett) to measure distortion.
These tools can generate sine waves and analyze the output, providing measurements of THD and other distortion metrics.
Example using a Distortion Analyzer:
1. Setup:
Connect the distortion analyzer to the input and output of the cable.
2. Injection:
Generate a low-distortion sine wave (e.g., 1 kHz) and inject it into the cable.
3. Filtering:
The analyzer’s notch filter removes the original sine wave frequency from the output.
4. Measurement:
The remaining signal (distortion products) is measured, and the THD is calculated and displayed.
Key Considerations:
Sine Wave Purity:
A pure sine wave is essential for accurate distortion measurements.
Clipping:
Avoid exceeding the cable’s or amplifier’s clipping point during testing, according to a forum post.
Context:
Distortion measurements are specific to the equipment used (cable, amplifier, etc.) and the test conditions.
Subjective vs. Objective:
While objective measurements are important, subjective listening tests can also be valuable in assessing the audible impact of distortion.
https://www.diyaudio.com/community/threads/does-making-distortion-measurement-of-cable-make-sense.373384/page-5
How to test amplifier distortion with REW
https://www.youtube.com/watch?v=H9-60-tGvI0
Tomi Engdahl says:
Audio DiffMaker
Some Example DYF Files
These “dyf” files can be downloaded and played within Audio DiffMaker. Each “dyf” contains a set of related audio WAV files that you can play side-by-side and simultaneously to compare by ear, and then to listen to just the extracted Difference signal.
https://www.libinst.com/diffmaker_example_files.htm
Audio DiffMaker
signal difference extraction software
from Liberty Instruments
https://www.libinst.com/Audio%20DiffMaker.htm
Audio DiffMaker is a freeware tool set intended to help determine the absolute difference between two audio recordings, while neglecting differences due to level difference, time synchronization, or simple linear frequency responses.
The difference recording that results is only what has changed between the two recordings. If anything – a change of component, a treatment, mechanical damping, etc. – is having any audible effect on the audio signal in a system, the difference recording will have audible content. The end result is primarily intended to be evaluated by ear.
This relatively simple idea can be used demonstratet whether some products can alter audio signals in audio equipment.
Changes detected by Audio DiffMaker are not necessarily audible changes for any given person. Some changes will not sound different, and some are too weak to be heard when accompanied by the unchanged part of the program material. But a silent difference track can only result if the two tracks being compared are unchanged (the same).
The DiffMaker process, by its very nature, avoids masking effects because it removes the large signal that masks subtle details. Unlike traditional listening tests, differences can be detected even when buried by program material or if affected by imperfect components in the system.
What Can Audio DiffMaker Do?
Some of the tools within Audio DiffMaker can be used to:
Precisely align two similar audio tracks to the same gain levels and timing
Extract and listen to even very tiny differences between pairs of audio tracks
Quickly compare two or more recorded audio signals under precisely gain-matched and time-matched conditions.
Measure the frequency response of the equipment being tested and apply it so the effects of linear frequency response can be removed from the testing.
Record sounds at various sample rates and bit resolutions up to 24bit/192kHz with the “Recorder” tool.
Select and copy sections of audio tracks, trim them, or “rip” them from audio CDs, with the “Trimmer/Ripper” tool.
Quickly see the responses of devices or entire audio systems (even rooms) using the included high resolution 1/6th octave frequency/spectrum “Response Analyzer” and matched pink noise source.
Compact multiple WAV files, and a text description, into one easily transported “DYF” file. Just double-click on a DYF file in Explorer and Audio DiffMaker will open and load the files, ready for listening.
When to use Audio DiffMaker?
Testing for audible effects of
Changing interconnect cables (compensation for cable capacitance may be required)
Different types of basic components (resistors, capacitors, inductors)
Special power cords
Changing loudspeaker cables (cable inductance may need to be matched or compensated)
Treatments to audio CDs (pens, demagnetizers, lathes, dampers, coatings…)
Vibration control devices
EMI control devices
Paints and lacquers used on cables, etc.
Premium audio connectors
Devices said to modify electrons or their travel, such as certain treated “clocks”
Different kinds of operational amplifiers, transistors, or vacuum tubes
Different kinds of CD players
Changing between power amplifiers
General audio “tweaks” said to affect audio signals (rather than to affect the listener directly)
Anything else where the ability to change an audio signal is questioned
Doesn’t this process require ultra-high end recording equipment?
No, because DiffMaker doesn’t try or need to accurately reproduce music — it is only trying to help detect whether anything has changed, which is a much less demanding requirement. It doesn’t matter if the difference that DiffMaker finds might not be perfectly reproduced — only that the difference is left intact enough to hear.
The sound card used doesn’t need to be completely transparent or of highest pedigree. It only needs to be capable of responding to any differences that may occur (even if those differences aren’t reproduced perfectly) and of not burying any significant differences in added noise.
How can you tell whether the equipment was good enough in a DiffMaker result? You can listen to the result, and note the level of any difference and/or decide if any remaining noise is high enough to be maybe covering something that may be important. In other words, if the gear isn’t good enough, you’ll be able to hear it, it won’t make a difference go silent.
Tomi Engdahl says:
https://www.audiosciencereview.com/forum/index.php?threads/can-a-damaged-cable-cause-a-specific-frequency-distortion-or-is-an-overall-distortion-more-likely.50875/
It’s probably not the cables. Cables are usually “good or bad”, or sometimes you get an intermittent connection when the cable is flexed or the connector is wiggled. A balanced (XLR or TRS) connection can be mis-wired, or one of the 3 wires/connections could be broken.
distortion should probably be heared at 20 Hz to 20 kHz and not only 5 kHz and up ?
You don’t normally get “frequency effects” from a cable. Except, capacitance (which is proportional to length) can cause high-frequency roll-off with long guitar or phono cables because these connections are high impedance.
It’s probably not the cables. Cables are usually “good or bad”, or sometimes you get an intermittent connection when the cable is flexed or the connector is wiggled. A balanced (XLR or TRS) connection can be mis-wired, or one of the 3 wires/connections could be broken.
You don’t normally get “frequency effects” from a cable. Except, capacitance (which is proportional to length) can cause high-frequency roll-off with long guitar or phono cables because these connections are high impedance.
it’s highly-unlikely that the left & right cables would have exactly the same defect.
Tomi Engdahl says:
Electromagnetic distortion in multi-conductor cables
https://cheaptubeaudio.blogspot.com/2022/06/electromagnetic-distortion-in-multi.html
Before we go any further, let me clarify some terms. Actually, instead of posing the argument as solid core versus stranded conductors, it is more accurate to pose it as single conductor versus multi conductor cables.
The solid core (aka monocore, monofilament) cable is simple to understand. A single solid strand of wire is used for each conductor. In the case of an unbalanced interconnect, there are two conductors: a hot side (outbound route, plus) and a cold side (return route, minus). A famous example would be the 47 Labs Stratos interconnects. See the diagram above.
In a stranded (aka litz, multi-filament) cable then, each conductor would be made of several veins (or strands) of wire, carrying the signal in parallel to its destination. However, there is an important distinction to be made. The stranded conductor can behave electrically like a solid core cable if the individual veins are not electrically insulated from each other, i.e. by tinning the strand. A famous example would be the Belden 9497 wire. Such cables do not sound exactly like solid core cables, but they also do not possess the issue with multi-conductor cables elaborated below, at least not to the same perilous degree.
Electrical insulation can be in the form of a jacket or varnish on the wire, which causes the cable to behave like a multi-conductor system. Some manufacturers make unbalanced interconnects with many stranded conductors, sometimes as many as 8 or more, whereas only 2 are required. The sound of such a system is incredibly deceiving. At first, the sound becomes more ‘comfortable’, especially in the high frequencies. The ‘air’ of the recording is accentuated, giving an immediate impression of increased resolution. However, such a cable system seriously damages the clarity and intelligibility of music, and this often gives itself away only after living with it for a while and returning to a single conductor system (stranded or not).
Such multi-conductor systems are incredibly popular and prevalent in the ‘high-end’ industry specifically due to their ‘comfortable’ sound nature, which masks flaws in the connecting equipment. These effects can actually be desirable for some. I am reminded of the image of a Japanese manufacturer packaging speaker wires for different music genres, which non-audiophiles like to poke fun at.
Also, they give the manufacturer something to write about in the marketing material, and give the consumer the impression that their dollars are going towards something (more conductors = more better). There are several manufacturers whose entire scheme lies in offering more conductors as you go further up their price list.
Tomi Engdahl says:
Cable Distortion and Dielectric Biasing Debunked
https://www.audioholics.com/audio-video-cables/cable-distortion-and-dielectric-biasing-debunked
Test objects were a handful of cables of varying construction and claims to audiophile performance.
Distortion: Not only sine wave, but also extremely complex full-spectrum multitone testing (including signal sequences derived from actual music). There were NO differences between the cables tested.
Phase noise: While this would have shown up anyway in the above tests, it was separately checked at frequencies well above the audio band. Nothing showed up .
“Micro phase shifts”: The AP2′s resolution is so good you can read the length of a cable to within a few inches by measuring the phase difference between input and output. Apart from this, nothing turned up.
In-Out difference. Actually, two different cables of equal length were fed the above distortion test signals in opposite phase. The two outputs were summed through a trimmable network to null the output. Well, the output nulled completely (better than 120dB across the audio band).
In short, apart from a constant time delay of a few nanoseconds (depending on length), an interconnect will have the same voltage at its output as at its input.
But What If…?
Or will it? There’s one well known (and usually ignored) effect in unbalanced connections, which is that the same conductor that connects the chassis also serves as reference to the signal. In a normal cable, these are 100% coupled, which means that the part of the chassis error voltage that drops across the inductive part of the cable impedance (end-to-end impedance of the shield) will couple into the conductor and be compensated 100% (Yes! Unbalanced connections have got CMRR in some way). However, lower frequencies will cause more voltage drop across the resistive component of the shield, and this appears as an error voltage at the receiving end. Take a coaxial cable, take the jacket (sheath) off and dress it in a number of extra layers of shield salvaged from other cables. Hear the sound improve… This addresses the same problem as “mains conditioners” but it does so much more effectively.
The intelligent solution however, is to use balanced connections. In a balanced connection, two conductors are used in addition to the shield. Sometimes, they are driven with opposite-phase signals, sometimes one is simply tied to ground at the source end through a series resistance equal to that of the source. Both options are fine. The crux of the affair is that the receiver looks only at the voltage difference between the signal conductor and the reference (or inverted signal) conductor. This will remove the effect of voltages across the shield completely as the signal reference and chassis connection functions are duly separated.
Microphonics
There may not be a difference between what goes into a cable and what comes out, but this does not mean that the presence of the cable can’t modify the signal. I’m talking about microphonics of course. This effect has two causes: triboelectric charging and condenser mic effect .
Triboelectric charging is the same effect that causes you to accumulate electric charge when walking across a thick carpet in winter. The charge is siphoned off to the terminating resistances (mostly the output impedance of the source) and creates a voltage there as long as the cable is moving.
Applying a “bias voltage” as is done by certain cable companies in a bid to linearise the dielectric (the purported nonlinearity of which consistently fails to show up in any test) is extremely counterproductive in this respect! The higher the voltage on the cable, the greater the condenser microphone effect.
Reducing triboelectric charging is done by using a dielectric/conductor duo that produces little contact charge. Aluminium and paper are one such combination, cotton and steel another. Unfortunately, paper and especially cotton are quite soft, making the cable particularly susceptible to the condenser mic effect. A method to reduce triboelectric noise in normal insulators consists of lubricating the shield/insulator interface with graphite.
Reducing the condenser mic effect requires a tough (hard to deform) dielectric. Teflon is a famous example. Unfortunately, teflon is incredibly triboelectric against practically any other substance. In addition to this, the stiffness of teflon and also silver makes the cable nearly lossless, mechanically speaking. Measured microphonic impulse responses show tremendous ringing in the upper audio band. This could explain the “brightness” often attributed to silver/teflon cables.
To make matters worse, teflon and silver are about the worst thinkable combination in terms of triboelecticity .
On the other hand, there is the “sound engineering” solution: use a signal source with the lowest possible impedance. Charges generated and transferred because of either effect are absorbed at the source and the receiving end will never get to see it. I have been surprised, though, of how low this drive impedance should be before cable microphonics disappear below the noise floor of good audio gear.
Tomi Engdahl says:
Streaming wins on paper, but vinyl has one sneaky advantage: https://www.headphonesty.com/2025/08/streaming-outperforms-vinyl-records-sound-better/
Tomi Engdahl says:
https://www.headphonesty.com/2025/08/audiophile-brand-fake-hospital-endorsements-cables-conditioners/
Tomi Engdahl says:
https://pspatialaudio.com/cables.htm
Tomi Engdahl says:
https://tweekgeek.com/products/quantum-science-audio-gold-ac-receptacle
Tomi Engdahl says:
https://tweekgeek.com/collections/qsa-ac-receptacles
https://www.headphonesty.com/2024/10/high-end-outlet-promises-better-sound-quality/
Tomi Engdahl says:
https://tweekgeek.com/products/quantum-science-audio-5x20mm-silver-fast-blow-fuse
Tomi Engdahl says:
Here are the best speakers of all time, as voted by thousands of audiophiles worldwide: https://www.headphonesty.com/2025/08/best-speakers-voted-thousands-audiophiles/
Tomi Engdahl says:
https://www.maplatine.com/en/content/351-hifi-cables-different-types-and-role
Tomi Engdahl says:
https://benchmarkmedia.com/blogs/application_notes/audiophile-snake-oil?srsltid=AfmBOoqoHinPge2OVZucfRVzxVzJo44p4S5u_iV1W5ngA3rRX3tHpe4A
Tomi Engdahl says:
Untangle Your Music… Are Power Cable upgrades just snake oil?
January 06, 2023
Before joining Audio T I wasn’t entirely convinced of the importance of cables in a low or even mid level hi-fi system. Interconnects and speaker cable…. sure. But mains cables? No way! power is power, surely?
https://blog.audiot.co.uk/blog/2022/12/14/untangle-your-music
Where to use shielded mains cables?
Basically everywhere if you can, some recommend you start with CD, Blu Ray, Network streamers and other sources first as these are more likely to be affected by noise.
In conclusion, although you would probably think twice about spending £250 on a mains cable for a £300 AVR, I just couldn’t go back to the old sound and give up the extra detail and depth.
Tomi Engdahl says:
https://diy.midwestaudio.club/discussion/1920/when-good-electrons-go-bad-or-audiophile-bullshit
https://www.audiosciencereview.com/forum/index.php?threads/the-root-of-audiophile-myths-and-how-we-fell-for-them.28172/
-The ‘synergy’ myth makes little sense assuming that one is talking about well-measuring, stable units.
But now wait: Some of the most expensive boutique audio gear that populates the high-end is anything but well-measuring. So, imagine that one has just dropped quite a bit of cash on something (say headphones) that objectively measures like crap, but which interacted with another piece of poorly measuring equipment with which one first auditioned them at the local boutique, and that the failings of each unit evened each other out. Now one buys the headphone, gets it home, is disappointed. I am sure these headphones cannot be bad, I tell myself, as I remember how they sounding great with the equipment at the store. Thus, I search for something that has that same mythical ‘synergy’ – except now this is not quite a myth because the right amplifier/dac/etc. when it is flawed in the right way does correct the issues. Of course, this means that finding this ‘right’ gear that will ‘synergize’ is a crap-shoot and a matter of offsetting failings. But now I have ‘heard the difference with my own ears’, and at this point am not just emotionally invested in my purchase, but have become accustomed to the idiosyncrasies of my new baby so that other things begin to sound ‘off.’ Moreover, I now ‘know’ that measurements are not reliable – since two pieces of crap measuring gear produced audio bliss! Ergo, all hail synergy and anyone who appeals to objective measurements is deaf and/or has not had experience with the really good, expensive stuff while that cheap stuff that measures well falls apart when paired with the really good equipment I own (sniffs own farts and smiles knowingly…)
Any other hypotheses, or any more specific hypotheses or research that go beyond mere delusion and placebo effect? For example, I can imagine that crosstalk might be advantageous with some recordings, as well as that gear which acts as an eq, or which muffles sounds, or adds reverb in the right region for a particular kind of music, might be highly advantageous. We need to remember that many people do not audition gear either with a broad spectrum of material, and even don’t bring their own recordings for auditions!
Delusion, etc. suggest the problem’s an individual thing. It’s not.
You get fooled because there’s a whole culture, very developed, which persists in every area of audio. Boutique stores, shows, the entire pro scene, commercial and retail settings and the attachment to the music industry, online venues of various kinds, popular publications and some amount of poorly done scientific articles. Plus books of various levels of seriousness. Endless discourse.
There’s an economy linking it all, and the barrier to entry is low.
In contrast, all of the science and the perspectives, the reasoning has been very hard to access until recently.
I think it’s about how big the kernel of truth is in the core of the myth.
I mean a lot of people would be okay with the idea that cables make no difference but say that Spotify is just as good as lossless streaming services and CDs and you might get rocks thrown at you.
Music is considered the language of emotions. The way we experience it is completely subjective. ( note: this does not invalidate the need for objective reproduction if coming closer to the intended subjective result is the goal)
Any field that is fundamentally emotional is wide open to all kinds of manipulations of the “experience”. There is a market. The barrier to entry is very, very low in many cases. This is the perfect recipe for monetary abuse.
That being said, while spending $2000 on speaker cables makes no sense, can fairly be described as “dumb” in a utilitarian framework, spending the same amount to go from a 110dB SINAD DAC to a “SOTA” 124dB SINAD DAC doesn’t really make sense either, at least in my subjective opinion ;). Some people find psychological comfort in heavy cables, others in numerical specifications…
Common areas for audiophile myths that I’ve seen over the years:
Timing and transients
Distortion: HD and IM
Negative feedback
Noise, bit depth and dither
Measurements and audibility: what you can hear and what you can measure
Blind testing: especially how to conduct tests and interpret results
Personal annoyances:
placing amplifiers on heavy isolating platforms
door stops on DAC’s
raising speaker cables
Nonetheless @krabapple, I don’t think it is fair to say that the phenomenon I described is mere placebo and delusion (although it could be in some cases.) Please note: until someone is able to demonstrate that they can reliably identify two different electronic signals that measure identically by all known standards, I hold that our default can and should be to reach for known factors, including confirmation bias, rather than assume some as-yet unmeasured, unnoticed, and elusive factor. However, when we are talking about audio equipment that includes, in some instances, such factors as variable interactions due to impedance which in particular cases results in audibly superior results in special circumstances. Take the way that, according to Amir’s own account, the Bottlehead amplifier and Sennheiser HD650 together resulted in a measurably improved (and more accurate!) reproduction of lower frequencies. Now, his conclusion was that, as far as he could tell, this was the only thing that changed. Nonetheless, his sample size of one person is far from sufficient to establish that this is the only difference that would be audible in all applications. After all, even assuming that all known factors are captured by current measurements, which is rightly the default give Occam’s razor, there are measurable levels of distortion that could both be audible, at least to some people beyond this sample size of one, and could even sound more accurate or life-like sonic experience, at least for some sample of people in some circumstances given difference in HTF, the highly variable quality of recordings (which are themselves more ‘art’ than ‘science’ given differences in how something might sound to one person than another, not to mention that one is talking about reproduction and mixing that will involve both the judgment of the audio engineer, their studio space, the way they will hear things in that studio space as sounding the same as in a live space, etc. – and this is still even assuming that they are aiming to reproduce what they heard in the live space rather than attempting to ‘improve’ it according to their own lights, taste, etc. Granted, I am not someone who is well versed either in the current psychoacoustic literature or an electronic engineer, so maybe I am assuming that this is all far more messy than it appears from my lay-standpoint… in which case I would be happy to be corrected! But if this is even slightly correct, then in order to begin to make genuine advances, we need to begin to nail down what matters to people and assume that if it is measurably different and some people prefer it, that there is something to figure out. The null hypothesis should be ‘it measures differently, and in the audible band, and some people prefer it, so why? Can we reproduce this in a manner that is predictable and consistent? What are the relevant factors?’ (e.g., lack of experience with real live sound, the way in which some recordings are poorly mastered in a dead space and need added reverb to sound right, or…?)
Tomi Engdahl says:
https://news.ycombinator.com/item?id=35137368
https://www.reddit.com/r/reddit.com/comments/2wugp/really_really_stupid_audiophile_products/
Tomi Engdahl says:
Do quality interconnects make a difference?
And “wrong “cables can make the wrong difference. In my experience speaker cables make the greater difference, maybe because they are usually a lot longer. Interconnects do however still make a difference. True, neither type of cable will make a huge difference.
https://www.tnt-audio.com/clinica/intere.html
Tomi Engdahl says:
Snakeoil Sound Cables (aka Snake Oil Schiit Pyst)
https://www.audiosciencereview.com/forum/index.php?threads/snakeoil-sound-cables-aka-snake-oil-schiit-pyst.26683/
https://www.reddit.com/r/audiophile/comments/dkfmj0/cable_controversy_and_snake_oil/
Yes fairy dust ultra expensive cables are snake oil. But the attitude towards anything other than the cheapest speaker wire is pretty hateful here at times. In my opinion there needs to be more nuance to the discussion. Some things just impact the conductivity and the resistance of the cable which in turn changes the load on your amplifier, it’s frequency response and in very efficient speakers CAN make a difference in sound. It won’t apply to most speaker-amp combinations but don’t attack people that have benefited. Or just want a nice looking cable.
Few facts: silver has a higher conductivity then copper but it is more expensive. Electricity travels on the skin of a material so silver coated copper mostly acts like silver. There is an ideal combination of length and thickness for everyone. The outside coating forms a resistance to the outer wires and Teflon has a lower resistance then cheap pvc. Without shielding, your cables acts like a big antenna, picking up electromagnetic interference and radio frequencies, if you experience trouble with a hiss or buzz, try shielded cables. Another weapon against interference is twisted pairs (think ethernet), you can do this yourself.
If you want 2x 2m cable, your worst case is an old copper cable from the attic that has a few breaks in it and the ends are heavily corroded.
$2,50 is going to get you a copper coated aluminium wire that’s brittle and breaks easily. It’ll work decently for the first year but don’t be surprised to see the signal degrade over time.
$5,00 is going to get you an oxygen free fully copper wire that’s perfect for everyone that just wants to hook up a stereo and doesn’t obsess over sound quality.
$30,00-$90,00 will get you a silver coated, oxygen free copper cable, with some shielding and nice rhodium plated banana plugs. It’s the sweet spot if you love high end stuff and obsess over audio. This is the ‘if it’s worth doing, it’s worth overdoing’ of speaker-cables. It will highly depend on your system if you’ll hear a difference but if there’s anything to be gained from cables, this is the final stop.
Over $90,00 I won’t judge you for wanting to have certain stuff, thanks for keeping the economy going but claims about any gains in sound quality are mumbo-jumbo. If someone convinced you to spend this big on cables, you’ve been scammed.
Remember that you are listening to an electric signal. No cable in the world will add anything dreamy or spacious to the original signal, the cable ís a resitor to the amplifier and a link in the chain responsible for carrying the signal with as little loss as possible. So nuance, it is not so black and white. Don’t go all out on audiophile cables, don’t discard everything as snake oil and get the absolute cheapest cable.
Tomi Engdahl says:
Cable insulation non-linearity refers to the behavior where the electrical conductivity of the insulation material is not directly proportional to the applied electric field or temperature. This non-linear relationship is significant in high-voltage cables, particularly under thermal stress, and can lead to uneven electric field distribution and, potentially, insulation failure
Electric Field Distribution:
Non-linear conductivity affects how the electric field is distributed within the insulation. The field might be higher in certain areas, potentially leading to localized stress and breakdown
Conductivity and Field/Temperature:
The conductivity (ability to conduct electricity) of cable insulation materials is often affected by the electric field strength and temperature.
Material Properties:
Different insulation materials (like PVC, XLPE, etc.) have varying degrees of non-linear behavior
Temperature:
Higher temperatures generally increase the non-linearity of most insulation materials.
Electric Field Strength:
The strength of the electric field significantly impacts the conductivity and non-linear behavior
Examples of Non-Linear Materials:
Polymeric Insulations:
Many polymeric materials used in cable insulation exhibit non-linear conductivity, especially at higher temperatures and electric fields.
Semiconducting Layers:
These layers are often used in cable designs to control the electric field, and their conductivity is typically designed to be non-linear.
Addressing Non-Linearity:
Material Selection:
Choosing insulation materials with a lower degree of non-linearity can improve cable performance.
Cable Design:
Optimizing the cable design (e.g., using semiconducting layers, controlling insulation thickness) can help mitigate the effects of non-linearity.
Operating Conditions:
Operating cables within their recommended temperature and voltage ranges can minimize non-linear effects
Tomi Engdahl says:
In audio cables, insulation material can introduce non-linearity, affecting sound quality. Non-linearity in insulation occurs when the dielectric material (the insulation) doesn’t behave linearly with the applied voltage, causing signal distortion. This can lead to audible differences, especially in high-fidelity (Hi-Fi) or professional audio applications
Here’s a more detailed explanation:
Non-linearity and its impact:
Signal Distortion:
When audio signals pass through a cable, the insulation material experiences an electric field. If the insulation’s dielectric properties aren’t perfectly linear, it can introduce distortion to the signal, particularly at higher frequencies.
Skin Effect:
The skin effect, where high-frequency signals tend to travel near the surface of the conductor, can be influenced by the insulation. Poor quality insulation can exacerbate this effect, leading to signal degradation and uneven frequency response.
Audible Effects:
Non-linearities in insulation can manifest as a loss of clarity, detail, and a perceived imbalance in the audio spectrum, often favoring lower and mid-range frequencies.
Insulation Materials and their characteristics:
PVC (Polyvinyl Chloride):
While widely used due to its affordability and flexibility, PVC is generally considered a poor choice for high-fidelity audio due to its non-linear properties and tendency to introduce signal distortion, according to Polaris Audio Srl.
Teflon (PTFE):
PTFE is a superior insulation material for audio cables, offering better linearity and lower signal loss compared to PVC.
Other Materials:
Other materials like polyethylene, polypropylene, and specialized materials like Atlas Microporous PTFE are also used in audio cables, each with its own characteristics and performance.
Other factors influencing cable performance:
Conductor Material:
The material of the conductor (copper, silver, etc.) also plays a role in signal transmission and can affect sound quality.
Cable Geometry:
The design and construction of the cable, including the arrangement and size of conductors, can impact performance.
Connectors:
Gold-plated connectors, for example, are less prone to tarnishing and can help maintain a clean and reliable connection.
In summary, while cables don’t “improve” sound, their design and materials, especially the insulation, can significantly affect how faithfully they transmit the audio signal. Non-linearities in the insulation can introduce distortion and alter the perceived sound, making material selection crucial for achieving optimal audio quality, especially in high-fidelity applications.
Tomi Engdahl says:
https://www.psaudio.com/blogs/copper/cable-design-and-the-speed-of-sound-part-one?srsltid=AfmBOorW05wa1sMspgTMwbo8cug4JTa0FGt7c3Ze7ZpfHqMs_LvAAlhF
Tomi Engdahl says:
The insulating materials in the audio cables and the skin effect
https://www.polarisaudio.it/en/guide/audio-cables/the-insulating-materials-in-the-audio-cables-and-the-skin-effect
4.1 The Skin Effect
In order to understand the importance of the insulating material used in a hifi audio cable, we must first examine the distribution of alternating current within a conductor.
Different frequencies occupy different (radial) positions within the conductor. The low frequency signal occupies the central part of the conductor, while the high frequency signals are confined to the surface of the conductor. High-frequency signals are then forced to flow within a cross-section of the conductor’s cross-sectional area smaller than the low-frequency frequencies, so that the effective resistance of the cable, seen from the point of view of high-frequency signals, is greater than that seen from low-frequency signals. Cable losses are therefore frequency-dependent, with the high frequencies subject to greater loss.
This phenomenon is known as the “Skin Effect”. The subject is a source of considerable controversy in audiophile circles, where many argue that it is only relevant to those high frequencies that are already beyond the reach of human hearing. However, this is not entirely true, because the resistance of the conductor starts to increase, due to the skin effect, already around 20 kHz.
It’s the HIGH frequencies that create timbre, ambience and defined highs.
The low and medium frequencies occupy the central part of the conductor. In power cables, in particular, the optimisation of the low-frequency signal component is particularly important. Extensive testing suggests that the conductor should have a cross-section of the transverse area between 3.00 and 4.5 mm/q in order to provide the maximum possible amount of clean bass frequencies. In addition, large cables should be constructed using a high quality dielectric configuration such as expanded polyethylene, PTFE or Microporous PTFE.
In addition, other factors, which we cannot measure, influence quality.
Projects using more insulated wires would claim to overcome the problems of increased resistance due to the skin effect, but these low inductance schemes tend to have a higher capacitance. Low capacitance and low resistance cables do not affect the components to which they are connected, as very capacitive cables do; speaker cables must have low resistance to avoid signal loss, while signal cables must have low capacity to improve signal transmission speed.
Amplification systems that sound brighter than others within the audio frequency range may actually work unsteadily, due to the use of particularly capacitive cables. Brightness is often mistaken for improved dynamics, but ‘improvements’ in dynamics should never be at the expense of low frequency information, such as when an amplifier becomes unstable. Excessive brilliance is often also caused by the use of silver cables; these can become tiring for listeners after a certain period of time. Atlas does not use silver plated cables or cables made of two different metals with different resistance characteristics.
The approximate optimum size for a solid conductor is 1.5 mm/q.
4.2 Propagation velocity (VOP) and types of insulators. (speed is important)
High frequency signals occupy the periphery of the conductor (see above). Low dielectric quality (insulating material) reduces the speed of this signal, resulting in a sound that is unbalanced towards the low and medium frequency regions of the audio spectrum. Therefore, poor quality sound is often accompanied by the use of a low quality dielectric cable.
PVC (Polyvinyl Chloride) is cheap to produce and, as such, is the insulation most frequently used in AV cables. However, PVC is the worst quality insulation for Hi-Fi or AV applications and the signal may experience a high loss and a significant reduction in its speed. PVC is best used in power cables and should be avoided in Hi-Fi and AV signal cables.
Other dielectrics commonly used are Polyethylene, Polypropylene and Polytetrafluoride Epoxy (better known as PTFE or Teflon and the new and unique Atlas Microporous PTFE).
Teflon has a high melting point (327°C); excellent for use in a non-stick pan as a coating; not as good when used to coat processed copper – at the high temperatures involved, OFC and OCC would revert back to their initial highly granular state, destroying the integrity of low-grained or monocrystalline structures. But over the past few years, Atlas cables, in collaboration with its suppliers, has been studying a method for coating copper with Teflon, without the deleterious effects mentioned above.
Finally, after a major research effort, we are now able to coat copper with a particular type of Teflon called Fluorinated Ethylene Propylene (FEP) – with a melting point of 275°C – by cooling the copper during the coating process.
FEP allows the user to obtain few losses, typically associated with this type of dielectric, allowing instead to still have all the advantages of low-grained copper conductors. Teflon FEP is used in all Atlas products of the Atlas Ascent line, Atlas Superior, Hyper power cables, etc..
Tomi Engdahl says:
Bad audio cable insulation can lead to various sound quality issues, including crackling, hissing, or distorted audio. This degradation can be caused by physical damage, moisture, temperature fluctuations, or the inherent poor quality of the insulation material. High-quality insulation materials like Teflon or Polyethylene are better at maintaining signal integrity
Bad audio cable insulation can lead to various sound quality issues, including crackling, hissing, or distorted audio. This degradation can be caused by physical damage, moisture, temperature fluctuations, or the inherent poor quality of the insulation material. High-quality insulation materials like Teflon or Polyethylene are better at maintaining signal integrity
2. How does bad insulation affect audio quality?
Signal Degradation:
Poor insulation, especially low-quality PVC, can reduce signal speed and cause signal loss, leading to a less balanced sound, with the low and mid frequencies potentially being more affected.
Interference:
Damaged insulation can allow electromagnetic interference (EMI) to enter the cable, causing audible noise.
Physical Damage:
Tears or cracks in the insulation can expose the conductors, leading to short circuits, corrosion, and further degradation of the signal.
3. Why does insulation degrade?
Age: Insulation can degrade over time due to exposure to heat, cold, and moisture.
Physical Damage: Bending, stretching, or crushing the cable can damage the insulation.
Poor Quality Materials: Using cheap materials like PVC can lead to faster degradation compared to materials like Teflon or polyethylene.
Electrical Overload: Excessive current or voltage can also cause the insulation to break down.
4. How to identify bad insulation:
Visual Inspection: Look for cracks, tears, or discoloration in the insulation.
Sound Quality Issues: Crackling, hissing, or distorted sound can indicate insulation problems.
5. What can be done?
Repair:
For minor damage, you can try repairing the insulation with electrical tape or putty.
Replacement:
If the damage is extensive, it’s best to replace the cable.
Choose High-Quality Cables:
When buying new cables, opt for those with high-quality insulation materials like Teflon or polyethylene.
Proper Handling:
Avoid bending cables excessively and protect them from extreme temperatures and moisture.
Source: Google AI “bad audio cable insulation”
Tomi Engdahl says:
However, PVC is the worst quality insulation for Hi-Fi or AV applications and the signal may experience a high loss and a significant reduction in its speed.
https://www.polarisaudio.it/en/guide/audio-cables/the-insulating-materials-in-the-audio-cables-and-the-skin-effect
Tomi Engdahl says:
https://www.reddit.com/r/audiophile/comments/jqvjdr/speaker_wire_insulation_alternatives_to_pvc/
Any remotely decent speaker wire (I’m talking normal ofc copper here not audiophile wank) will not oxidize like cheap speaker wire. No need to overthink it. Shielding doesn’t colour sound, but it’s also entirely irrelevant for speaker cables.
You’re overthinking this, in my opinion.
Oxidization has a negligible (nearing zero) effect on the ability of the wire itself to transmit electricity. The only people who will tell you different are those that are trying to sell you a more expensive alternative, or people who’ve already bought into the same thanks to the placebo effect.
Don’t waste your hard-earned money on fancy speaker cable – just get some relatively thick OFC cable in PVC sheathing like everyone since the dawn of hi-fi has been using. If you’re worried about the exposed ends corroding, either tin them with a soldering iron and some solder, or solder on banana plugs if you’re feeling fancy.
Put your money toward something that will have a noticeable effect on your enjoyment, like some well-mastered high resolution music (SACDs or hirez PCM downloads) – there’s an almost infinite supply of great music to be discovered instead of worrying about how efficiently the electrons in your speaker wire are travelling.
Tomi Engdahl says:
A non-linear capacitance cable is a type of cable where the capacitance value changes depending on the voltage applied across it, unlike a standard linear capacitor where capacitance remains constant regardless of voltage. This voltage-dependent behavior is often observed in ferroelectric materials used as dielectrics in capacitors. These cables can be used in circuits where a variable capacitance is needed, and can be controlled by adjusting the voltage applied.
Non-linear capacitors often utilize ferroelectric materials as their dielectric
Tomi Engdahl says:
Conductors as Capacitors
https://www.a-eberle.de/en/info-letter/info-letter-no-20/
Tomi Engdahl says:
https://www.diyaudio.com/community/threads/teflon-vs-pvc.63582/
Save yourself some money and go for the cheaper one. Dilectric loss is in effect non-existent at audio frequencies, despite what Audioquest and inumerable others would have you believe (without offering any evidence that this is the case I might add). It’s just not an issue. There is not the slightest scrap of proof that teflon, though it might be lovely stuff in itself (though avoid combining it with silver like the plague) is audably superior to PVC. In fact, there’s a vast wealth of scientific evidence that shows there is no difference whatsoever in audio applictions. Have a look at the various articles on these two sites for more:
http://sound.westhost.com/cables.htm
http://www.audioholics.com/techtips/audioprinciples/
They make enlightening, and frequently entertaining reading. The latter also has an article on numerous DIY designs, including a number of ones using cat5 that you might find useful. I’ve built most of these at different points, and they’re all good.
Best
What facts? No cable introduces non-linear distortion, still less whatever it happens to be wrapped in. That’s an electrical fact. Fair point though that minimising potential problems is the way forward, but wrapping an otherwise identical piece of wire in teflon rather than PVC won’t help to improve sonic performance. Still, let’s not get too far into another of those cable debates! (I’m feeling weak today!)
All the best
Scott
“Teflon . . . (though avoid combining it with silver like the plague)”
I hadn’t ever heard of this. What are the drawbacks? . . . Charlie
In real life audio applications…..none. The benefits are though obvious, as silver solders easier than copper, so less bad joints. I have been using silver plated copper for ages, never had anything that remotely resembles a problem.
As for the teflon part, sonically I am fairly sure there is no benefit, I use it purely for mechanical strength and the fact that you have to be $hit out of luck to get a short due to molten isolation.
What facts? No cable introduces non-linear distortion, still less whatever it happens to be wrapped in. That’s an electrical fact. Fair point though that minimising potential problems is the way forward, but wrapping an otherwise identical piece of wire in teflon rather than PVC won’t help to improve sonic performance. Still, let’s not get too far into another of those cable debates! (I’m feeling weak today!)
All the best
Scott
Want facts ? Look up dialectric absorbtion and dissapation factor…
None of which have the slightest relevance at audio frequencies unless you’ve suddenly gained the ability to hear at circa 100KHz, asuming, of course, you’ve found a carrier medium that can go that high. I refer you to the two websites I mentioned earlier, which actually have measurements of these and other factors posted. These articles may be of particular interest:
http://www.audioholics.com/techtips/audioprinciples/interconnects/dielectricabsorptioncables.php
http://www.audioholics.com/techtips/audioprinciples/interconnects/cabledistortiondielectricb.php
Silver and Teflon are a nasty combination in triboelectric terms, which is why I avoid i
2005-09-03 5:37 pm
#17
Hmm. I don’t doubt there was a difference actually, but could I ask a few questions regarding the methodology and wire used?
1) Was this a properly controlled ABX double-blind test?
2) Were both types of wire of identical guage?
3) Did both sets of wire have an identical twist?
4) Were both the copper mains cable and the silver cable of solid-core construction? A stranded wire will always have somewhat less material in it than a solid wire -the practical upshot is that it will have a fractionally smaller conductor area (yes, I know there’s no such thing as a ‘conductor’ -only varying levels of resistance) for a given guage. Very little in it of course; but it has to be borne in mind.
5) Did you only change one variable at a time? Assuming that all the above factors were identical, we have two different variables here: the insulation and the conductor material.
All of these need to be considered, and accounted for for a comparison to be valid, because they drasitically affect the electrical performance of a cable, and major differences in such performance can indeed affect the sound of a system. I agree that we should listen, but it should be done in a properly controlled scientific way, and backed up by technical measurement which show how these differences occur.
All the Best
Tomi Engdahl says:
https://hackaday.com/2022/04/10/this-3-5mm-cable-distorts-signals-hides-audio-filtering-circuit/
Tomi Engdahl says:
https://hackaday.com/2022/02/02/know-audio-a-mess-of-cables/
Tomi Engdahl says:
An engineer dug into the company’s hospital claims and forced them to respond publicly.
https://www.silentsound.fi/post/onko-teko%C3%A4lyn-generoima-laulu-t%C3%A4ydellinen
Full story: https://www.headphonesty.com/2025/08/audiophile-brand-fake-hospital-endorsements-cables-conditioners/
Tomi Engdahl says:
PVC (Polyvinyl Chloride) is a commonly used material for cable insulation, particularly in audio and speaker cables, due to its flexibility, flame retardancy, and cost-effectiveness. However, its use in high-fidelity audio applications is debated, as it can have a higher dielectric constant than other materials like polyethylene, potentially affecting signal transmission.
Here’s a more detailed look:
PVC in Audio Cables:
Common Usage:
PVC is widely used in various audio cables, including microphone cables, speaker cables, and general instrument cables.
Advantages:
Flame Retardancy: PVC is inherently flame-retardant, making it a safer option for electrical cables.
Flexibility: It offers good flexibility, allowing for easy routing and installation of cables.
Cost-Effective: PVC is relatively inexpensive compared to other insulation materials, making it a popular choice for mass-produced cables.
Disadvantages:
Dielectric Constant: PVC has a higher dielectric constant than other materials like polyethylene, which can lead to signal distortion, especially at higher frequencies.
Potential for Signal Degradation: In high-end audio applications, the higher dielectric constant of PVC can potentially impact signal clarity and detail.
Copper Poisoning: In some cases, PVC insulation can degrade over time, potentially affecting the copper conductors (copper poisoning).
Alternatives to PVC:
Polyethylene (PE):
PE is often preferred in high-fidelity audio cables due to its lower dielectric constant, resulting in better signal transmission.
Foamed Polyethylene (FPE):
FPE offers even better dielectric properties than PE and is commonly found in high-end audio cables.
Measurement and Considerations:
Insulation Thickness:
Audio cables using PVC insulation will have a specific thickness specified in their technical specifications, which can vary based on the cable’s intended use and gauge.
Dielectric Strength:
The dielectric strength of PVC insulation is a critical parameter, indicating its ability to withstand voltage without breakdown.
Resistance:
Resistance measurements of the insulation are also important, as they can indicate the presence of imperfections or degradation.
Standards:
Cables should comply with relevant standards (e.g., IS 694 for India) that specify requirements for insulation resistance and other parameters.
Audio Quality:
When choosing cables for high-fidelity audio, it’s crucial to consider the material properties of the insulation and its potential impact on sound quality.
In summary, while PVC is a common and practical material for audio cable insulation, its higher dielectric constant can be a factor in high-fidelity applications. Choosing cables with alternative insulation materials like polyethylene or foamed polyethylene may be preferable for optimal audio performance, but PVC remains a suitable option for general use and cost-sensitive applications.
Source: Google “PVC cable insulation audio measurement”
Tomi Engdahl says:
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Tomi Engdahl says:
ChatGPT:
There is a claim “However, PVC is the worst quality insulation for Hi-Fi or AV applications and the signal may experience a high loss and a significant reduction in its speed.” Is there a real reduction of speed?
The claim that PVC (polyvinyl chloride) insulation causes a “reduction in speed” in Hi-Fi or AV (audio-visual) applications is more of a misinterpretation of technical concepts, but it can have some truth when you break it down.
Here’s what might be meant by the “reduction in speed”:
### 1. **Signal Propagation Speed:**
* Signals in electrical cables propagate at a fraction of the speed of light. The **speed of propagation** of the signal depends on the **dielectric constant** (also called relative permittivity) of the material surrounding the conductor, in this case, the PVC insulation.
* Materials like PVC have a higher dielectric constant compared to other materials such as Teflon or polyethylene. This means that signals travel **slower** through PVC insulation because it has higher capacitance, which can slightly delay the signal, though this delay is typically very small (on the order of nanoseconds per meter).
* In practice, this “speed reduction” would not be noticeable in most typical Hi-Fi or AV setups since the distances are short and the delay would be almost imperceptible.
### 2. **Signal Loss (Attenuation):**
* PVC is generally a poor conductor of electricity compared to materials like Teflon or polyethylene. It can result in higher **signal attenuation** (loss of signal strength) over distance, especially at higher frequencies, which might explain the “loss” aspect of the claim.
* This attenuation may not directly reduce the speed of the signal but can degrade the signal’s quality, particularly in high-fidelity audio or high-definition AV systems. However, unless you’re using very long cables or running at very high frequencies (like in certain high-end audio systems), this is usually not a major issue.
### 3. **Capacitance and Impedance:**
* PVC-insulated cables can have a higher **capacitance** than cables made with other insulations, which could affect the cable’s **impedance** and result in signal reflections, especially over long runs. This isn’t directly about speed reduction, but it can affect the overall signal integrity.
### Conclusion:
While it’s true that PVC insulation can have a small effect on signal speed (due to its higher dielectric constant) and cause some signal loss or degradation, the effect is minimal and typically not noticeable unless you’re working with very high-performance equipment or very long cable lengths.
So, while there may be a *technical reduction in speed*, for everyday Hi-Fi or AV use, this is rarely a significant concern. More important factors for these applications would be the quality of the conductor (like copper vs. silver) and shielding to avoid interference.
Tomi Engdahl says:
ChatGPT:
The **copper vs. silver** debate in audio cables is a bit of a *heated* discussion, especially among audiophiles. Let’s break down the consensus and key points surrounding these materials, focusing on their electrical and practical properties.
### 1. **Electrical Conductivity:**
* **Silver** is the best conductor of electricity, surpassing copper in terms of **conductivity** (about 7% better than copper).
* However, the difference in conductivity is very **small** relative to the overall signal transmission. In most Hi-Fi systems, the difference between copper and silver conductors is **not noticeable** in terms of electrical performance, especially in short cable runs.
### 2. **Sound Quality:**
* **Silver**: Some audiophiles believe that silver conductors produce **brighter, more detailed, and sharper** sound, especially in the **high frequencies**. The theory is that silver provides **lower resistance** and less signal loss, which may lead to a more “pure” signal.
* **Perceived benefits**: Cleaner highs, more sparkle, and greater detail. Some say silver makes the sound more “open” or “airier”.
* **Criticism**: Silver is said to accentuate higher frequencies, which could make a system sound harsh or too bright if the rest of the system isn’t well-balanced.
* **Copper**: Copper conductors are typically said to provide a **warmer, smoother** sound compared to silver. The **lower frequency response** might be more prominent, and some audiophiles claim copper has a “natural” or “organic” sound.
* **Perceived benefits**: A fuller, warmer sound, with good balance across the frequency spectrum.
* **Criticism**: Copper can sometimes be described as less **detailed** in the highs when compared to silver.
### 3. **Durability & Oxidation:**
* **Silver**: While silver is the best conductor, it tarnishes (oxidizes) much more easily than copper, which can affect its long-term performance. Tarnish or oxidation may **reduce the effectiveness of the conductor** over time. In high-end audio systems, some audiophiles take great care to keep silver cables clean.
* **Copper**: Copper is more resistant to oxidation, but it **does tarnish** over time (forming copper oxide), which can also impact performance. However, there are copper alloys (like **oxygen-free copper**) designed to mitigate this.
### 4. **Cost:**
* **Silver** is much **more expensive** than copper. This price difference can make silver cables cost 5-10 times more than copper cables, which raises questions about whether the slight improvement in performance justifies the cost.
* **Copper** is more affordable and provides excellent performance for most people.
### 5. **Best Use Cases for Each:**
* **Silver**: Better suited for systems that have a more neutral or warm tonality and need more clarity or brightness in the high frequencies. It’s often chosen by audiophiles who have very **high-end gear** and seek that extra layer of detail, especially in the treble region.
* **Copper**: Ideal for a **balanced sound** or systems where warmth and smoothness are preferred. It works well in **mid-range** and **entry-level audio systems**, as it offers a more natural presentation without emphasizing any particular frequency range.
### 6. **Conclusion – The Consensus:**
* **Copper** is **preferred by most people** for everyday use and in a wider variety of audio systems. Its performance is typically good enough for high-quality audio transmission, especially when paired with well-designed equipment.
* **Silver** is often seen as a **niche** choice, used mainly by audiophiles looking for ultimate detail and clarity, particularly in the **high frequencies**. It’s also favored by those with high-end systems or specific sonic preferences.
* **Does silver sound *better* than copper?** For the vast majority of listeners, the **difference** is either inaudible or **extremely subtle** in normal listening conditions. If you’re in a regular living room setup or use standard equipment, the difference won’t be worth the price premium for silver.
Ultimately, the choice between copper and silver comes down to personal preference, the type of sound you’re looking for, and the specific gear you’re using. For most listeners, **copper** will provide excellent performance, but for audiophiles, **silver** may offer that extra nuance they’re after.
Tomi Engdahl says:
To scientifically analyze the difference between audio interconnects (such as copper vs. silver, or different types of insulation or shielding), you need to approach it from both a measurements standpoint and a listening tests perspective. Here’s a structured approach you can take:
1. Objective Measurements:
The first step is to use measurement equipment to quantify the differences in the physical performance of different cables. Here are the key aspects to measure:
A. Resistance:
Objective: Measure the DC resistance of the cable.
How to Measure: Use a multimeter or a precision resistance meter. Resistance directly affects the power loss of the signal as it travels through the cable.
What to Expect: The resistance of the cable will vary based on the conductor material (copper vs. silver) and its gauge (thickness). Silver cables should have lower resistance than copper cables, but the difference is typically very small.
B. Capacitance:
Objective: Measure the capacitance between the conductors of the cable.
How to Measure: Use a capacitance meter or an LCR meter (which measures inductance, capacitance, and resistance).
What to Expect: Higher capacitance leads to a greater possibility of signal loss, especially at higher frequencies. Materials with a higher dielectric constant (like PVC) will have higher capacitance.
C. Inductance:
Objective: Measure the inductance of the cable.
How to Measure: Use an LCR meter to measure inductance.
What to Expect: Inductance affects the signal at higher frequencies. Cables with tightly wound conductors and poor shielding can introduce more inductance, which can affect signal integrity.
D. Impedance:
Objective: Measure the impedance of the cable, particularly the characteristic impedance, which is important for maintaining signal integrity, especially in high-speed and high-frequency applications (like video or digital signals).
How to Measure: Use an impedance analyzer or specialized TDR (time-domain reflectometer).
What to Expect: Cables with poor impedance matching can cause signal reflections, leading to interference and distortion. A well-designed audio cable typically has an impedance of around 50-75 ohms.
E. Signal Integrity:
Objective: Measure the signal degradation over the cable. You can test the attenuation (how much signal is lost over a given distance), and frequency response (how different frequencies pass through the cable).
How to Measure: Use an oscilloscope to send a test signal through the cable and observe the output. Measure the signal’s amplitude and frequency response (flatness).
What to Expect: In a high-quality cable, the signal should not degrade significantly in frequency response or amplitude. If the cable is poorly made, there will be a noticeable drop in signal strength, especially at higher frequencies.
F. Shielding Effectiveness:
Objective: Evaluate the shielding to protect the signal from electromagnetic interference (EMI) or radio-frequency interference (RFI).
How to Measure: Use an EMI meter or spectrum analyzer to measure the level of external interference at the cable’s end.
What to Expect: Cables with better shielding will show lower levels of interference, and this is especially important for long cable runs or in electrically noisy environments (e.g., near power lines or electronics).
2. Subjective Listening Tests:
Once you have objective data, the next step is to perform blind listening tests to see if the measured differences translate into perceptible differences in sound quality.
A. Test Setup:
Use a consistent audio system: Set up a high-quality playback system (speakers or headphones) and a reliable source (CD player, DAC, etc.).
Use a double-blind setup: Neither the listener nor the person conducting the test should know which cable is being used during the test. This helps to eliminate bias or expectation effects.
Test material: Use well-recorded music, preferably with a variety of instruments, dynamics, and frequency content (so you can test for full-range performance).
Test conditions: Perform tests in a quiet environment, ensuring no other variables interfere with the test (e.g., ambient noise, room acoustics, etc.).
B. A/B Listening:
Switch between cables and listen for differences in sound quality.
Listen for details, clarity, bass response, midrange warmth, treble extension, and overall balance.
After each round of listening, note any perceived differences, such as whether one cable produces a brighter or warmer sound, or if one is clearer.
C. Quantifying Preferences:
After listening, you can ask the listener to rate the cables based on:
Transparency: How clearly can you hear all the details?
Tone: Is there any unnatural coloration?
Soundstage: Is the stereo image more expansive or more focused?
Bass Response: Is the low end fuller or tighter?
Treble: Is the high end more extended or less harsh?
The goal is to determine whether the differences are perceptible and, if so, whether they are significant to the listener.
3. Data Correlation:
After both objective and subjective tests, correlate the results:
Are the measurable differences (such as resistance, capacitance, and shielding) correlated with perceptible differences in sound quality?
If a low-capacitance cable sounds “better,” can this be tied to the reduction in signal loss and distortion at higher frequencies?
Are listeners consistently preferring one type of cable (e.g., copper vs. silver), and does that preference align with the technical measurements?
4. Statistical Analysis:
If you have access to the right tools and the ability to conduct multiple tests with different listeners, you can apply statistical analysis to determine if the observed differences are statistically significant. This might include:
T-tests to compare mean ratings.
Correlation analysis to see if measurable parameters (like resistance or capacitance) correlate with subjective ratings.
ANOVA if testing multiple cables at once to see if there are significant differences across them.
5. Consider Real-World Factors:
Cable length: Shorter cables (under 2-3 meters) will have much less noticeable differences compared to longer cables.
Interconnect type: RCA vs. XLR, for example, may have a more noticeable impact than copper vs. silver due to their differing signal transmission methods.
Conclusion:
To scientifically analyze the difference between audio interconnects, you need to combine both quantitative measurements (e.g., resistance, capacitance, shielding effectiveness) and qualitative listening tests (e.g., A/B comparisons, listener feedback). By doing so, you can assess if the performance differences in the cables are large enough to be perceptible in real-world listening conditions, and whether those differences can be attributed to the measurable properties of the cable.
Keep in mind that many differences, especially with short cables in typical Hi-Fi setups, may be subtle and hard to detect, even with careful testing. The perceived “sound quality” differences may often come down to personal preference and system synergy rather than objective superiority.
Tomi Engdahl says:
**System synergy** refers to the way all the components of an audio system—like your speakers, amplifier, source (e.g., DAC or turntable), interconnects, and cables—work together to create a **coherent and balanced sound**. When components are **synergistic**, they complement each other and enhance the overall performance of the system. In contrast, if components don’t “gel” well together, the result can be a less enjoyable or unbalanced sound.
### Key Elements of Synergy:
1. **Component Matching**:
* Different brands and models of audio components (amplifiers, speakers, DACs, etc.) have different **sound signatures** (e.g., warm, bright, neutral, etc.). Synergy is achieved when these components are chosen to complement each other, rather than competing or mismatching.
* For example, pairing a **bright** amplifier with **neutral** speakers might give you a crisp sound but can also be fatiguing. Pairing it with a **warmer** speaker can create a more balanced sound.
2. **Impedance Matching**:
* **Impedance** is a key consideration for matching components. If your amplifier and speakers have mismatched impedances, it can lead to poor power transfer, distortion, and sometimes even damage to components. When impedance is correctly matched, the system can perform efficiently and produce cleaner sound.
3. **Tuning for Frequency Balance**:
* Speakers have **frequency response** characteristics—some emphasize the bass, others the mids or treble. Synergy means combining speakers and amps that can create a **balanced frequency spectrum**, so no part of the spectrum (bass, mids, or treble) is overly emphasized or underrepresented.
4. **Cabling and Interconnects**:
* Cables can influence the sound, particularly in higher-end systems. For example, certain cables may complement the sound signature of your components, enhancing bass response, adding warmth, or cleaning up the high end. A well-chosen cable may help **fine-tune** the overall sound, while a mismatch can degrade sound quality or introduce noise.
5. **Room Acoustics**:
* Even the best components won’t sound great without considering **room acoustics**. The size, shape, and materials in a room can have a significant impact on how sound waves interact. For example, hard surfaces can reflect sound, while soft materials absorb it. A well-designed system considers the room’s characteristics, and achieving synergy may involve optimizing speaker placement and room treatments (e.g., bass traps, diffusers).
### Examples of Synergy:
* **Speaker and Amp Synergy**: A **high-efficiency** speaker (like a horn-loaded speaker) may work well with a **low-power tube amplifier**, because the speaker doesn’t need much power to achieve high output. This combination tends to produce a smooth, detailed sound, which is characteristic of tube amps.
* **Cable Synergy**: A system with speakers that are a little too **bright** might benefit from cables that emphasize **warmth** (such as cables made from copper) to smooth out the treble. On the other hand, a speaker that’s a bit too **dark** could benefit from cables that enhance the **high frequencies** (like silver cables).
* **DAC and Amp Synergy**: Some DACs are designed to produce **a more analytical, detailed sound** while some amplifiers may naturally emphasize a **warmer tone**. If you pair an analytical DAC with a similarly detailed amp, the system could become too harsh. But pairing the same DAC with a warmer-sounding amp might produce a more balanced and enjoyable listening experience.
### Why Does Synergy Matter?
* **System Coherence**: In any audio system, individual components have their own **characteristics** (e.g., a warm amp or a bright speaker). If all components complement each other, it results in a coherent sound that is **musical and enjoyable**. If there’s no synergy, the system might sound **unbalanced** (too bright, too boomy, muddy mids, etc.).
* **Enhancing Strengths**: When components are synergistic, their **strengths** are brought out. For example, a pair of speakers with deep bass can pair well with an amp that has detailed mids and highs, creating an overall balance of all frequency ranges.
* **Avoiding Weaknesses**: If you have a system where components clash, it can highlight weaknesses, like **too much distortion**, **poor bass reproduction**, or a **lack of clarity** in the midrange. Achieving synergy ensures that these issues are minimized.
### How to Achieve Synergy:
1. **Know Your Sound Preference**: The type of sound you prefer (e.g., neutral, warm, analytical, bright, etc.) will dictate the choices you make for each component. Synergy is about balancing these characteristics across your system.
2. **Match Components by Tonality**: A good way to achieve synergy is by matching components that share a similar tonality or sound signature. For example:
* Pair **warm** speakers with a **neutral to warm** amplifier to avoid an overly bright sound.
* Combine **analytical** headphones with a **neutral or slightly warmer** DAC/amp to avoid overly sharp detail.
3. **Test and Listen**: Ultimately, achieving synergy often comes down to trial and error. Listening to different combinations of components can reveal which ones work well together and produce the sound you desire.
4. **Room Treatment**: Acoustics can make or break synergy. Even the best components can sound subpar if the room doesn’t support the sound properly. Small tweaks to speaker placement, use of diffusers or absorbers, and managing bass reflections can drastically improve system synergy.
### Conclusion:
System synergy is the magic that happens when all components of your audio system work together harmoniously to produce an enjoyable and balanced listening experience. The goal is to create a sound that is greater than the sum of its parts. Achieving synergy involves matching components with similar characteristics, considering room acoustics, and using the right cables and accessories to fine-tune the system to your preferences.
Tomi Engdahl says:
When evaluating **Hi-Fi interconnect cables** (used to connect audio equipment such as amplifiers, speakers, and DACs), several **technical properties** are crucial for ensuring good signal transmission, minimal distortion, and overall **high-quality audio performance**. Here’s a breakdown of the most important technical properties of Hi-Fi interconnect cables:
### 1. **Conductor Material**
* **Copper** and **silver** are the two most common materials used for the conductors in audio cables.
* **Copper**: Offers excellent conductivity, is more affordable, and has a balanced tonal character. It is the most commonly used material for Hi-Fi cables.
* **Silver**: Has **better conductivity** than copper (around 7% more), and some audiophiles believe it offers **greater detail and clarity**, particularly in the higher frequencies. However, it’s more expensive and can make the sound more **bright** or **sharp** in some systems.
* **Copper Alloys** (e.g., **Oxygen-Free Copper** or **PCOCC**—Perfectly Controlled Oxy-Free Copper) are often used to reduce oxidation and improve durability.
### 2. **Resistance**
* **Low resistance** is crucial for optimal signal transmission. High resistance can lead to signal loss, especially at higher frequencies, and can affect the overall sound quality.
* **Thicker cables** typically have lower resistance, but the difference in resistance is usually minimal for most Hi-Fi setups, unless the cable run is extremely long (e.g., several meters).
* The resistance of the cable should be as low as possible, though in most cases, the **conductivity** of the material is a more critical factor.
### 3. **Capacitance**
* **Capacitance** refers to the ability of the cable to store an electrical charge between the conductors. High capacitance can lead to signal loss, especially at **high frequencies**, and may **attenuate** or **distort** the signal over long distances.
* **Low capacitance** is important for accurate signal transmission, particularly in **high-end audio systems**. It helps to maintain the **integrity** of the signal, ensuring a faithful reproduction of the original sound.
* A typical **low-capacitance** Hi-Fi interconnect will have values of around **10-30 pF/m**. Higher capacitance cables (e.g., PVC-insulated) may affect high-frequency performance and create a “dull” or **muddy** sound.
### 4. **Inductance**
* **Inductance** is the property that resists changes in current. In audio cables, **inductance** can influence the **frequency response**, especially at high frequencies.
* **Low inductance** is generally preferred for Hi-Fi interconnects to avoid phase shifts or signal distortion, particularly in high-frequency audio signals.
* While inductance is not typically as critical as resistance or capacitance in short interconnect cables, it becomes more important in **longer cable runs**.
### 5. **Impedance**
* **Impedance matching** is critical for cables used in professional audio or **digital** connections (e.g., **S/PDIF** or **AES/EBU**). For Hi-Fi analog audio connections (e.g., RCA or XLR), impedance mismatch is less of an issue, but it can still affect the signal integrity in some cases.
* **Typical impedance** for interconnect cables is around **50-75 ohms** for digital signals, while **RCA** interconnects may have varying impedance (but generally 75 ohms for **video** and 50 ohms for **audio**).
* Impedance mismatch can cause signal reflections, which leads to **distortion** and **loss of clarity** in the sound.
### 6. **Shielding**
* **Shielding** is essential to prevent **electromagnetic interference (EMI)** and **radio-frequency interference (RFI)** from external sources (e.g., power lines, routers, or other electrical devices).
* Cables with good shielding will block external noise, ensuring that the audio signal remains pure and free from interference.
* **Braided shielding** or **foil shielding** is commonly used to protect against EMI and RFI. A **combination** of these (e.g., foil and braid) is often found in high-quality interconnects.
* **Double shielding** provides additional protection, which is particularly useful in environments with high electrical noise.
### 7. **Dielectric Material**
* The **dielectric** material is the non-conductive substance that insulates the cable’s conductors. It affects the **capacitance** and **signal integrity**.
* **Low-loss dielectrics**, such as **Teflon**, **PE (Polyethylene)**, or **PVC** (though PVC can have higher capacitance), help ensure better signal transmission.
* Materials like **Teflon** and **Polyethylene** are favored in **high-end audio** cables due to their **low loss** and stable electrical properties. **PVC**, while cheaper, tends to have higher capacitance and can affect high-frequency performance.
* Some audiophile cables use **air-insulated** designs, where air acts as the dielectric, offering minimal signal loss.
### 8. **Cable Geometry**
* **Cable design and geometry** can influence **inductance**, **capacitance**, and **signal propagation**. Common designs include:
* **Twisted Pair**: Often used in **balanced cables (XLR)**. This design reduces electromagnetic interference (EMI) by cancelling out noise.
* **Coaxial Design**: Common in **unbalanced cables (RCA)**. It uses a central conductor and a surrounding shield, ideal for minimizing noise.
* **Star Quad**: Four wires arranged in a specific pattern to improve noise rejection and reduce inductance. Often used in **balanced cables** for professional audio.
### 9. **Connector Quality**
* **Connector design** and materials are just as important as the cable itself. The connectors must ensure a **secure, low-resistance connection** while minimizing signal loss or distortion.
* **Gold-plated connectors** are common, as **gold** is resistant to oxidation and provides a stable connection over time. However, **silver-plated** or **nickel-plated** connectors can also be found in higher-end models.
* The **build quality** of the connectors is important for **durability**, and features like **lock mechanisms** and **strain relief** ensure that the connectors remain securely attached without introducing signal loss due to poor contact.
### 10. **Length of the Cable**
* **Cable length** directly impacts the performance of the interconnect. As the length of the cable increases, so does the **resistance**, **capacitance**, and **inductance**, all of which can degrade the signal.
* For **analog** interconnects (e.g., RCA or XLR), lengths up to **1.5–2 meters** are usually optimal for minimal signal degradation. Beyond this, **high-quality shielding and lower capacitance** become more important.
* For **digital** connections, even shorter cables are recommended to maintain signal integrity over the shorter distance.
### 11. **Flexibility and Durability**
* While not as important for sound quality, **flexibility** and **durability** are key factors in a cable’s lifespan. High-quality cables are typically designed with a **tough outer jacket** that resists wear and tear, making them more durable for long-term use.
* **Strain relief** mechanisms ensure that the cable’s connectors don’t become damaged or loosened over time from repeated bending or handling.
### 12. **Price vs. Performance**
* High-end interconnect cables often have premium materials and precise manufacturing, but it’s essential to note that **price does not always equal performance** in practical scenarios. The law of diminishing returns applies, and for most listeners, cables of **moderate price** often perform just as well as high-end cables in typical listening conditions.
* **Science and measurements** suggest that for short cable runs (a few meters or less), the difference in sound quality between budget and premium cables is often **not noticeable** to most listeners, especially when compared to the benefits of a well-matched system (e.g., speakers, amp, DAC).
—
### Summary of the Most Important Technical Properties for Hi-Fi Interconnects:
1. **Conductor Material** (Copper vs. Silver)
2. **Resistance** (Low resistance for minimal signal loss)
3. **Capacitance** (Low capacitance for accurate high-frequency response)
4. **Inductance** (Low inductance to prevent signal distortion)
5. **Impedance** (Proper matching for signal integrity)
6. **Shielding** (To protect against EMI/RFI and maintain a clean signal)
7. **Dielectric Material** (Low-loss material like Teflon, Polyethylene)
8. **Cable Geometry** (Twisted pair, coaxial, star quad for noise rejection)
9. **Connector Quality** (Gold-plated, durable connectors for good contact)
10. **Cable Length** (Minimize length to reduce signal degradation)
11. **Flexibility & Durability** (For long-term performance and handling)
All these factors work together to ensure **high-fidelity audio reproduction** with minimal distortion, signal loss, and noise interference.
Tomi Engdahl says:
The **RLC (Resistance, Inductance, and Capacitance)** properties of an **RCA cable** play a critical role in how the cable handles audio signals. These factors impact the cable’s **performance**, especially in terms of **signal quality**, **frequency response**, and **overall sound integrity**. Let’s break down each of the RLC components and how they affect **RCA cable performance**:
### 1. **Resistance (R)**
* **What it is**: Resistance refers to the opposition to the flow of electric current within the cable. All materials have some degree of resistance, but the conductor’s material (e.g., copper, silver) influences the total resistance.
* **Effect on RCA Cable Performance**:
* **Signal Loss**: Higher resistance leads to **power loss** along the length of the cable, which is more significant in **longer cables**.
* **High Frequencies**: Resistance can cause a drop in the strength of the signal, especially at **high frequencies**. This can result in a **dull or muffled sound**, especially with longer cables.
* **Audio Impact**: While the effect of resistance on short cables (a few meters or less) is typically negligible for **most Hi-Fi systems**, higher resistance may still contribute to signal degradation in **lower-quality cables**, especially over long distances.
* **Best Practices**:
* Use cables with **low-resistance conductors** (like **Oxygen-Free Copper (OFC)**) for better signal integrity.
* Shorter cable lengths generally minimize the impact of resistance on signal loss.
### 2. **Inductance (L)**
* **What it is**: Inductance is the ability of a conductor to oppose the change in current. It occurs when the cable’s conductors create a magnetic field that resists current changes. The layout of the cable (e.g., how the wires are twisted or shielded) affects inductance.
* **Effect on RCA Cable Performance**:
* **Phase Shifts**: Inductance can introduce **phase shifts** in the audio signal, particularly at higher frequencies. This can distort the timing and the overall **accuracy** of the signal.
* **High Frequencies**: Inductance becomes more problematic at **higher frequencies** (like treble or high-midrange), where the resistance to current changes is more noticeable.
* **Signal Degradation**: As inductance increases, it can affect **signal speed** and timing, particularly over long cables. This may result in **less precision** in transient sounds (such as cymbals or fast guitar riffs).
* **Best Practices**:
* **Twisted pair cables** (where the positive and negative conductors are twisted together) can help reduce inductance by **cancelling out magnetic fields**.
* **Low-inductance cables** are crucial for high-quality, **high-frequency** reproduction and to preserve signal fidelity.
### 3. **Capacitance (C)**
* **What it is**: Capacitance refers to the ability of the cable to store an electrical charge between the conductors. It’s determined by the **distance between the conductors**, the **insulation material** (e.g., PVC, Teflon), and the **dielectric constant** of the materials.
* **Effect on RCA Cable Performance**:
* **Signal Attenuation**: High capacitance can lead to a **loss of signal strength** and can **attenuate high frequencies** (treble) as the cable becomes more “reactive” to rapid voltage changes. This means that at higher frequencies, there will be less signal transferred.
* **Frequency Response**: Excessive capacitance can roll off **high frequencies**, making the sound seem less detailed or **muted**.
* **Timing and Detail**: Capacitance can also affect the **timing** of the signal, reducing clarity and definition in transients (like plucked strings or snare hits). This can create a feeling of **blurred detail** in the audio.
* **Best Practices**:
* **Low-capacitance cables** are ideal for maintaining signal integrity, particularly at high frequencies. Aim for capacitance values around **10–30 pF/m** (picofarads per meter) for optimal high-frequency performance.
* **Materials with low dielectric constants** (such as **Teflon** or **PE (Polyethylene)**) are preferred for lower capacitance and better signal quality.
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### How RLC Interact and Affect RCA Cable Performance:
The interplay of resistance, inductance, and capacitance (RLC) in an RCA cable determines the overall **signal quality** and **frequency response**. Here’s how they interact and influence performance:
1. **Signal Integrity**:
* Resistance creates signal loss, especially for high-frequency components, but this effect is more noticeable over long distances.
* Inductance can distort the **timing** of the signal and lead to phase shifts, particularly in high-frequency signals.
* Capacitance can store and then release charge in ways that dampen higher frequencies, reducing **detail and clarity** in the high end.
2. **High-Frequency Performance**:
* The biggest impact of **capacitance** and **inductance** is at **high frequencies**, where both factors can attenuate or distort treble and create a **blurry** or **dull** sound.
* **Inductance** and **capacitance** work together to affect **signal speed**. High capacitance combined with high inductance can create a **slow, dull** sound, especially for fast transients or sharp high-end details.
* **Low capacitance and low inductance** are necessary to preserve the **brightness and clarity** of the treble frequencies.
3. **Cable Length**:
* **Longer cables** will inherently have more **resistance, capacitance, and inductance**. The longer the cable, the more likely these properties will negatively impact signal quality, particularly at higher frequencies.
* For short runs (under 2 meters), **RLC effects are often minimal** and unlikely to drastically degrade the sound, especially in high-quality cables.
* For **longer runs**, these effects become more pronounced, making it essential to choose cables with **lower resistance, capacitance, and inductance** to maintain sound quality.
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### Real-World Impact on Audio Quality:
* **Low RLC Cables**: Cables with **low resistance**, **low capacitance**, and **low inductance** will produce a more **transparent, detailed**, and **dynamic sound** with no loss of high frequencies. They also ensure that **timing and transients** are accurate, preserving the natural **space** and **separation** in the soundstage.
* **High RLC Cables**: Cables with higher resistance, capacitance, or inductance will likely result in a **less dynamic sound**, with potential loss of **clarity** in the high-end frequencies and muddiness in the midrange. This can cause **blurring** of fast-moving elements in the music (e.g., percussion or guitar).
### Conclusion:
The **RLC properties** of an RCA cable significantly impact its ability to transmit a **clean, accurate signal**. **Low resistance** ensures minimal signal loss, **low inductance** prevents phase shifts and high-frequency degradation, and **low capacitance** preserves the clarity and detail of the high frequencies. When selecting RCA cables, it’s important to consider all three factors to maintain optimal performance, especially in high-fidelity audio systems where accuracy and clarity are paramount.