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.
2,546 Comments
Tomi Engdahl says:
The findings show how even industry darlings can disappoint in real listening rooms.
Full story: https://www.headphonesty.com/2025/09/overrated-speakers-better-alternatives-audiophiles/
Tomi Engdahl says:
30 Memes That Clearly Show the Struggles of Using Wireless Headphones
https://www.headphonesty.com/2024/11/memes-wireless-headphones-struggles/
Tomi Engdahl says:
Why the Obsession With Measurements Is Leading to Worse-Sounding Gear
https://www.headphonesty.com/2025/01/obsession-measurements-leading-worse-sounding-gear/
Tomi Engdahl says:
Here are the 8 most overpriced audio products in the world right now, as ranked by thousands of audiophiles: https://www.headphonesty.com/2025/09/most-overpriced-audio-products-ranked-audiophiles/
Tomi Engdahl says:
Based on this, speed sensors now read hundreds of thousands of data points per revolution and control systems are now capable of correcting rotation at microscopic levels. So, new turntables deliver sound that’s up to five times cleaner than their classic counterparts… at least on paper.
Full story: https://www.headphonesty.com/2025/09/modern-turntables-sound-cleaner-wow-flutter-tests/
Tomi Engdahl says:
Braiding vs Screening vs Shielding
https://www.securiflex.co.uk/cables/braiding-vs-screening-vs-shielding/
Tomi Engdahl says:
Electrical connector
Images (1)
Classifications
H04B3/28 Reducing interference caused by currents induced in cable sheathing or armouring
Landscapes
Engineering & Computer Science
Computer Networks & Wireless Communication
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US2958724A
United States
https://patents.google.com/patent/US2958724A/en
Nov. 1, 1960 H. A. MILLOIT ELECTRICAL CONNECTOR Filed Nov. 28, 1958 2/: ver/cir .Zng zfierf WZW zgx/m,%, am M United States Patent ELECTRICAL CONNECTOR Henry Albert Milloit, Birmingham, Ala., assignor to Perfection Mica Company, a corporation of Illinois Filed Nov. 28, 1958, ‘Ser. No. 776,969
3 ‘Claims. (Cl. 174-88) This application relates to an electrical connector and more particularly to an electrical connector with which radiation from and pickup due to external magnetic fields are substantially completely eliminated.
The simpler methods of reducing radiation and pickup in conductors, as the use of twisted pairs and a woven conductive shield for the conductor are inadequate for use in many situations where signals of low level are present and interference cannot be tolerated.
A principal object of the present invention is the provision of a connector having a large number of loops and transpositions so that radiation from and inductive pickup by the connector are eliminated.
Tomi Engdahl says:
https://www.revk.uk/2017/12/its-official-adsl-works-over-wet-string.html
Tomi Engdahl says:
Demevalos’ Guide to Creating Y-Split Braided Cables
https://www.headphonesty.com/2019/04/guide-creating-y-split-braided-cables/
This will be a guide for creating a y-split braided cable for the HD 650/660S/600/all other variants that use this connector. It can be, however, be used to create any braided Y split cable of your choosing, you would just change the connectors to be what you want.
Tomi Engdahl says:
https://www.headphonesty.com/2025/09/most-overpriced-audio-products-ranked-audiophiles/
Tomi Engdahl says:
We Expose All the Ways Hi-fi Brands Manipulate Reviews, and We Got the Receipts
https://www.headphonesty.com/2025/03/dark-side-audio-reviewing-viewers-companies/
Tomi Engdahl says:
https://www.headphonesty.com/2025/02/home-theater-audiophile-friend-call-tin-can/?fbclid=IwdGRjcANHM9djbGNrA0czlGV4dG4DYWVtAjExAAEe2b39JV8bLvffld8fLYV6wvGGDMFjBRRioBUmsOW9AiEiCehHEzoI47WzHKU_aem_HJ6qxaACkYC0wZNVCSIsCg
Tomi Engdahl says:
We asked thousands of audiophiles to name the speakers that earn more praise than their real-world performance supports.
Here’s the ranked list, what owners reported, and smarter alternatives if you want the same vibe with fewer tradeoffs: https://www.headphonesty.com/2025/09/overrated-speakers-better-alternatives-audiophiles/
Tomi Engdahl says:
Here are the 10 most annoying audio myths, as voted by thousands of audiophiles: https://www.headphonesty.com/2025/08/most-annoying-audio-myths-voted-thousands-audiophiles/?utm_source=fb&utm_campaign=link_in_comment
Tomi Engdahl says:
Here are more memes that will make audiophiles cringe: https://www.headphonesty.com/2024/12/moments-make-audiophiles-cringe/?utm_source=fb&utm_campaign=link_in_comment
Tomi Engdahl says:
Here are 7 reasons why every audiophile needs at least one tube amp: https://www.headphonesty.com/2025/02/every-audiophile-needs-one-tube-amp/?utm_source=fb&utm_campaign=link_in_comment
Tomi Engdahl says:
They’re getting a rise alright.
S2 Infinity Plus II cables meet the most stringent compromises that can be achieved by putting our infinity shaped stickers ON EACH END of whatever amazon basics cables you choose.
Tomi Engdahl says:
A hidden variable in cable behavior could explain decades of heated debates among audiophiles.
Full story: https://www.headphonesty.com/2025/09/standard-tests-hiding-what-makes-cables-different/
Tomi Engdahl says:
Most speaker brands try to make their products measure as flat as possible on a graph. But Klipsch doesn’t follow that path, and based on a recent interview with its principal engineer, Roy Delgado, they’re not trying to.
Here’s a closer look at what that philosophy means, how it shapes their speakers, and whether or not it’s really the best approach.
https://www.facebook.com/share/p/17M6BWWCzr/
Tomi Engdahl says:
Independent tests confirm that Android resampling ruins bit-perfect playback, but there is a workaround.
Full story: https://www.headphonesty.com/2025/10/android-devices-lossless-streams-spotify-tidal-qobuz/
Tomi Engdahl says:
Scamophile
https://www.headphonesty.com/2024/07/revolutionary-audiophile-products-turned-out-scams/
Tomi Engdahl says:
For decades, cable performance has been judged by a narrow set of measurements like frequency response and distortion. Those numbers can look reassuringly similar across products, yet many listeners still report hearing differences they can’t explain.
Now this explains why: https://www.headphonesty.com/2025/09/standard-tests-hiding-what-makes-cables-different/
Tomi Engdahl says:
Here are the 20 most overrated speakers and the better alternatives, as voted by thousands of audiophiles: https://www.headphonesty.com/2025/09/overrated-speakers-better-alternatives-audiophiles/?utm_source=fb&utm_campaign=link_in_comment
Tomi Engdahl says:
Nothing absolutely nothing can play better than the mastering itself. And folks will say “hey that McIntosh and speaker have a perfect flat response curve”. I say to those folks: everything are eq’ed by sound engineer at the recording/mastering, mics don’t have a flat curve. And those expensive 500000$ speakers aren’t any better apart the look as a good 10k$ setup. Flat response is almost useless. Even studio monitors don’t, so the mastering done with these aren’t flat at all. Just buy what sounds right to your ears not because of its “value”. At some point the value is just for flashing.
Tomi Engdahl says:
Power Ground: This essential connection links the amplifier securely to the main power supply ground. By doing so, it provides not only a crucial safety path for electrical current but also ensures that any excess or stray current is safely directed away from sensitive components, protecting both the device and the user from potential electrical hazards. This connection is vital for the stable and reliable operation of the amplifier.
Signal Ground: Serving as the fundamental reference point for audio signals, the signal ground plays an indispensable role in the fidelity of sound reproduction. By maintaining a consistent baseline, it ensures that audio signals are transmitted clearly, devoid of unwanted noise or interference. This clarity of transmission is pivotal for delivering high-quality, noise-free sound to listeners.
Star Ground & Spar Ground: These terms refer to specific and carefully designed grounding techniques employed within the amplifier circuit. The star ground method involves creating a single, centralized ground point, which minimizes the potential for loop interference and noise pollution. On the other hand, the spar ground method—involving a distributed grounding scheme—equally aims to reduce noise by strategically placing multiple grounding points. Both techniques are meticulously implemented with the objective of minimizing noise and interference, thus optimizing the audio quality and performance of the amplifier.
Power Amplifier Board: Often described as the heart of an amplifier system, this central component is where audio signals are boosted to the necessary levels for driving speakers or other output devices. Proper grounding of the power amplifier board is paramount to ensuring stable operation. Without effective grounding, the amplified signals could become distorted, leading to undesirable audio performance. Consequently, meticulous attention to grounding is essential for maintaining the integrity and quality of the amplification process.
Tomi Engdahl says:
Audiophiles agreed that speakers are central to a system’s sound. However, many called out premium brands for charging far more for reputation and design than actual performance.
Here are the 8 most overpriced audio products in the world right now, as ranked by thousands of audiophiles: https://www.headphonesty.com/2025/09/most-overpriced-audio-products-ranked-audiophiles/
Tomi Engdahl says:
There are the top 13 forgotten music formats that deserve a mainstream comeback, according to thousands of audiophiles: https://www.headphonesty.com/2025/10/music-formats-deserve-mainstream-comeback-audiophiles/
Tomi Engdahl says:
‘The snake oil is strong with this one….’
Tomi Engdahl says:
Every time I see cable lifters I just want to roll around on the floor and giggle at the world’s best example of “gullible moron”.
Tomi Engdahl says:
I agree that transmission line theory is irrelevant for audio cables. But, inductance, capacitance, and resistance do have a relationship to audio response. In most all cases, especially for speaker wires, it is insignificant, unless lump sums are added. Proper capacitance is most appropriate for turntable cartridge to be properly matched. Other interconnects are humorous to discuss resistance when we’re talking about a couple of milliamps of current.
Tomi Engdahl says:
Jerry Love the cable capacitance can act as low pass filter together with the signal source impedance. With typical line level RCA cables between hifi components the source impedance is typically in 20 ohms to two kilo-ohms. Outside hifi electrical guitars can have much higher impedance with significant inductance.
Tomi Engdahl says:
I too am sceptical on scientific grounds, but years ago I built a lot of amplifiers and speakers and there is a definite difference, albeit small (but quite audible), if you change 1) speaker cable types, 2) capacitors and resistors in amps. Quite why, I don’t know, but it pays to experiment and see for yourself. Whether these differences are measurable on equipment (scopes, signal analysers etc) is questionable
Paul Fowkes there are some expensive speaker cables that intentionally sound different by embedding inductors inside magic boxes in the cable.
Paul Fowkes there has been some problematic power amplifiers that did not work well if there was too much cable capacitance connected to amplifier output. In engineering viewpoint those were flawed circuit designs – a properly designed power amplifier should not be bothered of the speaker cable capacitance differences.
Tomi Engdahl says:
Cable capacitance creates a capacitive load on an amplifier, leading to instability, reduced bandwidth, and signal distortion like overshoots and ringing by introducing phase lag into the feedback loop. This issue is particularly pronounced with long cables, uncompensated or internally compensated op-amps, and in unity-gain buffer configurations. To ensure stability, designers can use the op-amp’s datasheet for load recommendations, add external compensation networks (like an RC network) to the circuit, or choose an op-amp designed for capacitive load stability.
Tomi Engdahl says:
How Cable Capacitance Causes Instability
Phase Lag: The cable’s inherent capacitance causes a delay in the signal’s charging and discharging, resulting in a phase lag in the amplifier’s feedback loop.
Increased Loop Gain at High Frequencies: This phase lag adds to the amplifier’s inherent phase shifts, potentially causing the total phase shift to exceed 180 degrees at a frequency where the open-loop gain is still significant.
Oscillation and Ringing: When the phase margin is insufficient, the amplifier can become unstable, leading to oscillations, ringing, and overshoots in the output signal, especially when driving large capacitive loads like coaxial cables.
Amplifier Configurations Susceptible to Instability
Unity-Gain Buffers: These are particularly vulnerable because there is no signal attenuation in the feedback loop, and large common-mode swings can modulate the loop gain into unstable regions.
Poorly Compensated Op-Amps: Some internally compensated op-amps can become unstable when subjected to capacitive loads, requiring external compensation to restore stability.
Solutions for Stability
Select Appropriate Op-Amps: Choose an op-amp that is specifically designed to handle capacitive loads.
External Compensation: Add an external RC (resistor-capacitor) network to the circuit to counteract the phase shift introduced by the cable capacitance.
Use a Buffer with a Resistive Load: A buffer can provide a resistive load to the first amplifier stage, preventing the stability issues caused by driving the capacitive load directly.
Guarded Circuits: Drive the cable’s shield with a buffered input signal to reduce the voltage difference between the signal and the shield, which can minimize leakage and internal capacitance issues.
Check Load Capacitance: Always ensure the total capacitive load does not exceed the amplifier’s specified limits, which can be found in the datasheet.
Tomi Engdahl says:
Pass LabsSPEAKER CABLES: Science or Snake Oil – Pass Labs https://share.google/CXgtnJyDKKPbXVXQ3
Tomi Engdahl says:
Nelson Pass’ 1980 article on speaker cables mentions oscillation among other things. Find it at http://www.passlabs.com/spkrcabl.htm Here is an except from page 3: “When a wave travelling down a length of cable reaches the end of the cable, it will do one of three things depending on the impedance of the load. If there is a high impedance load, so that ZL, > Zc, the load wil reflect energy positively back down the cable to reappear at the source Fig. 9). If the load impedance is less than the characteristic impedance of the cable, the wave is reflected back negatively; and if ZL = Zo, then the wave is fully absorbed and none is reflected.” Good luck!
Tomi Engdahl says:
Well, I don’t know what it means in this case (common usage), but I can tell you what it means in layman-engineering terms. Take Rockvirgo’s email, the part about the wave being reflected back negatively. If the power amp has a feedback loop, it’ll see that reflection, and try to correct for it. The feedback loop is fast — but not instantaneous. Depending on the signal, the reflection, and the speed of the feedback loop, the amp will just never get the output right. First it’ll try to push the power in one direction, overshoot and go back the other way. If things get really bad (you get some resonance) the amp can diverge wildly from the intended signal. But, if you have a reasonably talented person designing the amp and feedback loop, this won’t happen — at least at audible frequencies. Maybe this is why rumor has it that high bandwidth amps can be more prone to this effect? It’s been a long time since I’ve done any engineer stuff — looking back is a bit fuzzy…. Perhaps someone else can improve on this explanation.
Audiogon Discussion Forum https://share.google/oN7kuJiLlqw6HjaLF
Tomi Engdahl says:
The amp designer has complete control of the phase/gain response. If he wishes to sacrifice stability to achieve a slight improvement in high frequency response, I consider that poor design practice. Cables: Audio cables are almost never matched to the source or the load, therefore, they can always be considered resonant line structures. But why bother? The wavelength in my speaker cable at 500 kHz, which is a good unity gain point, is still 1800 feet. (I measured my cables this morning, the impedance is 4.3 ohms, and the eff dielectric const is 1.2.) For such a long wavelength, one can do better by using a lumped model (discrete resistors, inductors, caps) for the cable/speaker, as opposed to a distributed transmission line model. (Reference “Transmission Lines, Antennas, And Waveguides”, by King, Mimno, and Wing; also “High Speed Digital Design”, by Johnson and Graham; they recommend using distributed models at frequencies above 1/4 wavelength, here, that’s about 10 megahertz.)
Tomi Engdahl says:
There is only a fraction of a degree of the signal spread out over the cable between the amp and the speaker. Reflections just don’t exist in the speaker/cable system. This stuff is well known in the industry; computers, telephone equipment, radios, TVs are designed by standard principles every day, and no one questions whether they work. I stand by my previous statement: If an amp can be made to oscillate by a certain brand of cable, either the amp, the cable, or both are poorly designed. No apologies today for the very long post. Rich
Tomi Engdahl says:
“I have been told on good authority that network cables such as TRANSPARENT and MIT can cause broad bandwith amplifiers (eg Krell) to “go into oscillation” and thereby cause some nasty damage. These cable manufacturers, apparently, are aware of this problem. Can anyone confirm this?” Audiogon Discussion Forum https://share.google/Tenc4nh6f0rez03Ev
Tomi Engdahl says:
What happened to Krell audio?
The company shut down abruptly in June 2024, following the unexpected death of its owner and CEO, Rondi D’Agostino. This shutdown left customers, dealers, and employees in the dark while a legal battle played out over who would take control of Krell and its assets.30.7.2025
Iconic Hi-Fi Brand Krell Finally Returns After a Messy Year, but an Official Comeback Is Still Far From Sight | Headphonesty https://share.google/9GC3VQ4hsIeOjRlHp
Tomi Engdahl says:
You have 5 kinds of audiopeople :
non-binary : people who think every speakers sounds the same
intrinsic : real audiophiles
non-believers : people who believe that “audiophile” does not exist
believers : they understand , but are not audiophile themselves
pseudos : people who think they are audiophile because their gear is expensive
Very important things :
Expensive does not mean good ! Good stuff : all ranges of prices.
Not every audiophile is a fool !
my 2 cents
Tomi Engdahl says:
A “grounding device” that’s insulated from ground and somehow improves the sound from your home stereo system… “How can this be?” Observer Expectancy Effect, Pareidolia, Expectation Bias, Perceptual Expectancy Set… or just plain old wishful thinking!
Tomi Engdahl says:
Naim amplifier problems with speaker cables typically arise from incorrect cable characteristics, leading to amplifier instability and oscillation. Avoid high-capacitance cables, especially Litz designs, and ensure a minimum cable length of 3.5 meters per channel to provide the necessary inductance for stability. Bi-wiring is also a no-go with Naim amps, as it negatively impacts the required inductance and capacitance.
Tomi Engdahl says:
High-Capacitance Cables: Naim amplifiers are sensitive to the electrical load presented by speaker cables and can become unstable or oscillate when used with high-capacitance cables.
Litz Cables: Litz speaker cables are particularly problematic because they generally have high capacitance and low inductance, which is the opposite of what Naim amps require.
Minimum Length: Naim recommends a minimum length of 3.5 meters per channel (a total of 7 meters for both channels) to ensure the correct load is presented to the amplifier, particularly the inductance.
Inductance and Capacitance: Naim amps are designed to work with low capacitance and high inductance from the speaker cable and speakers themselves.
Tomi Engdahl says:
I agree with TJ, most cables will work in that they will drive the speakers without apparent problems. But even if the amp remains relativly cool & sounds OK, it does not mean the amp is working properly.
Naim amps (all amps) must have a zobel in shunt acrioss the output plus a series inductance to protect the outpiut from ocsillation (instability). Many amps have a built in inductor coil plus the speaker cable, whereas Naim amps are designed to use only the speaket cables inductance for this.
Cardas cables such as Clear Light has very low inductance & will not allow the amp to work as intended, weather it will cause the amp to oscillate can only be checked by testing.
USA data shows inductance is 0.0176uH/ft which is 0.058uH/m
(Naim recommend a MINIMUM of 3.5uH/m
Capacitance is 278pF/ft which is 912pF/m
This adds to any tendency to ocsillation (capacitive reactance).
Litz Speaker cables for Naim – Hi-Fi Corner – Naim Audio – Community https://share.google/vvsmT7xL2PB6cgudZ
Tomi Engdahl says:
https://www.tnt-audio.com/clinica/spkcbl_e.html
Tomi Engdahl says:
https://www.audiosciencereview.com/forum/index.php?threads/interconnect-vs-speaker-cable-res-cap-induct.31758/
Tomi Engdahl says:
https://www.gearit.com/blogs/news/exploring-the-role-of-inductance-and-capacitance-in-speaker-wire-performance
Tomi Engdahl says:
Standard Tests Have Been Hiding What Makes Cables Sound Different for Decades, According to Veteran Audio Engineer
https://www.headphonesty.com/2025/09/standard-tests-hiding-what-makes-cables-different/