Copper wire vs bananas vs mud – An interconnect test
https://www.diyaudio.com/community/threads/copper-wire-vs-bananas-vs-mud-an-interconnect-test.420367/

Audiophiles Can’t Differentiate Audio Signals Sent Through Copper, Banana, and Mud in Blind Test
https://www.headphonesty.com/2026/01/audiophiles-fail-copper-banana-mud-blind-test/
https://www.reddit.com/r/audiophile/comments/1qrk2hu/audiophiles_cant_differentiate_audio_signals_sent/

Are audiophile cables a scam? Copper VS banana VS ???

View also short Video

Man Uses Baby Carrot as RCA Adapter and It Actually Works Better Than It Should
https://www.headphonesty.com/2024/12/man-uses-baby-carrot-rca-adapter/

Audiophile Carrots are a thing now.. Listen to it for yourself!

The technology behind these three letters has become an inseparable part of our daily lives: in 2025, the file extension “.mp3” celebrates its 30th anniversary. This audio format laid the foundation for many more groundbreaking audio codecs. The mp3 format cleverly takes advantage of the characteristics of human hearing. Audio signals always contain components that are inaudible to us. These irrelevant parts are stored with less precision – using fewer bits. The format was standardized in the 1990s by the ISO-MPEG committee. The first standard, MPEG-1, included three layers of audio coding: Layer 1, 2, and 3. The name “mp3” is short for “MPEG-1 Audio Layer-3” and was chosen on July 14, 1995, through an internal email poll at Fraunhofer IIS.
In the mid-1990s, the goal became to play back mp3 files on small, portable devices.
Apple’s iPod and the iTunes Music Store helped propel mp3’s successor, MPEG Advanced Audio Coding (AAC), into the mainstream.
Today’s highlights include the MPEG-H Audio System, which brings immersive sound into living rooms and introduces interactive features. Users can choose between several audio mixes.
The EVS speech codec, used in all 4G and 5G mobile calls, was also co-developed at Fraunhofer IIS
The Low Complexity Communication Codec (LC3) has become the Bluetooth standard, delivering excellent audio quality with minimal energy consumption for example on Bluetooth headsets.

Nobody celebrates the 30st aniversary of mp3 – why?

This is just another example of progress – and that the music industry isn’t immune to it.
It’s just how you adjust to it.

Horse and cart – Automobiles

Fletchers – Gunsmiths

Kodak- Digital photos

Typewriters – computers

The world is littered with examples. Napster effect would have been “Recorded music will become free and ticket prices to gigs will go up and musicians will have to work for a living.” If the music business had embraced the technology that Napster used rather than fighting it things would possibly have been different. Record labels and bands could have released albums either in the physical or as an MP3 for cheaper price.
It’s what the book industry did when Kindle came along. An e-book costs usually way less than a physical book yet books are still sold in their millions.

CES 2026 will feature the latest and greatest in TVs, robotics and AI. Expect to see (at least claimed to be be) innovative products from the biggest names in tech (Nvidia, Samsung, LG) to wacky, futuristic and surprising less known innovators.

✔️ 1. Direct HDMI or micro-HDMI port

Some Android tablets have a micro-HDMI or even a full-size HDMI port.
→ You only need the correct cable (micro-HDMI → HDMI).

If your tablet has micro-HDMI, this is the easiest and most reliable option.

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✔️ 2. USB-C → HDMI (DisplayPort Alt Mode)

Newer Android tablets may support DisplayPort Alt Mode, which allows video output from the USB-C port to HDMI.

You need either:

a USB-C → HDMI adapter, or

a USB-C docking station with HDMI

HOWEVER, not all USB-C ports support video output.
Support depends on the device.

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✔️ 3. MHL / Slimport (older tablets)

Older Android tablets with micro-USB sometimes used:

MHL adapters (Mobile High-Definition Link)

Slimport adapters (less common)

These only work if the tablet specifically supports MHL/Slimport.

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❌ 4. USB-A → HDMI cables do NOT work

Cheap USB → HDMI cables do not work unless the tablet’s USB port supports video output via Alt Mode.
They cannot “convert” the signal by themselves.

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✔️ 5. Wireless alternatives (if HDMI is not possible)

If your tablet cannot output video at all:

Chromecast → TV: screen mirroring via the Google Home app

Miracast / Smart View (device dependent)

Not as low-latency as HDMI, but fine for movies and presentations.

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Bonus backup:
Have a video camera that you can connect to your AV system. If everything else fails, install your camera to a suitable camera holder pointing to your tablet or smartphone screen, and show the video you get with the camera. This has worked as good backup option to be able to show the screen of devices where you can’t get video output using other methods.

International Sound Check Day

Check one two, one two, one two. It’s International Sound Check Day! First held on one two, one two, one two (12/12/12), International Sound Check Day is a play on the date it is held and celebrates the sound check.

Five minute sound check
https://youtu.be/LzI54x6nork?si=gku8iQppqkAUhVuH

1 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:

2 A. Resistance:

Objective: Measure the DC resistance of the cable.
How to Measure: Use a multimeter or a precision resistance meter. A special resistance meter designed for low resistance measuring is preferred to get accurate results.
How it affects: Resistance directly affects the power loss of the signal as it travels through the cable. The low resistance is preferred especially in speaker cables and interconnection cable shields.
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.

3 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).
How it affects: Audio cable capacitance acts as a low-pass filter, which attenuates high frequencies, making the sound duller or “warmer”. This effect is more pronounced with longer cables, higher source impedance (like a guitar pickup), and higher frequencies. A lower capacitance cable preserves more treble and “presence”. Cable capacitance is more significant in interconnect cables than speaker cables.
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.

4 C. Inductance:

Objective: Measure the inductance of the cable.
How to Measure: Use an LCR meter to measure inductance.
How it affects: Speaker cable inductance affects audio quality
by acting as a low-pass filter that reduces high-frequency signals, which can roll off the treble and impact the overall frequency response, especially in long cable runs. It resists changes in current, and this resistance becomes more significant at higher frequencies, causing them to be attenuated more than lower frequencies
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.

5 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).
How it affects: Cables with poor impedance matching can cause signal reflections, leading to interference and distortion. The cable impedance matching is relevant on high frequency signals like digital audio and RF, but does not have any significant meaning for audio frequencies when wires are shorter than several hundred meters.
What to Expect: A well-designed audio cable typically has an impedance of around 50-75 ohms, but anything in 40-600 ohms at audio frequencies can be seen in audio systems interconnections.

6 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. Please note that what is connected (source and destination impedance) to cable ends can affect the results you get.

7 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 when the cable is surrounded by interference (magnetic field, electrical field, RF signal).
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).

8 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.

9 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.). Write down the details of the test system because the technical characteristics of the equipment can affect the results you get.
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.).

10 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.

11 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.

12 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?

13 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 (Analysis of Variance) if testing multiple cables at once to see if there are significant differences across them.

14 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.

15 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.
Some Hi-Fi setups can reveal cable difference more easily than some other systems, while with other Hi-Fi systems you can’t hear difference between cables. The Hi-Fi system that can reveal cable differences more easily is not necessarily technically better.

The word compression is often used in audio production, but it can mean different things depending on the context. Generally, compression refers to reducing something — either the dynamic range of an audio signal or the file size of an audio recording. While both processes are essential in modern audio workflows, they serve very different purposes.

Let’s explore the two main types of audio compression:

1. Dynamic Range Compression

– audio level compression, in which the dynamic range, the difference between loud and quiet, of an audio waveform is reduced

2. Digital Audio Compression

– Audio compression (data), a type of lossy or lossless compression in which the amount of data in a recorded waveform is reduced to differing extents for transmission respectively with or without some loss of quality

1. Dynamic Range Compression

Dynamic range refers to the difference between the quietest and loudest parts of an audio signal. For example, in a vocal recording, a singer might whisper one line and belt out the next. This can make the performance expressive — but also inconsistent or difficult to mix.

Dynamic range compression is a tool used to control those volume variations. It works by automatically reducing the volume of the loudest parts and, optionally, boosting the quieter parts. This results in a more balanced, even sound.

Key Features:

• Applied during recording, mixing, or mastering.
• Makes quiet sounds more audible and loud sounds less overwhelming.
• Helps instruments or voices “sit better” in a mix.
• Can add punch or presence when used creatively.

Common Uses:

Vocals, drums, bass, podcasts, and any content where consistency is important.

Different compression ratios for a signal level above the threshold (source Wikipedia)

2. Digital Audio Compression

Digital audio compression refers to reducing the size of audio files for storage or transmission. This is especially important when streaming music, sharing audio online, or storing large amounts of audio data.

There are two main types:

• Lossy compression (e.g., MP3, AAC): Reduces file size by permanently removing audio data that is less noticeable to the human ear. Some quality is lost.
• Lossless compression (e.g., FLAC, ALAC): Reduces file size without removing any audio data. The original sound can be perfectly restored.

Lossy audio compression is used in a wide range of applications. In addition to standalone audio-only applications of file playback in MP3 players or computers, digitally compressed audio streams are used in most video DVDs, digital television, streaming media on the Internet, satellite and cable radio, and increasingly in terrestrial radio broadcasts. Lossy compression typically achieves far greater compression than lossless compression, by discarding less-critical data based on psychoacoustic optimizations

Key Features:

• Applied during file encoding or export.
• Has nothing to do with how the audio is mixed or performed.
• Essential for streaming, archiving, and portable devices.

Common Uses:

Music streaming, podcast distribution, online video platforms, file sharing.

Summary Table

In Summary

Although both are called “compression,” these two processes do very different jobs:

• Dynamic range compression changes how the audio sounds.
• Digital audio compression changes how the audio is stored.

Understanding the difference is essential for audio engineers, musicians, and content creators. Each type solves a unique problem, and both are crucial to producing, sharing, and enjoying audio in the modern world.

https://www.headphonesty.com/2024/11/memes-true-audiophiles-understand/?utm_source=fb&utm_campaign=link_in_comment

- because there isn’t

https://www.facebook.com/share/p/1CvWzJAZSN/

The reason is that it looks cool so people who don’t understand anything else will pay for it.

So does he have mini pylons that he strings them across so that they don’t touch like they do now?

Definitely not sound-related for a power cord. A wider spaced transmission line with air in it, which at an estimated length of 2 m is so electrically short as to be completely irrelevant for the 6000 km free-space wavelength of the 50 Hz mains.

Obviously this help to stop RFI pickup but makes RF pickup easier. Also makes the cable more easily radiate electrical field, magnetic field and RF to nearby cables than traditional mains cables.

Making sure you get as much differential-mode coupling as you can from your home AC mains so the 60Hz hum is maximized at the equipment power input.

Who would want to twists cables.

On the technical characteristics having air between wires means lower capacitance and higher inductance than traditional wires closely each other. If you want to optimize power cable, you would want low resistance and low inductance – and even somewhat high capacitance does not hurt (may even be beneficial as filters high frequencies). The design show in the picture is pretty much opposite of that technically optimal cable.