For the Hi-Fi enthusiasts among us...

My small contribution to the (invariably) contentious sub-topic is that like @Archer , I have noticed differences in sound depending on speaker cables. No, not under perfect ABX (double blind) listening conditions, but at times showing preferences that would be the opposite of confirmation or expectation bias. In other words, I have auditioned, and even purchased cables that I had great incentive to like/prefer, and was disappointed.

I also echo those who have pointed out that the more resolving the associated components, the more likely it will be that differences may be discerned.

That why you buy the shiny ones
😉

I go back and forth on the wires debate. I went down the rabbit hole and have more money than I want to admit in fancy cables (although my fancy may be other’s entry level), and have had the opportunity to play with some ungodly expensive cables in my own system thanks to a friend in the industry and it was not imagination- we both heard shit on the ceiling, behind me- in the next room- it was insane, nothing else touched in the system other than cables.

But I’ve had speakers and components that were totally unchanged regardless of the cable used (Magnepans were an example on which it didn’t matter what I used- they sounded exactly the same).
I make my own cables with Mogami quad star (I buy in bulk) for all of my analog patch cables. Without playing to the hocus-pocus and fairy dust- I use them because of their measurable performance in studio applications- same cable to record = same cable to reproduce. What I noticed is not an “addition” of anything magical, but the reduction in noise floor due to shielding and low impedance.

So yes, I believe some cables are better that others. But then I start thinking despite all the best cables in a system, what kind of wiring was used inside the components and what benefit can cabling make when it’s cheap tinned copper inside the box.

My cables were all made by a buddy of mine who has been an electronics repairman and audiophile for over forty years. I'm not sure what brand of cables he used, but they are heavily insulated copper wire. He measured everything, cut it all to length, soldered ends on, and told me I was good to go. He is also the guy who does any repairs for me when I need one. From talking to him, I think the most vital thing for cables is that they need to have low impedence.

Of course, I run a turntable with an auto off feature, so obviously, I'm not a true audiophile.

A friend of mine wanted to make speaker cables using mercury. I remember holding his flask of mercury. 5lbs in a roughly 12oz can size.

You will see the same arguments made here as have been made for decades on audio forums and amongst audiophiles.

The “if it can’t be measured it can’t be heard” crowd, and on the other side people who just trust what they hear. Many audiophile forums have banned the debate due to its polarizing nature, and the reluctance of anyone to change their opinion on either side.

Personally I am not convinced that we can measure everything that is meaningful to reproduction of sound at this point, so it’s possible that we have not found the thing that needs to be measured that is making the difference we are hearing. I do think that the audiophile business is filled with snake oil products, but I don’t include good quality speaker cables to be among them. I’m not going to spend tens of thousands on cables, but I’m not going to use lamp cord from the hardware store either. Like most things audio related I think there are diminishing returns as you go up in price.

From my own experience over decades, I have done many A/B comparisons of all kinds of equipment including cables. 30 years ago, long before I apparently became an auditory invalid for turning 50, I’ve heard differences in the sound with the same source, amplification, and speakers, just by changing cables. Changes in the presentation of the soundstage, where it has widened and lifted just by using better cables. Not something I expected in any way to happen, so not a figment of my imagination as I’m sure the follow on argument would suggest.

And despite my apparent sensory disability due to my current age, I am still able to listen to 2 different options (whether they are cables, source, amplification, or speakers) and determine what I think sounds best between two options, as I think most people can no matter their age. If others have decided that they can’t hear the difference, or don't want to believe their lying ears, then that’s up to them.

I was probably too short in my last post. Some cable do, in fact, change the sound due to 'networks', etc. added to the cables. They, in effect, introduce something that is not in the recording.

For me personally, having neutral and transparent front end, amplification, cables is important, since speakers and the room will have the biggest effect. I personally do not like intentionally coloring the signal upstream to create a 'more musical' system, as what 'works' on one type of music will have negative effects on other types. My speakers are pretty well regarded for passives -- they represent the one large purchase I have made since I stopped paying attention to the world of $45k preamps and $10k cables. My next step will be to replace the hybrid preamp with a component that incorporates room correction and DSP; I've hesitated due to the rapidly evolution in this area the last few year. My hybrid preamp is a beautiful piece of equipment, but ultimately it is too limited and it's a reminder of the days when I was led to believe you needed some tubes in the chain to add 'warmth' to solid state amplification (Bryston). Running my Oppo directly into the Bryston works (wonderfully), but the Oppo is as easy to use as a preamp as my actual preamp, particularly for others in the family.

I have a couple high end Denon turntables from the 70’s-80’s with the auto-off and start features and they are indeed audiophile tables. I swore off servicing Dual turntables years ago just because they were a pain in the ass to take apart and I couldn’t charge what it required in time to work on them (4 hours of labor for a garage sale $25 turntable) but when you get those running properly they are magical with feather touch controls and capable of excellent sound.

The point @BlackTalon made about room treatment made the biggest improvement in my system. I thought my room was too small for my speakers (we work with what we’ve got) and is L-shaped so I had a reflective wall in my left and open space in the right with couch against the wall- so left reflection, back wall reflection and open space on right- a hot mess.
As an experiment i put some recycled fabric insulation against the left wall and a blanket over the framed picture above the couch. The reflections were gone (image centered perfectly and was no longer left heavy) and the one behind me killed the sound bouncing behind my head and everything got clearer. But the big difference was when I put a blanket over the television on the wall between the speakers (over the audio cabinet) image bumped back 5 feet, vocalist floated in space around 5-6’ and the space between instruments separated dramatically. I didn’t realize how much reflection I was getting behind the speakers- but yup.
Since that experiment I have panels on the left wall and behind me and a removable panel that can go over the television when listening versus just watching tv.

I’m a believer in well made speaker wire and premium, not insane interconnects.

Everything affects the sound and everything from ear drum to brain wiring affects the interpretation of the sound.

Both can be manipulated for good or ill.

Only you can be the arbiter.


And everybody is different. And everybody determines what appeals or doesn't.


Makes for a fun hobby.......it's all one big, long journey into that good night.

And when you think you have wrung every ounce of sound out of your system and you just know in your bones you are at SQ Nirvana and nothing else is even a possibility to wring a touch more out.......try some of these under your amps....then try some under your preamp, then try some under your XYZ......

Then when you know nothing can wring anymore SQ....put those Ultra Fives under your speakers and collapse into a puddle of goo.


ultra


At least to my ears/brain/room/system

Yikes! I’ve got a lot of Herbie’s, some ISO Acoustics and SVS gear.

I like to built my isolation control myself.
A butcher block on top of the freezer gel packs.
No skipping on TT.
No vibration on amps etc.
😉😁😎

I used all kinds of isolation do-it-yourself back in the day. I even used racketballs for a few years.

As I said, it's all a journey and there are unlimited pathways.

If you can get into an audio listening group, there are items to be tested prior to buying.....I went through many items, found what I liked over time, and then tracked down used Stillpoints within the last 3-4 years. The used Ultra 5's under my speakers came the last few months....finally got them as someone was upgrading.


The original 1st generation ultra-5's like what I bought used were the first product offered by the company, and not marketed to the home audio geeks. They were specifically designed for concert grand pianos.....then the audio people discovered them and repurposed them under heavier speakers. Then other (smaller) products followed.


Not affiliated with any of the Stillpoint people.

I went through fits with footfall on multiple tables in my house- was a constant problem on my springy hardwoods (never had the issue in the basement as that’s carpet on slab). I tried every isolation system I could make/buy and nothing really solved the issue. When I got my first Thorens 124 and Ortofon SPU (tracks at 3grams) it was a revelation- no footfall, wouldn’t skip unless you jumped up and down on the floor in front of it- that was the end of sprung tables and light trackers for me. Never looked back.

I always wondered if Micro was making tables for Denon- they are so very similar in construction and design- just stylistic differences.