ANTI-CABLES by Paul Speltz: Anyone Using Them?


I find myself intrigued the Speltz speaker-cable option, in part because the prices are like zero when compared to most speaker cables, but I wouldn't mind reading reactions beyond those he includes in his ads and on his web site.

Low-power tube amp to single-driver speakers
arkprof
I have replaced all the interconnects in my system with the Anti-Cable balanced interconnects. They are fabulous
They are not twisted and as far from each other as possible. The sound is stunning.
That's very interesting and also very surprising. Based on my limited knowledge (Sean, care to weigh in?), you are sub-optimizing electrical characteristics in a big way by doing that. Just goes to show how system-dependent these things can be.
Spacing the cables further apart introduces a shift in both the nominal impedance of the cables and the tonal balance of the system. Obviously, most systems are not as "neutral" as we would like to think and / or some end users have very specific sonic preferences. Either way, the bottom line is that one can achieve a good measure of either approach ( neutrality vs cable flavouring ) by simply re-configuring the individual conductors of the speaker cabling.

As far as the interconnects go, these have always intrigued me. From what i can tell by the photo's that i've seen, it looks like the ground side is both quite high in inductance and MUCH longer in signal path length as compared to that of the "hot" conductor. Electrically, this looks like a mess to me, but i have to wonder how it would actually sound.

Given that i'm quite familiar with the interconnects that Bob / Ptm Consulting compared them to ( Jon Risch's SSTP ), i'm pretty certain that my results would echo his. This does not mean that others won't like them / achieve desirable results in their systems though, as we all know how important system synergy / personal preference is.

As a side note, Jon's original SSTP ( Solid / Stranded Twisted Pair ) does pretty well for what it is, but even that can be easily improved upon. Jon used to use all stranded cabling in this design until Thorsten Loesch and i suggested that he try some solid core conductors. Jon incorporated a solid conductor into the equation and sonics improved. The problem is, he used too heavy of a gauge of wire, slightly dulling the top end. He also recommended using the stranded conductor as the "hot" wire whereas i recommended using the solid wire.

While Jon contends that both wires are in the circuit and contribute equally to the sound, therefore negating which wire is used for a given polarity. My listening tests, and those of others that have compared the two designs, contradict this. In our experiences, using the solid conductor for "hot" results in a smoother, more cohesive presentation. Not only is there a difference in tonal balance and transient response, but the entire presentation has much better focus. Since the return path to ground is "shared" between the two interconnects, this conductor is less critical. That's why i recommend using the stranded wiring there, rather than as the lone conductor per channel on the hot side.

Jon later recommended that the solid wire used in this design be swapped from an 18 gauge to that of a 20 gauge, which helped to open up the top end a bit more. Going that route and using the solid for the "hot" conductor can make for a very solid performer for a very reasonable price.

Either way, i'm sure that all of these cables ( both JR's and Paul's ) bring with them certain positive attributes that are hard to find in many other cables. I attribute most of this to the use of solid core wiring.

As most of you know, i'm a BIG fan of solid core conductors and have been quite vocal about this for quite some time. I'm also a big fan of low skin effect, wide bandwidth, short signal paths, etc... The one variable that comes into play is the nominal impedance of interconnects and this is why some cables work better / worse in certain installations. In this regard, interconnects are more of a "trial and error" type of situation than speaker cables are. Sean
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I am not an electrical engineer and can only tell you what I hear. I have all Ayre equipment and Vandersteen 5A's. I am a professional violin player, and can tell you that Paul's cables set up straight and far from each other sound very real to me. I borrowed a pair of Kimber Select all silver cables and they sound very colored - maybe more "impressive", but not nearly so real. Pauls cables have a deeper, wider soundstage, is way quicker (percussion - even the hammers on the piano are much clearer and cleaner). The only cable that I would consider for my system other than Paul's are the Audioquest silvers. They were neutral as well in the system, but I couldn't see spending that kind of green and not get any better performace than Paul's.
I did extensive research concerning the best way (sonically) to use the anti-cables.
This is what i decided to do.
I bought clear,3/4" flexible hose and cut 1/4" inch wide and 1" wide rings.
I fed the anti-cables through the rings and snapped the 1" rings into some 4"long hooks I screwed into my wall ~3 1/2" out and 4" up from the floor.They are spaced ~ 2' apart.
I screwed the first hook directly in back of my speakers and the cables do a 90 degree turn down my wall to the back of my amp.
I spaced the cables with the 1/4" rings ~1'apart and as far as I could to the back of the speakers and amp, until the cables had to widen to meet the speakers and amps posts.
It isnt perfect but its close and a pita but worth the effort as the ~3/4" spacing is the key to the best sound, along with getting them up and out.
I had excessive cable so I cut it and made 3"jumpers.
Im using no terminations on the cables as I've read they sound best bare wire.
All I can say is, all the 'hype' is dead on with the anti-cables