Cables more hype than value?

again, with all due respect, I challenge you to tell me what "electronic instruments" are SUPPOSED to sound like. Let's say you're a rock fan.....there has never been a stadium rock concert where imaging is considered. Stereo sources become part of a main mono mix. And do you really strive to have your home system sound like a stadium rock concert? Conversely, consider an acoustic instrument concert in a small venue. If no mic-ing is used and you're in the sweet spot, only then do all the variables audiophiles discuss come into play.

I spent my life in this business. I'll say again, while studios may experiment with different cable tweaks, virtually NO studio (not even the top studios) wires the entire studio with Nordost Valhalla.....its simply not necessary while it might even color the original source. Those who disagree would be better to argue that they're ATTEMPTING TO SCUPLT A DIFFERENT AUDIO EFFECT ON THEIR HOME SYSTEMS, OR AT THE VERY LEAST, A SOUND THAT MATCHES THEIR LISTENING PREFERENCE.

I too have previously spent a lot of dough on home audio cables. And it's hard to feel good about spending $10k on speaker cables if they don't sound DIFFERENT. If you like DIFFERENT then go for it. DIFFERENT is not always better. But DIFFERENT could be what your individual taste requires and that's OK.

again, with all due respect, I challenge you to tell me what "electronic instruments" are SUPPOSED to sound like. Let's say you're a rock fan.....there has never been a stadium rock concert where imaging is considered. Stereo sources become part of a main mono mix. And do you really strive to have your home system sound like a stadium rock concert? Conversely, consider an acoustic instrument concert in a small venue. If no mic-ing is used and you're in the sweet spot, only then do all the variables audiophiles discuss come into play.

I spent my life in this business. I'll say again, while studios may experiment with different cable tweaks, virtually NO studio (not even the top studios) wires the entire studio with Nordost Valhalla.....its simply not necessary while it might even color the original source. Those who disagree would be better to argue that they're ATTEMPTING TO SCUPLT A DIFFERENT AUDIO EFFECT ON THEIR HOME SYSTEMS, OR AT THE VERY LEAST, A SOUND THAT MATCHES THEIR LISTENING PREFERENCE.

I too have previously spent a lot of dough on home audio cables. And it's hard to feel good about spending $10k on speaker cables if they don't sound DIFFERENT. If you like DIFFERENT then go for it. DIFFERENT is not always better. But DIFFERENT could be what your individual taste requires and that's OK.

Frogman - some of the top studios in the world have cheap Yamaha NS10s in their arsenal of equipment. There is a good reason for this, and it's not about creating a believable mix or master......it is about complying with radio expectations, sales to the ear-bud crowd, etc....the joke is that if you can get it to sound good on NS10s, it'll sound OK on your car radio or I-pod.

My point above was that you might have 8-10 cables between the components in a studio signal chain. The components themselves can easily cost $100k plus. We don't spend that kinda dough on hardware gear if we can't perceive a benefit. Those specific 8-10 components I noted are most often connected with high quality Mogami cables they cost roughly $3000 - $5000. Do you not believe 99.9% of the TOP studios would gladly spend 5-10 times that amount on cables if they made the difference that you are suggesting. The theoretical science behind cables is interesting, and the cable industry has exploited this information. But again, how much of a difference does it make in a studio set-up. The studio biz is competitive and I will purchase every "edge" I can to beat my competitor. A tube condenser mic or vintage compressor or Pultec EQ or great monitors will often make obvious audible differences. I've never had a client "hear the cables" and that's because relatively inexpensive Mogami cable is completely neutral to the human ear. (MASTERING is a whole different topic where commercial requirements/expectations must be met to promote sales - hence equipment tweaks are used to boost and cut, etc etc.)

@ frogman,Well said my friend!,now @ jymc,I am a proffessional musician!,lets get that out of the way!,I will explain this situation like you have never heard before,yes studios use the likes of mogami cables,and they sound good!,here is the problem musicians and studios do not realize!,and what I am about to say needs to be spread all over audiogon!,and who said it!,now,since the source is as real as it gets,the origination of the music that is recorded,the mogami cables is all that is required,by the time the music at hand is recorded and put on a record or cd,it loses the integrity!,the music in no way sounds the way the muscians sounded live!,that being said,we,the audiophiles have to make up for this loss in the recording,this is why it is required that we have a much better quality cables than what is used in the studio!cheers!

I would commend to everyone's attention a highly informative post by Ralph Karsten of Atma-Sphere in this thread, that is relevant to what is being discussed here.

Interconnect cable differences could be completely eliminated if components were designed in accordance with low impedance balanced line principles which date back to the early days of hifi. Unfortunately, components usually are not designed in that manner.

Ralph provides what IMO is persuasive proof of that contention.

Regards,
-- Al