*WHITE PAPER* The Sound of Music - How & Why the Speaker Cable Matters


G'DAY

I’ve spent a sizeable amount of the last year putting together this white paper: The Sound of Music and Error in Your Speaker Cables

Yes, I’ve done it for all the naysayers but mainly for all the cable advocates that know how you connect your separates determines the level of accuracy you can part from your system.

I’ve often theorized what is happening but now, here is some proof of what we are indeed hearing in speaker cables caused by the mismatch between the characteristic impedance of the speaker cable and the loudspeaker impedance.

I’ve included the circuit so you can build and test this out for yourselves.


Let the fun begin


Max Townshend 

Townshend Audio



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http://bit.ly/3sUrqds Also found this review from the one and only Martin Colloms, HiFi Critic Mag.

Scoring a 95% and AUDIO EXCELLENCE Townshend F1 Fractal Cable review

It seems to back up Millercarbon’s trusty empirical lugs:

http://bit.ly/3sUrqds
Mr.  millercarbon
Your model I-880 is a tube amp. Those, tend to have two ways to go with:
1. Provide no data or very little. So DF spec. is not to be found.
2. Tube amps have a nature of low to very (!) low DF figure.
I would take an educated guess, that it's under 20.
For that kind of DF, a home phone cord would do the job. 

DF in Amp's evolution was a factor. Even first SS amps tend to have some lower DF then found today...Lets look at the Revox A-78, with DF of 30! In the late 70's on the gold era of Japanese Amps and Receivers, and till today on that kind of Integrated Amp's, the most common DF was 40. To most of them, and there were hundreds of model per year.
When some hi-End power amps, with high current capabilities (multiply power by X2 (W)) when load decreases by half (8 ohms to 4 ohms, or 4 ohms to 2 ohms and so), DF went above 100 and towards 1,000. After Digital Amps were introduced and improved, Df figures of 4,000 and above became common. 
Mr.  audio2design

You may be with whom you like to. 

1. You ,may throw more complication on the subject, yet you bring no solutions: What is the parameter to look at, and what is its relations to the system its connected with?
2. As long as you stay at the dark side (see no relation and pick your cable blindfolded as not understanding its role), your journey may have no end. You may keep looking till the end of days and not found it. I wonder if you will be the lucky guy to get the right cable on your first attempt (as if calculated and applied) just like buying once in a lifetime a lottery ticket and hit the jackpot...
3. For me, and I explained why no L and C to involved in that calculation, had found the way, to get there on the first attempt, every time I do it.
There are two threads here, with people who were willing to participate and tried it out, getting amazing results, putting away to storage cables costed thousands of $$$ they used before, and get a DIY cable costs less than $100 to replaced them, because they sounded so much better.
On top, I also found out, that when a calculation shows that an X AWG is required, its providing the best sound. If you try going even thicker, sound remain the same. Good, but not better.

Blah blah blah....so many people with so much advice and self assuredness.  Most have not laid down tons of cash over the years exploring all the different cable designs with various systems and environments.  Most of the advice is from a limited perspective or biased mindset.  On a well mated system, in a relatively decent environment, recent MIT cables and power cords allow the music to flow unimpeded...no roll offs or compression or lack of detail.  What comes through is a lifelike sonic soundscape with dimensionality, accurate tonality, realistic dynamic swing and an organic palpability that is astonishing!  When you hear the presence and energy in your music conveyed with such an uncannily truthful manner, goosebumps usually follow...and then a huge grin!
Blah blah blah....so many people with so much advice and self assuredness.  Most have not laid down tons of cash over the years exploring all the different cable designs with various systems and environments.  Most of the advice is from a limited perspective or biased mindset.  On a well mated system, in a relatively decent environment, recent MIT cables and power cords allow the music to flow unimpeded...no roll offs or compression or lack of detail


That's weird, because when I tested / tried MIT cables they were one of the few that actually rolled off the high end.  No need to try all kinds of cable designs when you understand how cables work. I don't need to try a 4000lb car with a 60hp engine to know I am not going to get a 5 second 0-60 time.

b4icu,

You seem to be ignoring L and C because I would say there is a good chance you don't understand how they behave in a system.  Take the biggest wires you can find, I don't care, make them 000.  If you don't design at the same time for low L, those giant cables can cause audible roll-off at high frequencies. Not subtle, but audible.

Not even talking about the resistance in the voice coil and cross-overs yet which will make that giant cable of little value.


There is a popular cartoon which shows two paths, "Simple but Wrong", and "Complex but right". It is often appropriate.