Why do cables matter?
Because they sound different.
Why Do Cables Matter?
To me, all you need is low L, C, and R. I run Mogami W3104 bi-wire from my McIntosh MAC7200 to my Martin Logan Theos. We all know that a chain is only as strong as its' weakest link - so I am honestly confused by all this cable discussion.
What kind of wiring goes from the transistor or tube to the amplifier speaker binding post inside the amplifier? It is usually plain old 16 ga or 14 ga copper. Then we are supposed to install 5 - 10' or so of wallet-emptying, pipe-sized pure CU or AG with "special configurations" to the speaker terminals?
What kind of wiring is inside the speaker from the terminals to the crossover, and from the crossover to the drivers? Usually plain old 16 ga or 14 ga copper.
So you have "weak links" inside the amplifier, and inside the speaker, so why bother with mega expensive cabling between the two? It doesn't make logical sense to me. It makes more sense to match the quality of your speaker wires with the existing wires in the signal path [inside the amplifier and inside the speaker].
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Recording sound is a different process than playing back the sound. Microphones are not same as speakers. What you are playing back from is a finished product. You're starting all over again when playing back so getting the best out of it is a new game. The using the same cabling used in recording during playback argument is no more valid than the one about all that cabling that comes before your outlet, or the ones in your amp. They're all red herrings. An old and talented sound engineer with lousy hearing, crappy speakers and whatever limitations he's under knows what to do to get the best sound just like some deaf composer can write a symphony and know how great it will sound. All the best,
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+1 Nonoise. @donavabdear. I agree with a lot of what you say about Al Schmitt’s recordings - which are superb. However, I disagree with your "bottleneck" comment. You miss the point that the engineer doesn’t just listen to what’s being recorded via monitors. They listen to the actual sound of the instruments themselves. In addition, good engineers know exactly what every piece of equipment in the recording chain does in terms of the sound which is finally committed to the recording medium. Furthermore, in multitrack recording, the engineer has the opportunity to listen to each track solo and, actually, has access to a lot more information than anyone who only hears the final two track mix. To conclude, as nonoise says arguments about any piece of equipment in the recording chain setting a limit on what can be used for reproduction are just red herrings. That’s the end of my contribution on this topic. |
@nonoise : +2 |
@donavabdear @nonoise @yoyoyaya Great points which I failed to understand about the equipment and about a good engineer creating things which project beyond what their equipment literally reports to them. Thanks. |
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