Ethernet Cables, do they make a difference?

@geoffkait The essential thing that needs to be acknowledged it that irrespective of the cable, interface or component, each of us will draw a different conclusion according to the system being listened to.

In this case no natter of wires, fuses or components other will make an individual's ears change  from what they at used to. The introduction of X Cable against Y Cable is a subjective thing divorced from cable makeup.

Sure cable makeup is imperative in the physical, (and quantum physics, magnetics blah blah,,,,etc)  but that is the fine and  part of the enrichment of the hobby.

There is no absolute right or wrong now-days, Its perception, How it feels to your ears, your gut, your bank balance and your wife (if you have one). There are always a desire to improve components and cables.

YOU need to be comfortable with the sound you're listening to. Go ahead and read the forums, but go with what sounds best to you

Acepilot71 4-27-2018
May I ask guys with The Ear to describe or qualify the difference you notice depending on the Ethernat cable?

I suggest two categories:
- Quality of a music
- Quality of a sound

First one relates to the purity of the instruments, voices, etc.
Second - presence/absence of parasite noises, distortions etc.

IMHO you should notice only second one.

One of the major difficulties in quantifying and explaining the consequences of jitter is that there are many sources of jitter. Also, jitter can be classed into three basic forms (all can coexist) where there can be periodic, correlated to audio and uncorrelated artifacts. Periodic jitter-related artifacts are further complicated as they can be linked, for example, to mains hum as well as the various clock signals present within equipment. Also, there can be correlated elements with the actual digital signals carrying the audio information. All these inter-related dependencies complicate the interpretation of jitter making it difficult for a simple jitter estimate or spectrum to be interpreted in terms of its subjective consequences. As well as the numerous sources of error, the system architecture itself can influence the way jitter affects the resultant audio signal. For example, the use of noise shaping and up-sampling [10] with linear pulse code modulation (LPCM) alters the spectrum of the jitter induced distortion. Whilst, as suggested in an earlier paper [11], the use of a multiplying digital-to-analogue converter (DAC) with a raised cosine reference signal can in certain circumstances reduce distortion and augment interpolation between samples prior to the low-pass filter reconstruction filter. There are also analogue amplifiers which when processing a sampled-data signal can produce distortion akin to correlated distortion [12]. Finally, the choice of 1-bit sigma-delta modulation (SDM) code [13], pulse-width modulation (PWM) code [14] or multi-level LPCM code [15] changes the nature of jitter distortion.

Jitter is an important aspect of digital audio system design and as suggested by the simulations described, it can result in distortion that has a relatively complicated form. As stated, there are several mechanisms that give rise to jitter where in practice it is the relationship between jitter and signal that is critical.