The Science of Cables


It seems to me that there is too little scientific, objective evidence for why cables sound the way they do. When I see discussions on cables, physical attributes are discussed; things like shielding, gauge, material, geometry, etc. and rarely are things like resistance, impedance, inductance, capacitance, etc. Why is this? Why aren’t cables discussed in terms of physical measurements very often?

Seems to me like that would increase the customer base. I know several “objectivist” that won’t accept any of your claims unless you have measurements and blind tests. If there were measurements that correlated to what you hear, I think more people would be interested in cables. 

I know cables are often system dependent but there are still many generalizations that can be made.
mkgus
glupson, thanks for sharing about your system, as it is helpful for me to know your involvement, priorities, etc. It helps to see what you are wiling to do in the hobby, fleshes out more your discussion.

Two things for clarification; If you are primarily referring to me as a "pro" reviewer, you seem to connect this with income, and it seems you distrust my input because you think I’m paid. I have never been paid to review for daggo.com. I largely volunteer my time/cost involvement versus the "pro" reviewers who are paid. So, please correct misinformation that is tacitly suggested about my being "pro" when associated with payment or income. I actually have spent far more than most audiophiles on their systems simply to attend shows on my dime so that I can develop better systems for myself. I have spent far more of my own money on this hobby than most, so yes, if it’s experience and building hundreds of systems that makes a "pro", then yes, I am a pro.

The second inference you have brought up about three times, though I have corrected it, is that somehow I am benefitting (perhaps by the mistaken notion that I am paid as a reviewer) from associations from Schroeder Method and use of cables. I have stated clearly my involvement in my Method, and have said that I have no financial incentive other than perhaps a patent that assured no gain/income that won’t even materialize for years. I have zero investment with cable makers, and the only benefit I have had to date is a loan (I never consider cables on loan for review purposes to become mine; something that distinguishes me from some reviewers) of cables that can be called back at any time.

In case it would be pointed out that I do obtain an accommodation on purchase as a reviewer, yes that is so. However, I have also stated publicly that my time investment per dollar/hour would be so low that the vast majority of persons here would not put in the effort. I happen to love building systems and would do so anyway, and I love writing (I guess that's obvious enough!). So, the invitation to review years ago was up my alley.  :)

Now, with those misnomers corrected, I’ll answer your latest post:
You have what I would consider a mid-level HiFi system. On your system you would most definitely hear distinctions between interconnects. You intentionally misquoted me by omitting the word "big" in your summary. Then you proceeded to conclude that I am in error because you add that you could hear changes with a $60 earphone cable.

So, you attempt to discredit me with that comparison. However, you have failed for two reasons: 1. I discussed "big" changes, which is my subjective judgment of what is worthwhile to pursue, not an absolute statement of whether there was a change. I think your misquote shows your agenda, to discredit me due to your deep skepticism.

2. I know that changes of cables to inexpensive systems are audible. I recall taking an aftermarket power cord to a boom box and hearing a difference! If you can hear a change of a $60 cable on earphone, and I can hear a power cord change on a all in one system, then I guess we’re not so far apart on audibility of cabling after all. :)

I don’t think you have any clue what the spectrum of performance is for audio systems. I speak of a VERY wide spectrum of performance when I say that it takes a $25K rig to get more out of cable changes. I don’t expect you to understand that. So be it. I suspect the vast majority of people who have made $25-100K rigs would agree with me that there is a disproportionately more profound influence of a cable change on a $50K rig than a $5K rig. i.e. You can hear a lot more of what a cable is doing on a $50K rig than a $5K rig. I am certainly not interested in an ongoing debate about that with you if you have never set up a $25-50K rig. It’s like arguing with someone how a high performance sports car handles who has never driven one.

So, in further assessment, "perfectly functional" electronics in no way means superior performance. You’ll get music, but the character of the music can be profoundly improved - for instance, by the Schroeder Method.

I can also answer your tacit objection about the earphone cable compared not being better. You have a 50%/50% chance of any cable compared being better. If that one didn’t do the trick, try another. To conclude that there is no efficacy in aftermarket cables from one comparison is imo in keeping with the tendency to write off my input with an incorrect characterization that you cannot hear changes with lower end rigs.

I think you have demonstrated my premise clearly, that cost determines your "cable worldview", and that any one who would dare to promote use of expensive cables you suspect deeply, even when they have explained themselves. I consider you not just a skeptic, but an arch-skeptic, as you continue to hold that there is some latent agenda, some manipulation, where none exists. I attempt to offer the community a great, and potentially super-inexpensive method, and you rail against me for it! Wow, I am about done with that.

I have spent too much time doing what I said I wouldn’t. I am debating my credentials, methods and motives. Frankly, I put in the time not for you, but for the community. If you change your mind, I will be elated for you. But, I suspect you are too confident in yourself, too entrenched to accept experience from someone who could help you get a much better sound and imo more enjoyment for not much money.

So... I will attempt again to commit myself to not engaging in lengthy arguments. If I can’t gain your trust through explanation, then I’m not going to indefinitely spend time on it. I’m very happy to help those who want insight, but to this point you want to incite distrust. I can be doing more important things, like, yes, writing reviews, etc.

Meanwhile, I suspect there are some who are trying Schroeder Method, and I hope you are having a great time with it! :)
This last page is the most unscientific hilarity seen in many a long while.

My company wired LA studios for about 15 years. We used Belden, Mogami, Canare, Monster, <some I forget> depending on what the client wanted.

The studio owners expended many hours listening to obtain the best sound with their equipment. They had the opportunity to make comparison with live performers, be it a Marshall stack, really famous vocalists, 50 piece string section, ETC!!! Without any shadow of a doubt, you all have recordings you rave about that were recorded in these rooms.

Children, cables sound different depending on the connected devices. There is no magic bullet. Skinny AWG might sound good with a speaker with one set of flaws and fat AWG better with a different set of flaws. Change length, geometry, insulation, connectors and all bets are off.

Not 1 in 1000 has any technical expertise whatsoever or been within 100 miles of recording studio. You're all talking out the side of your neck!!!


ieales
"
Not 1 in 1000 has any technical expertise whatsoever or been within 100 miles of recording studio. You're all talking out the side of your neck!!!"

In truth, reality, and actuality there are many users, contributors, and posters to this forum who have extensive, detailed, hands on experience, education, and qualifications so just because you wired studios does not render or result in the superiority of your beliefs, opinions, or proclamations.
If cables all sound different dependent upon connected devices, then by what right do the people who are supposed to know that - the Pro cable companies and the studios who offer their support for them - promote their cables as the best technically with charts and graphs? Perhaps these companies and studios cannot be trusted when skeptics suggest that cables are "system dependent", then argue that they have demonstrated their cable and recording is superior. 

i.e. Marketing would rule the day, then, wouldn't it for both pro cables and studios? 

You are reinforcing the point that subjective opinion was used to determine the choice of cabling, not measurements. Did the studios go with the brand of cables that purportedly measured better, or the ones that were deemed better sounding? 

Simply because a selection of pro cables was used for a studio does not mean the result is that great. It may be the best possible with pro cables, bu it in no way means the best in an absolute sense. 

Nothing you have said, ideals, has countered factually my assertions about pro oriented cables. You have appealed to authority, and tangentially, rather than discuss my criticisms. Based on your reaction, I suspect you have not used many different cables in your home system. Perhaps I'm wrong, and I stand open to correction on this, but I suspect you have simply plugged in Pro cables because that is what you used in the studio. Is that correct? If so, then I suggest that while you are eminently knowledgeable about the studio, you are ignorant of the use of cables in a domestic rig. I suspect that because you think that cables have no inherent characteristics, it doesn't matter so much which ones you choose as long as they are in the ballpark, i.e. have acceptable specifications. It would stand to reason, then, that you simply put into your home rig what would be used in a studio. 

I suggest that is a recipe for mediocrity in a home system. 

Perhaps you could share here your entire system setup for the home, including cables from power to speakers. I am open to being educated on this topic. But, I will not be intimidated by an appeal to authority and derision. If that is what you have to offer and will not discuss the technical aspects of my criticisms, then I am not interested in talking further about it.    :) 
Pro and HiFi cables are made to make money. FULL STOP. In both cases, the uninformed consumer is fair game.

Holding Pro companies’ feet to the fire is extremely hypocritical given the mountains of malarkey which pervades the HiFi cable market.

In the Pro world, it’s about getting clients through the door. The cables need to get the job done to the satisfaction of the client. Most of it is buried in the walls so has ZERO jewelry appeal, which is oft foremost in HiFi. The only place pro cable has any value is between the client’s ears.

Just as with a home system, depending on the room and equipment, Mogami may sound better than Canare. In the end, all the matters is the quality of the recording.

In the studio, we would use mic cables dating back to the 40’s or the latest and greatest or something in between, depending on the singer, microphone, equalizer, limiter, recorder and tape. We also had patch cords made of Mogami, Canare, Monster, Belden, etc. Some cables had silver plated connectors. Some, gold. All had a signature. Regardless, all were replugged at the start of a session. IMO, most audiophiles fail miserably at rigor when evaluating new kit. Hence a never ending attempt to hit an always moving target.

As far as measurements, what and how are you going to measure. Who cares if they measure well but don’t sound very good in the application. "If it measures good and sounds bad, -- it is bad. If it sounds good and measures bad, -- you’ve measured the wrong thing." -- Daniel R. von Recklinghausen, HHScott

Based on your reaction, I suspect you have not used many different cables in your home system.
I was evaluating cables, by calculation, measurement and sonics, as an educated audiophile, long before you purchased your first Rat Shack receiver or I became a pro. I have bins of them in the garage. About the time you went RS, I was using Yamaha Class A amps, Mitch Cotter silver phono cables and interconnects and Oracle speaker cable, custom twisted. A friend owned a Rat Shack store. I still have my Minimus 7s, but the electronics? I’m sure they measured well, but "How could you?"

As far as my speaker cables, Kimber BiFocal-XL. Why? Because they sound very nice. Inconsequentially, they are also engineered for the job and provably so. The missus HATES them!!!