Are current audio cable designs superior to 1980s designs?

I did a little experiment about a month ago. I had accumulated a nice 1970’s vintage system for my home office space, where I’m spending more time then ever since COVID-19. This system consists of the Luxman 50th Anniversary pieces from 1975 (M-4000, C-1010 and TU-110) and Pioneer CS-T8 speakers.

For the experiment I left out the other sources (Micro BL-91G and Nakamichi 700II) and only used FM signal (BBC radio 3). I hooked up these pieces with the type of generic signal cables and zip cords that were commonly used back then. So called ’audiophile’ cables hadn’t been invented yet, although the first Monster cables (the ones that turned green inside the insulator, remember?) were just being launched. The idea was to play the system as the original owners would have done in the ’70s. Sure enough, it sounds really nice, the musicality these Luxman pieces were renowned for is most evident. But it also sounded rather veiled, with plummy, ’one note’ bass and rolled off in the treble. Perhaps what you might expect from stuff this old.

Then I removed all those generic cables and replaced them with some of the modern cables I use with my other systems. These are modestly priced ’budget’ cables, like Kimber Select KS 1010, Nordost Heimdall and QED Silver Anniversary speaker cable. Nothing really fancy, but well regarded cables. What you will then hear is a complete transformation. Suddenly this otherwise identical system sounds much closer to what we regard as modern high end, with the kind of see through transparency and frequency extension that goes with it. And the size of the soundstage has exploded in all directions. That’s the impact of well engineered modern cables, even on electronics over 45 years old. And I couldn’t even change the power cables, which were still captive in those days. I guess it shouldn’t have amazed me, but it did. Unfortunaly I couldn’t try the effect of my top cables (JPS Aluminata) as these are all balanced, but it wouldn’t surprise me one bit if these ’old’ pieces would gain from that too.

With hindsight it’s amazing the audio community disregarded the importance of wiring for so long. But the industry has done its best to make up for lost time and profit. The current pricing in high end cables (and much else in audio I might add) is so ludicrous - even offensive - you need a strong stomach to navigate this ’market’, which is full of expensive crap waiting for the next sucker. Caveat emptor!

hickamore,

There’s dozens of controlled blind listening tests out there that answer this question beyond any doubt.

The fact you’re using the same cables since 1987 also must have some relevance to your question.

So why does it need to be asked again? And again? And again? And again?

What is it that you might expect ’improved’ cables to do?

Ask yourself why is it that after 50 years of alleged (advertised as, alluded to, supposed, suggested etc) continuous ’improvements’ that wire from decades ago remains indistinguishable from wire today?

It’s been well known for over a century that standard copper is one of the very best conductor materials available. High purity OFC copper could be deemed as overkill, but as it is reasonably affordable, shouldn’t we all be recommending it?

I’ve have over 30 years of experience of trying different cables and believe high purity OFC copper is all that I, or anyone else should ever need. Give or take the odd shielding issue depending upon the amplifier.

Yes, some exotic cables with odd resistance, capacitance, and inductance values may well sound different, but is that what anyone is really looking for?

I doubt it, and can only imagine what amplifier designers would say. In fact that’s not a bad idea, is it?

Simply ask the designer of your amplifier.

Providing they’re not selling their own $$ cables of course. As I learned the hard way with my experiences of Linn and Naim cabling.

Silver content in connectors (AudioQuest), control of directionality, cryogenics, polishing of conductor surfaces, cable cookers/burn in tracks, long grain copper, air dielectric, contact enhancers, suspension/elevating of cables. Most of those concepts are post 1980s.

As long as your connectors or wire isn't starting to oxidize they're fine. If you think you need new speaker wire use something like canare 4s11, for interconnects monoprice has some good ones.