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].

 

 

kinarow1

So why doesn't  the worlds most complicated most expensive machine (the ASML Semiconductor chip makers) use fancy cables. These machines need to do the most exact measurements in the world. Why don’t audio test equipment like Audio Precision testers come with a boutique AC power cable? If your argument @nonoise is:
"The signal is there all the time just waiting to be freed from the confines of a poorly made cable."

Then why don’t these machines need their information freed? You arrogantly put me down and won’t deal with anything I’ve said. You call me a name dropper I simply used Al Schmitt because he is a known commodity and spoke of the principle we are talking about, maybe you would listen to what he said. Try to be nice.

 

I think you are the arrogant one.

Have no time or interest in anything you post.

ASR is a much better site for you.

@donavabdear 

Thank you for answering my question - I appreciate it.

Even the best recordings are a long way from the sound of live music, so anything we can do to get back what;s on the recording itself helps.

But we have a long way to go!

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@yoyoyaya That is an interesting way to look at at recording. That statement has a lot to do with how you set up your playback system at home also. Todays recordings rarely sound like live performances being multitracked and remixed as standard. I have over the years set up 1 stereo mic over a performing group and loved it but if I did that today the sound would have to much depth, the producer must have close sounding instruments and singers. If you set up your playback system to be simply an extension of the original recording then you are really doing the old fashioned way of reproducing the live show. Today generally everything in music is not natural  I've set up hundreds of microphones on orchestras that sounded fine but it definitely wasn't natural it sounded better than natural. So perhaps there are no rules and even in playback there are no rules concerning fidelity to the original recording because recordings today don't have fidelity to original concerts anyway. As a recording engineer how do you feel about that?