Experiences With Costly Balanced XLR Interconnects Above $3,000


I’ve had great success going with quality (and costly) mains power cables in the main system. In my experience power cords bring the most significant difference in comparison to interconnects and speaker cables. However, I have not really tried the best interconnects out there.

I currently have the Wireworld Silver Eclipse 8 XLR and an Acrolink 8N-A2080III Evo XLR in the system. Both sound excellent although different in their presentation. I’m wondering if the top-of-the-line WW Platinum Eclipse 8 XLR or Acrolink Mexcel DA6300IV XLR will bring a noticeable or worthwhile improvement to the sound.

Any experiences would be appreciated.

ryder

I knew Robert Fulton back in the late 1970s. He pretty much founded the entire high end audio cable industry. Back then, people thought he was nuts, with his Fulton Gold 8ga speaker cable and his Fulton interconnects. We (my audiophile friends and I) were listening to differences in audio cables way back then.

But I also played in various orchestras and those got recorded. I was able to listen to the direct mic feeds on several occasions, and the thing that really stood out was how amazing they sounded, through cables that were clearly a lot longer and lot older than Fulton’s cables.

The recording stuff was balanced. Fulton’s cables were single-ended.

So from as far back as 1973, I had this lesson that balanced line cables worked and that was why when it came time to design a preamp, I designed what turned out to be the first balanced line tube preamp ever made. The first units were sold in 1989.

Of course we played with a lot of cables back then. Before we had a line stage going that supported the balanced line standard, we built a passive balanced volume control. Running 30 foot cables, the difference in sound between them was nothing short of dramatic. The old mic cables I had on hand sounded broken next to the Kimber and Purist.

Finally we swapped in the line stage. All the cables sounded better. But the funny thing was the old studio cables sounded every bit as good as the others and they all sounded the same.

And that is why we’ve pushed balanced operation ever since.

I don’t like the idea that you can hear differences between cables- because it means that all the cables are wrong. Everyone reading this knows this is so: next year the manufacturer of the ’best’ cable will have a better one and if he doesn’t, someone else will. So that means the cables you have now aren’t right.

Now I’ve often been accused of being nuts but I don’t get why you have to spend thousands of dollars on a cable and then watch it turn into something you can’t really sell- like used underwear. Its a bad investment. I always thought that audiophiles would love the ability to ditch all that if they knew they could get better sound while using a cable they could run for decades.

Turns out some do.

But-

This thread exists...

Well since all the cables sounded the same, that begs the question why the preamp couldn’t discern the differences.  Power supplies sound different, types of connectors sound different…silver vs copper, insulation material, grounding, shielding etc….  But hey, great job making them all sound the same 👍

ryder

I am looking forward in reading more about Acrolink v. Wireworld XLR cables in your system. Iam also considering Acrolink 8100/9700 PC as well.

 

Happy Listening!

bosssound

 

I enjoyed the "Kento" room at Hifi Buys Atlanta as well.  Your ears do not decieve.

Good to read that you had an excellent experience.

 

Happy Listening!

Next year most audio manufacturers will have a better preamp, better amp, better DAC, and better speakers.