Why do digital cables sound different?


I have been talking to a few e-mail buddies and have a question that isn't being satisfactorily answered this far. So...I'm asking the experts on the forum to pitch in. This has probably been asked before but I can't find any references for it. Can someone explain why one DIGITAL cable (coaxial, BNC, etc.) can sound different than another? There are also similar claims for Toslink. In my mind, we're just trying to move bits from one place to another. Doesn't the digital stream get reconstituted and re-clocked on the receiving end anyway? Please enlighten me and maybe send along some URLs for my edification. Thanks, Dan
danielho
The transmitting and receiving chips in the transport and dac are not identical for unbalanced and balanced modes in most cases. This may partially account for the differece you're hearing.
Longer digital cables sound better than short ones, according to my ears. My listening tests were with Illuminations SPDIF and PS Audio Statement AES/EBU, comparing 1/2 meter to 2 meter lengths. Has anyone else also found this to be true? Anyone have a technical explanation?
Warjarrett,

Yes, there are technical explanations as to why a longer digital cable sounds 'better', unfortunately, there are also very good explanations as to why shorter sounds 'better'.
Frankly, I think it's pretty clear from my listening tests that longer digital cables sound warmer and fuller, while shorter cables are brighter and more revealing. Ray Kimber has stated the same thing.
I don't think it's worth worrying about, as long as you find the cable that performs best in your system.
Why is everything we hear un-measurable ?
If you can hear a difference, could we come up with a difference that we could measure...
Gee.......how did I ever miss this one? I gotta pay more attention to what goes on around here.

OK.....briefly.........the impedance of the cable, transport and receiver have to be matched. In the case of SPDIF, that means 75 ohms. 75 ohms means BNC, and not RCAs. (75 ohm RCAs can not exist, the laws of physics say so.)

Anyway......if there is ANY impedance mismatch, part of the signal will bounce back and forth. (Reflections......in nerd-speak. ) The reflected signal can cause disturbances in the clock recovery. (Don't ask me to 'splain why......it is just the nature of a poorly designed protocol.) When you have a system where all 3 components are matched, impedance-wise, then you should not be able to hear any differences when you futz around trying different combinations.

Sadly, most stuff is not even close to being 75 ohms. Not cables, not receivers, and transports are usually far off the mark. Transports are ususally designed to produce the least amount of EMI, and that spells disaster for SPDIF.

Receivers usually suffer from input stages that use RS422 inputs, that have lots of hysterisis. Which is a form of regenerative feedback......which means lots of reflections from reactive elements being coupled back into the input, blah, blah....

(A very famous maker of digital gear once designed a DAC that had a 5-pole filter on the input. Any wonder why it sounded like crud? And to think that they actually offered me a job once, to help fix all their problems. How dumb did they think I am?)

As for cables.......well......RCA jacks and mystery coax...or worse.........twisted pair.......make getting an impedance match darn near impossible.

Which gives rise to an entire industry of after-market kludges, designed to move money from your wallet and into someone else's.

(Actually....a buddy of mine used to make probably the only one that ever worked as claimed. Only to see it skewered on some DIY website. My, my.......)

Did that answer the question?