Palmnell, I would have fully broken-in the OTA cable before installing it in the turntable pick-up arm. There is an inverse relation between signal voltage and break-in time. With your turntable cartridge outputting signals in the millivolt region (as opposed to the 2 Volt signal from a CD player), you can expect a far longer break-in period for the turntable pick-up cable than 150 - 180 hours.
I still have not taken my first OTA off of the CD player/STAX unit, although it has more than 300 hours on it. First, because I still hear changes in it. Second, because it is the most enjoyable cable I have used with the STAX earspeaker unit. The quick speed of the OTA cable combined with that of the electrostatic driver makes transients flash at a dizzying rate.
I am starting to think that the inspiration behind this cable proceeds from a certain exaggeration (I mean this benignly, and explain myself in what follows): in general, music--and the whole world of high end audio--would be a pitiable excitation without that rapture that dilates sounds until they burst. With OTA I now hear the attacks of instruments clearly and the timing relations perfectly organized. With most other cables, the sounds encroach upon one another, as though none could attain the equivalent of an inner dilation: there is a kind of hernia of sounds in most other cables by comparison to the transcendent rupture in OTA, which miraculously raises recordings to the heart's altitudes as well. At this point, here is the question OTA has raised for me: are not the truths of musical beauty fed on exaggerations, demiurgical divagations of sound? Has electronic minimalism ever been more effectively combined with ecstasy? A tiny cable, the wellspring of tears! such is the enigma of 47 Labs and the secret of musical art. Sonic trifles swollen to the heavens, the improbable, generator of a universe! 47 Labs/Sakura Systems/Konus Audio are geniuses.
I still have not taken my first OTA off of the CD player/STAX unit, although it has more than 300 hours on it. First, because I still hear changes in it. Second, because it is the most enjoyable cable I have used with the STAX earspeaker unit. The quick speed of the OTA cable combined with that of the electrostatic driver makes transients flash at a dizzying rate.
I am starting to think that the inspiration behind this cable proceeds from a certain exaggeration (I mean this benignly, and explain myself in what follows): in general, music--and the whole world of high end audio--would be a pitiable excitation without that rapture that dilates sounds until they burst. With OTA I now hear the attacks of instruments clearly and the timing relations perfectly organized. With most other cables, the sounds encroach upon one another, as though none could attain the equivalent of an inner dilation: there is a kind of hernia of sounds in most other cables by comparison to the transcendent rupture in OTA, which miraculously raises recordings to the heart's altitudes as well. At this point, here is the question OTA has raised for me: are not the truths of musical beauty fed on exaggerations, demiurgical divagations of sound? Has electronic minimalism ever been more effectively combined with ecstasy? A tiny cable, the wellspring of tears! such is the enigma of 47 Labs and the secret of musical art. Sonic trifles swollen to the heavens, the improbable, generator of a universe! 47 Labs/Sakura Systems/Konus Audio are geniuses.