Auditioning cables is hard work - but it doesn't have to be excrutiatingly painful and the benefits can be great. The place that I get demo cables from to try (The Cable Company)has them already broken in, so unless I am trying something silver-based or one of the PAD cables with ferox, this isn't an issue for me. I have 6 specific "cuts" ( solo piano, solo female and male vocals, live acoustic jazz combo, symphonic piece, acoustic guitar, and drum solo)that I use and my methodology is pretty straight forward. I play all 6 cuts on my system the way it is which lets everything warm up and sound its best and refreshes my point of reference. I then change ONE set of cables and play the same 6 cuts again with the new cables in place, listening for how they sound or rather how the system sounds with them in place, compared to the reference and that completes the serious listening. I then play whatever else I feel like that night and repeat the process in reverse the next evening. The new cables will either prove their worth that way or the old cables will - one or the other. If I can't decide on this basis- the money is not spent and I haven't driven myself crazy.
Cable auditions - Hard Work?
Does anyone find it to be "hard work" to audition cables? I find that I have to be 'fresh' before I can begin to listen to cables. After I begin, I can only listen, with the intensity needed, for a period of about an hour.
As I do A/B comparisons, it sometimes seems, my impressions change as I listen. Sometimes the differences are so small or subtle, that I question if I'm hearing a difference at all. Have I lost it?
How do you folks do your cable auditions? I'd really like to know.
Thanks
paul
As I do A/B comparisons, it sometimes seems, my impressions change as I listen. Sometimes the differences are so small or subtle, that I question if I'm hearing a difference at all. Have I lost it?
How do you folks do your cable auditions? I'd really like to know.
Thanks
paul
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- 82 posts total
- 82 posts total