Looks like there's nothing wrong with what you've stated about copper vs silver here. I can only add to that...except that I wouldn't call copper dark, so much as just mellow. With OCC vs OFC (or silver as well), lower-ordered rhythms are more easily discerned, which makes for better pacing, overall flow and drive. Silver has better extension on either end, is a bit more detailed, is grit- and grain-free, but can sometimes add a slight amount of glare in some applications, it's subtle, but it's there usually. This can often be perceived as silver's "brightness", IME - the difference being that true brightness can be effectively compensated for with EQ, while glare cannot.
If you go copper, I wouldn't recommend anything other than OCC. OFC is not viable (except in wiring designs that require tight braiding, like Mapleshade Helix speaker wires or something like them, where the physical stresses involved when bending the wire into place would end up negating most, if not all, of the advantage of OCC over OFC). The VH Audio stuff you mention looks to me to be about the best game in town, for copper.
Although I have no direct experience with it, silver has by some reports been improved by mixing it with gold. But, for that matter, if you were going to do any experimenting with something exotic like that, I personally would recommend you give 14k gold wire a try. Of course, gold is high as a cat's back right now, but this would be an affordable experiment and, considering that you've already demured when it comes to silver, you just might find yourself going coo-coo for coco puffs over the results. Gold reportedly does some marvelous things for horns (a wonderful "burnished" sonority), cymbals and harmonics (piano, violin, etc). Gold can offer more bass articulation as well, though its extension may not be quite as good as silver. 24k may or may not give a slightly better sound than 14k, but if it does it may not be especially worth the extra cost these days. Component hookup wire is an excellent way to introduce the gold sound into the equation since a little bit of gold seems to go a long way, sonically, so you don't really have to invest in more than one component, or in any ancillary wiring, if you don't want to. The only immediate difficulty would be finding a readily available source for it, but I know others have done so. My 2 cents, anyway.
If you go copper, I wouldn't recommend anything other than OCC. OFC is not viable (except in wiring designs that require tight braiding, like Mapleshade Helix speaker wires or something like them, where the physical stresses involved when bending the wire into place would end up negating most, if not all, of the advantage of OCC over OFC). The VH Audio stuff you mention looks to me to be about the best game in town, for copper.
Although I have no direct experience with it, silver has by some reports been improved by mixing it with gold. But, for that matter, if you were going to do any experimenting with something exotic like that, I personally would recommend you give 14k gold wire a try. Of course, gold is high as a cat's back right now, but this would be an affordable experiment and, considering that you've already demured when it comes to silver, you just might find yourself going coo-coo for coco puffs over the results. Gold reportedly does some marvelous things for horns (a wonderful "burnished" sonority), cymbals and harmonics (piano, violin, etc). Gold can offer more bass articulation as well, though its extension may not be quite as good as silver. 24k may or may not give a slightly better sound than 14k, but if it does it may not be especially worth the extra cost these days. Component hookup wire is an excellent way to introduce the gold sound into the equation since a little bit of gold seems to go a long way, sonically, so you don't really have to invest in more than one component, or in any ancillary wiring, if you don't want to. The only immediate difficulty would be finding a readily available source for it, but I know others have done so. My 2 cents, anyway.