It's been nearly 1.5 years since I received a variety of Iconoclast cables for home audition, so I'm guilty of being way overdue in posting my verdict.
The Iconoclast UP-OCC 4x4 XLR interconnects became my reference interconnects almost from the very beginning, displacing the Audience Au24 SX XLR interconnects; its sonic attributes didn't change much during break-in. Particularly notable was the UP-OCC XLR's ability to deliver signals in a superbly time-coherent manner, rendering objects and voices in the sound-stage with proper size (H x W x D) and distance, relative to each other as well as within the soundscape.
The Iconoclast speaker cables were more idiosyncratic and temperamental - I suspect that the optimal metallurgical variant is highly system dependent, and hence requires careful auditioning.
Naturally, I started off with the most expensive variant, the SPTPC. Its frequency balance was so elevated in the upper frequencies relative to the lower frequencies that it was (I hate to say this, but) not listenable - during week one, week two, week three, and even during week four. I checked the connectivity and polarity of the speaker cables nearly ten times throughout the break-in period. First just scratching my head, and visually inspecting the leads (each channel had four pairs of spades for my bi-amped monoblock system), then using a continuity meter to make sure that the terminations were not mislabeled, crossed, or somehow not constructed correctly. Hard to believe, but the bass never really emerged, even after extensive break-in !
Luckily, the OFE replacements which I replaced the SPTPCs with exhibited no unusual tilt away from the bass, and satisfied all of my audiophile expectations and needs for all of the performance parameters, pretty much from the very early stages of break-in.
Essentially, the Iconoclast OFE speaker cable + Iconoclast UPOCC XLR combo excel in the temporal (time-based) delivery of the signals, rendering an extremely linear and phase-correct portrayal of the soundstage and the instruments within. Rectilinear is the word which best describes the phenomena, with the shape of the soundstage being palpably cubic or more accurately, spheric (with no oblong distortions) with realistic and proper dimensions ascribed to all X, Y, and Z axis. As the cables broke in further, the boundaries melted away, leaving palpably dimensional and correctly-sized phantom images anchored in a broad, deep, and tall soundstage just like how we hear music in real life. Recordings become highly differentiated with every nuance of mic and mixing console artistry becoming audible.
Whereas the Audience cables rendered the soundstage and images in a flatter, much-wider-and-taller, not-as-deep, ovally-magnified, larger, and warmer-than-life manner. While extremely pleasant, in comparison to the Iconoclast, I sensed that it was ultimately a temporal distortion phenomena with in my system which resulted in a consistent and predictable size warp.
The Iconoclast cables allowed me to achieve phase (temporal) accuracy is a highly linear way, appealing to the ease in which my ear/brain system was able to "decode" the 3D dimensionality and directionality of musical events in the soundstage without any constraint or strain, much like how we hear in nature. Every recording sounds "different" and unique in ambient decay, liveliness, soundstage size, venue size, etc. I attribute this rare feat to Galen Gaeris' genius in carefully balancing the cables' inherent electrical characteristics, to minimizing reactance, through a very unique cable geometry. The choice of different metallurgical conductors is icing on the cake. The art and the science is totally transparent - no bells, whistles, or snake oil (which is regrettably too common in "high end audio").
All cables "add" or "subtract", and in doing so, system optimization becomes a balancing act. The highest praise goes to those cables which are truly neutral, without imparting any discernible signature - this, the Iconoclast does superbly!