It’s easy to buy a bunch of cheap microphone cables. The important thing is being able to hear their differences, understand what they are doing, and use them in your system to optimize the sound. I suspect David recommended particular ones to Tang as he did to me. Our three systems are different. There’s no guarantee that you’re going to like these cables. If you’re interested in knowing what David recommends, you might want to contact him and ask specific questions. Just a suggestion.
Zero Distortion: Tango Time
- Thread starter bonzo75
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It’s easy to buy a bunch of cheap microphone cables. The important thing is being able to hear their differences, understand what they are doing, and use them in your system to optimize the sound. I suspect David recommended particular ones to Tang as he did to me. Our three systems are different. There’s no guarantee that you’re going to like these cables. If you’re interested in knowing what David recommends, you might want to contact him and ask specific questions. Just a suggestion.
The Gepco is 61801EZ. I have a pair of 4' Gepco interconnects with this wire and the same Canare RCA connectors shown in Tang's picture. Though I built them with different color insulator than black.
If anyone wants to try these, I'm glad to have them passed around.
If anyone wants to try these, I'm glad to have them passed around.
The Denon is AK5000. I have no idea on Gepco merging with Belden. I think the interconnect I have is of current production. I also have different model of Belden, Mogami and Gotham. I use what David gave me as reference then I investigate others on my own. I tried the Denon OFC phono interconnect on my own after knowing the Denon speaker cables that David gave are good. I like it a lot and now use it with my Vdh Master Signature. The Denon OFC is color comparing to David's Belden and Gepco. But you have to know what you are hearing and doing. In order to appreciate these cables at least you must be a listener who dislike the ability of cable to reveal detail as if all the sudden your hearing ability improve a few folds over the switch of cable.
Thanks for the suggestion, Peter. This is WBF, an open public forum. Tang posted about some specific cables I asked him a simple question. I have several types of Mogami cables, would not mind trying other brands, considering they are very inexpensive.
You are very welcome. Yes WBF is public and fairly open. Good luck with the cables. What system are you using now?
I have been using Mogami and Gotham cables at my studio like most studios around the world. I have been using Mogami cables from my Studer reel to reel to my preamp and from my preamp to my bass amps in my listening room. The new room will have the sources away from the speakers as the rack will not be between speakers anymore, so my long mogami cables will also be used for connecting to set amps.
I use 2549 and not 2534 from Mogami, although 2534 is higher priced it has higher capacitance because of its quad build (2 wires for each side of balanced)
I still used my cardas clear xlr cables from phono pre and digital to my preamps as well as cardas clear on my tonearm. I have them, they are also low capacitance and not colored (at least to my ears) so I use them
I use 2549 and not 2534 from Mogami, although 2534 is higher priced it has higher capacitance because of its quad build (2 wires for each side of balanced)
I still used my cardas clear xlr cables from phono pre and digital to my preamps as well as cardas clear on my tonearm. I have them, they are also low capacitance and not colored (at least to my ears) so I use them
What is the theory behind the assumption that we should use in our playback systems the same cables that were used in the recording systems and/or mastering systems?
I don't know if there is a theory. But it sounded like a reasonable discussion topic. The question I'd have is different, though. What's the benefit of substituting cables that are used in the recording chain with (theoretically) higher performing cables in the playback chain? We certainly we can't expect, for example, to achieve higher resolution during playback than was possible during the recording session. So maybe it's more of a sum of losses thing? That is, we'd be saying a high resolution $10000 Nordost cable, for example, gets us as close as possible to hearing what the original $40 Mogami cable in the recording chain was capable of, I suppose? But, on the other hand, perhaps the $40 Mogami cable does get us closer, and that's just not the objective for many audiophiles. I'm really not sure.
Or using high end cables instead of relatively inexpensive ones IN the recording chain.
I think cable discussions are fruitless so I tend to shy away. I just wanted to say, it is not irregular to have high quality studio cables with known parameters at a high end system. It works for me.
I would rather hear about the crazy endeavours of Tang kun and watch his beautiful videos
I would rather hear about the crazy endeavours of Tang kun and watch his beautiful videos
I think cable discussions are fruitless so I tend to shy away. I just wanted to say, it is not irregular to have high quality studio cables with known parameters at a high end system. It works for me.
I would rather hear about the crazy endeavours of Tang kun and watch his beautiful videos
Completely agree. Cable discussions lead nowhere and all read the same just replace brand names. I am all for having video shootout between cables
I watch the videos for fun, I can not extrapolate this from that, not just because it is a video but because it takes time and concentration that I would spend on elsewhere, it is not fun for me. They also are great for record and pressing selection. Like made in Japan pressings of Fone or gems from zerostrageneral...
Do you think this applies to components as well? If yes, doesn't this prove too much?
If yes, what is the argument for any playback component higher in resolution than was used during the recording session?
(I think this is a great topic for its own new thread.)
each playback cable step is it's own reality; either you allow the complete (whatever that is) signal through, or you somewhat restrict it or distort it. we can argue all day about which cables might have what effect. no absolutes. the media created is a product of the recording/mixing chain. the whole chain.
might some playback cables synergize better with some or all recordings?
how long is a piece of string? we don't know what we don't know.
might some playback cables synergize better with some or all recordings?
how long is a piece of string? we don't know what we don't know.
Brian, I think this is a good topic for discussion in its own thread. I suspect people spend more for fancy cables because they prefer the sound. Some cables enhance, some obscure. It is a sonic preference thing I think. Inexpensive is often dismissed just because it is inexpensive. Dealers try to sell me the audiophile cables and cords. I read about high performing inexpensive wires on forums and from some more experienced hobbyists. The way to know is from listening and understanding what cables sound like and then making your choice.
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Tang has done these with VYDA. So did Vienna in this fascinating thread here:
https://www.whatsbestforum.com/thre...t-with-videos-before-after-vyda-cables.32220/
Yes I know, Tang also did it with Denon OFC and Kuro, I liked that one
I have heard Vyda in the General's system. I have no idea if it sounded the best because of it or despite it, since I did not do any cable compare there, so I will not write off Vyda yet.
IMHO the real question is what we mean by "higher performing cables"? And than Ron famous source of disagreement - what are the audiophile objectives?
Again IMHO I expect that an high-end product manipulates the signal (meaning the information) in a way that we prefer - the preference being created either by faith, dogma or previous experience, with sound reproduction or real music). The original signal is the groove, the magnetic moments or the bits. What we do with these two channels of information is not effectively linked to the way it is recorded after we get it.
Remember that audiophiles do not want to have the sound of the mastering room in their listening room. And, we should not forget that biases are part of this hobby. BTW, Charles Darwin would probably say that we keep debating these aspects of sound reproduction to help the survival of our own personnel biases ...
Maybe it'd devolve into a discussion around cable measurements vs audible differences. Been there, done that, though. I'm thinking higher level. I tend to go along with the notion that audiophile cables introduce (sometimes) pleasing colorations for which people are willing to pay. The colorations are perceived as "performance" - and we can argue whether or not that's an accurate descriptor, what it means in an absolute sense in reference to cables or try to define what it should mean. But I don't buy into the notion that the $40 cable restricts the signal or introduces distortions. At least that's not intuitive nor supported by any data that I've seen. Distortion is measurable. That said, I did once read that certain Belden cables (e.g. the vintage twisty 9497 Belden speaker wire) exhibit electrical resonance. People say it sounds good, but apparently it's just adding harmonics. I've never seen that substantiated.
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