QSA LANEDRI Series

Hi Steven,
Very glad yo see that there is a QSA Forum on WBF.
Congratulations!

QSA : My take on their expensive products

Threre has been another WBF thread on QSA fuses for some weeks already, but I still want to share with WBF brothers my personal audition/comparison experience. Disclaimer : I am NOT in anyway in the music/hifi industry in Hong Kong. I am only an audiophile and consumer. All WBF brothers who...

www.whatsbestforum.com

I think I wrote the first QSA review on WBF, back in 2012.

QSA : My take on their expensive products

Threre has been another WBF thread on QSA fuses for some weeks already, but I still want to share with WBF brothers my personal audition/comparison experience. Disclaimer : I am NOT in anyway in the music/hifi industry in Hong Kong. I am only an audiophile and consumer. All WBF brothers who...

www.whatsbestforum.com

May I ask you two questions?

Firstly, I notice on you website that QSA-Lanedri cables are being launched.

HOME | QSA LANEDRI

www.qsa-lanedri.com

May you tell us more about them?
What metals are employed and what special features do they have?

Secondly, several frds of mine in Hong Kong have bought QSA JitterPower.


Again, please tell the WBF members more about these series of accessories.

Many thanks!

Cheers,
CK

 

Happy to also test for the UK. I have the Gamma Infinity power and speaker cables....

So for £27 (about $40) you get a very solidly built thing in an aluminium housing. The 6 sockets are inline, connected to the protection circuity unit, the switch unit and then thew mains flex is hard wired with a moulded plug with what look like tin (not copper) pins and a genuine 13A fuse. So a well made solid unit.

Inside all the L, N and E respectively are connected with three rather thin bars, somehow fused or welded together, with an earth connection to the case.

The actual sockets are sealed units of unknown construction.

Would I use this in the garden shed? Absolutely.

Would I use this for audio? No

This seems good value for money, it seems to show £27/$40 just isn't enough money to make something of basic good construction for audio.

 

With the power strip, the plug and outlets are treated in addition to the wire. This is why the impact of such a device is so significant.

If you're forced to use a Schuko adapter with a Veridion cable terminated with U.S. plugs, the impact will still be very significant but I would agree, less elegant looking and so a power strip with Schuko sockets would be preferable for some. Monoprice does make power cords terminated with Schuko plugs, however, we found the initial batch we received to be faulty but that should eventually get rectified. To your point, however, these cables do use smaller 18awg wire and having tested 14awg vs 18awg, not surprisingly, 14awg easily sounds superior. Personally, I would opt to go with the 14awg Veridion with US plugs.

We would be open to suggestions for a suitable Schuko terminated power strip that we can treat.

Thanks Roy, for the advices.
I have ordered 7 Veridion Discovery PCs with US male plugs and also the US Powerstrip, so I have something to plug the US male plugs in ;0) here in Schuko EU country.
I know, I will use it at 230v, so I will make some modifications to bypass the switch and the current overload protection.

I also ordered the hdmi cable to my AppleTV X made by Chris “Xymox” here at WBF and some LAN cables to it and to my modem to router WAN connection. The other places at my network I use SFP+ DAC cables.

Exciting how much better the sound and picture will be on the AppleTV X
and as a "Reference" AC cable I have some 1700$ Lessloss Power cables to compare with the 5$ Amazon cable.

 

I am happy to engage anyone who is respectful. I am not opposed to someone who has contrasting views but they do have to respect the fact that this is a sponsored forum where the topics of discussion preferably center around QSA Lanedri's products.

If I reacted too quickly to thinking that the discussion was starting to go askew, there was precedent on the QSA fuse thread. It's good that it seems to be working out productively.

I'm 100 hours into use of the Discovery PC as power for an LPS that powers an iFI iSpdif iPurifier, on a run from Oppo 203 to Lampi GG3 dac. I sense the same Veridion qualities in that position, as I did with the (returned) USB cable, described earlier. For me, with time it'll be a matter of whether I can overcome its voicing by the placement of adapters and cords in other locations to end up with the touch of warmth I like.

 

Yesterday I received the single Veridion power cord that I ordered. I substituted it for the Shunyata Delta v2 that was powering the Antipodes K50. Not sure if that would be a fair fight but the swap represents having QSA treated cords powering all my main components.

What are folks finding as far as settling time? How many days before the roller coaster settles down?

 

So for £27 (about $40) you get a very solidly built thing in a luminous housing. The 6 sockets are inline, connected to the protection circuity unit, the switch unit and then thew mains flex is hard wired with a moulded plug with what look like tin (not copper) pins and a genuine 13A fuse. So a well made solid unit.

Inside all the L, N and E respectively are connected with three rather thin bars, somehow fused or welded together, with an earth connection to the case.

The actual sockets are sealed units of unknown construction.

Would I use this in the garden shed? Absolutely.

Would I use this for audio? No

This seems good value for money, it seems to show £27/$40 just isn't enough money to make something of basic good construction for audio.
View attachment 151565View attachment 151566

What we aspire to are products made of quality parts, solidly constructed, functional, and built to last. Preferably certified for safety and compliance. With power products like a power strip, we also prefer they are not current-limiting. While we can certainly treat a product like this, I have concerns. Hopefully, you can find something that you would be comfortable using for audio and not just a garden shed. An inline fuse would be fine but ideally, it should have no surge protection.

 

Thanks Roy, for the advices.
I have ordered 7 Veridion Discovery PCs with US male plugs and also the US Powerstrip, so I have something to plug the US male plugs in ;0) here in Schuko EU country.
I know, I will use it at 230v, so I will make some modifications to bypass the switch and the current overload protection.

I also ordered the hdmi cable to my AppleTV X made by Chris “Xymox” here at WBF and some LAN cables to it and to my modem to router WAN connection. The other places at my network I use SFP+ DAC cables.

Exciting how much better the sound and picture will be on the AppleTV X
and as a "Reference" AC cable I have some 1700$ Lessloss Power cables to compare with the 5$ Amazon cable.

Please report on your experience!

 

Yesterday I received the single Veridion power cord that I ordered. I substituted it for the Shunyata Delta v2 that was powering the Antipodes K50. Not sure if that would be a fair fight but the swap represents having QSA treated cords powering all my main components.

What are folks finding as far as settling time? How many days before the roller coaster settles down?

Powering the K50, it should settle sooner. For sure, by a week's time, you should have a good handle on it. Computers are more current-hungry and this is where the smaller gauge of the Discovery will hinder it but you should still be able to adequately assess Veridion's qualities.

 

If I reacted too quickly to thinking that the discussion was starting to go askew, there was precedent on the QSA fuse thread. It's good that it seems to be working out productively.

I'm 100 hours into use of the Discovery PC as power for an LPS that powers an iFI iSpdif iPurifier, on a run from Oppo 203 to Lampi GG3 dac. I sense the same Veridion qualities in that position, as I did with the (returned) USB cable, described earlier. For me, with time it'll be a matter of whether I can overcome its voicing by the placement of adapters and cords in other locations to end up with the touch of warmth I like.

No worries, I appreciate your concerns as trolls do exist.

Tonal qualities such as warmth are difficult to satisfy because what is satisfyingly warm for some is an undesired coloration for others. We actually have the ability to add warmth to the signature. This was the case with Revelation therapy which was a bit warmer sounding than Infinity. But ultimately, we added no particular manipulation to Veridion as our intention was transparency. We have toyed with the idea of having custom treatments for people who are after specific signatures based on their gear. For example, gear with tubes/valves may benefit from more drive while typical lean sounding Class D may benefit from more fullness. However, we are not there yet with Veridion. As it stands, we have our hands full.

 

What we aspire to are products made of quality parts, solidly constructed, functional, and built to last. Preferably certified for safety and compliance. With power products like a power strip, we also prefer they are not current-limiting. While we can certainly treat a product like this, I have concerns. Hopefully, you can find something that you would be comfortable using for audio and not just a garden shed. An inline fuse would be fine but ideally, it should have no surge protection.

The product I purchased and photographed above is from a large UK company and is fully compliant with the wide range of legal regulations that apply in the UK.

You will find surge protection and a switch built into virtually all these devices, until you get down to the most basic $10 power strip.

There is long history of mains products companies in the UK. Olson have been making power products mostly for medical and education applications across the UK/EU markets since the early 1960s. They have made a product for audio since the 1970s, sold in huge numbers. Nic Poulson (IsoTek and Isol-8) started in the 1990s. The key design issues relate to eliminating DC noise, star grounding and filtering and isolating sockets individually. It’s basic engineering that you will see in all good mains distribution products.

The other approach (and completely different) is balanced mains. These are widely used in the recording industry and domestic hifi. The main producer is Airlink, whose products are manufactured in the UK for over 40 years. This technology is used in specific audio products like AC-2K and Plixir.

The other approach is regenerated mains, done by PS Audio in the USA and IsoTek in the UK. Very expensive.

I’ve spent $25k rewiring my house and my hifi has a dedicated 100A supply with nothing else in the house using it. I use Puritan PM156 for hifi and a Isol-8 Minisub ($300 from eBay) for my AV. So good mains, component isolation, DC and grounding dealt with standard compliant engineering, nothing special other than dedicated mains (I am fortunate in having a 3-phase supply).

I have in the past used products from Olson, iFi, IsoTek and PS Audio with different systems in different locations. The choices have related to the power supplies and power regulation in the audio devices being used. This is my experience using these devices over 35 years.

QSA have claimed for years that their treatment will improve any device, even rice cookers (big in HK), and Veridion may well do the same. Having taken apart 3 units including the $40 one above, their construction just isn’t close to good enough. You need to spend closer to $1,000.

I fully appreciate your approach to the thicker the cable the better. Here in the UK we use ring mains. I recall reading that it derives from the shortage and price of copper in the UK after WW2. Rings use far less copper. We don’t use AWG either. We rate cable by the load capacity, so we talk about 6A, 16A and 32A cables, each having a relative thickness, and it’s used in the regulations. It’s a pervading mentality to use enough and to avoid excess. So the QSA-L 0AWG mains cable would here be called a 200A cable, which is double the total power coming into most people’s houses.

 

The product I purchased and photographed above is from a large UK company and is fully compliant with the wide range of legal regulations that apply in the UK.

Yes, at a minimum, compliance is what we want. But then here is what you also said: "Would I use this in the garden shed? Absolutely. Would I use this for audio? No". These kinds of comments do not inspire us to want to treat devices like this.

You will find surge protection and a switch built into virtually all these devices, until you get down to the most basic $10 power strip.

Then perhaps we should target the most basic $10 power strip in order to avoid surge protection. Alternatively, maybe it's best to consider the model we are selling with the U.S. plug and outlets and use adapters. Larger 12awg wiring, no surge protection, solidly built.

The key design issues relate to eliminating DC noise, star grounding and filtering and isolating sockets individually. It’s basic engineering that you will see in all good mains distribution products.

All good things in theory but not every manufacturer agrees. I have auditioned many of these products myself and the finest power conditioner I have personally experienced and that I used to own has an MSRP of $20k USD. It did not use star grounding, block DC, and did not isolate sockets individually and yet its impact was dramatic. Ultimately, the problem I ran into is that with smaller gauge mains cables, it was not current limiting but as soon as I plugged in a 6awg Spectra Prince or 0awg Ultimatum mains cable, it was clearly current limiting and dynamics were inhibited. That is the problem I have seen with most filtering units, especially with our large gauge cables. If you have horrible power, you probably have no choice but barring any annoying hums, I would rather live with some RF noise than have my dynamics stunted and so I espouse only to power distributors these days that offer no line conditioning or MOV-containing surge protection.

I’ve spent $25k rewiring my house and my hifi has a dedicated 100A supply with nothing else in the house using it.

So did I. I had 6awg wire in my walls from my panel to my outlets. My circuit breakers and outlets were QSA-treated. It all matters. We can also treat your in-wall wire but we are not yet offering that service.

The other approach (and completely different) is balanced mains. These are widely used in the recording industry and domestic hifi. The main producer is Airlink, whose products are manufactured in the UK for over 40 years. This technology is used in specific audio products like AC-2K and Plixir.

I have played around with balanced power. This is definitely region dependent. In my area, it didn't make much difference. I've owned products from EquiTech with very high hopes. I used to own a Plixir supply. Paul Hynes from Scotland also used balanced mains transformers in his power supplies and I have several of his supplies. All good stuff and yet with both the Plixir and the Paul Hynes, our treated fuses, mains, and DC cables made a huge difference.

The other approach is regenerated mains, done by PS Audio in the USA and IsoTek in the UK. Very expensive.

I used to own a PS Audio P20. This product was clearly not current-limiting as my dynamics actually improved. But the results were not all positive and so I did not end up keeping it. This unit actually creates its own noise where I had to plug my $20k power conditioner into the P20 for it to sound acceptable. I used to own an IsoTek Titan but again, it didn't work out well. These devices are definitely very region and system dependent and so YMMV. You really have to try them all out and see what works best.

I use Puritan PM156 for hifi

Here is the Puritan PM156.


This thing obviously rocks. It uses a beefy C20 IEC inlet which are great because they have a vice like grip on whatever you plug into them. I like the ground lug. We can apply a QSA-treated ground cable to that lug and further significantly elevate it's performance. The aluminum chassis looks like it will last forever and this huge chassis can potentially be treated before it is anodized. Looking at the internals, obviously a lot of thought and care went into the design. This would be a unit we would be happy to treat and put our name onto. But here's the problem, this thing uses silver-plated copper. Not ideal for our treatment. That is the problem with a lot of audiophile gear including cables, they're not ideally suited for our treatment, and this is why we have be selective.

Ultimately, Anas has already devised what we consider to be an ideal AC power distributor. It uses 0awg wire internally, a treated C20 IEC inlet and treated 20A sockets. Furthermore, its sockets are spaced in a way where you can plug in 6 Ultimatum power cords into it. We actually used it at the Hong Kong AV show but a unit like this will not be cheap.

QSA have claimed for years that their treatment will improve any device, even rice cookers (big in HK)...

Yes, but as previously stated, there are degrees of improvement based on the type of conductor we are treating.

Here's an example that illustrates my point. When QSA Lanedri was first starting out, before we had our own line of cables, Anas approached a reputable high-end cable manufacturer based in Asia who I will not name. That manufacturer sent Anas their flagship cable that they had spent years developing. It utilized an expensive amalgam of high-purity wire and a very sophisticated geometry. This cable was difficult and expensive to make and had an MSRP of >$30k. They also sent Anas their entry level cable, much simpler in design and it utilized low purity wire. If I recall correctly, it had an MSRP of about $6k. Anas treated both cables and both cables improved, however, the less expensive cable scaled much higher to our treatment to the extent that it was now outperforming their treated flagship cable. The manufacturer was very impressed but it resulted in a dilemma. How could he move forward with our treatment when his entry level cable was now outperforming his expensive flagship?

As for our treatment improving a rice cooker, I'm not sure I buy into that claim. I would be curious to know if my hair-dryer ran hotter plugged into a treated power strip but I will leave these types of experiments to others.

 

No worries, I appreciate your concerns as trolls do exist.

Tonal qualities such as warmth are difficult to satisfy because what is satisfyingly warm for some is an undesired coloration for others. We actually have the ability to add warmth to the signature. This was the case with Revelation therapy which was a bit warmer sounding than Infinity. But ultimately, we added no particular manipulation to Veridion as our intention was transparency. We have toyed with the idea of having custom treatments for people who are after specific signatures based on their gear. For example, gear with tubes/valves may benefit from more drive while typical lean sounding Class D may benefit from more fullness. However, we are not there yet with Veridion. As it stands, we have our hands full.

The thing is I find that "neutral' is typically "colored." For example, in my experience it's rare to find a neutral sounding cable (or tube, fuse or whatever) that doesn't strip the warmth from warm recordings. Rather, the tendency in audio for many developers, perhaps responding to some level of customer demand in recent years, is to focus on squeezing more resolution, bigger soundstage, and more insight into all the details into their products, often at the expense of body and/or emotional presence. As an end user having experienced this dichotomy many times, I've assumed that it must be hard for developers, at least at reasonable price levels, to have both without some degree of compromise.

 

The thing is I find that "neutral' is typically "colored." For example, in my experience it's rare to find a neutral sounding cable (or tube, fuse or whatever) that doesn't strip the warmth from warm recordings.

I don’t think many people would use the term “neutral” to describe something that strips away warmth. I most certainly would not. I would use that term only when a product is just as good at conveying warmth as it is at conveying the lack of warmth.

 

I don’t think many people would use the term “neutral” to describe something that strips away warmth. I most certainly would not. I would use that term only when a product is just as good at conveying warmth as it is at conveying the lack of warmth.

In principle, I agree. That's the way it should be, but my experience is that appears hard to design. Occasionally, I find one close enough that with the right complements it can work out, e.g., the Omega-X USB cable (although I don't know what they intended). Usually, though, the "force" of the neutral voicing overwhelms. Sometimes developers are explicit, such as Romaz's comments about the Veridion voicing (same with Snake River's Takshaka power cord). The Verdion USB cable, for example, does a lot of the great things, as I mentioned in my earlier post, but body and most importantly emotional presence aren't among them, at least in the iteration I received.

Afterthought: While I was out for a hike, it struck me that there's another way to say this. As romaz's comment indicates, voicing is a singular decision. There's no such thing as flexible voicing. When it comes to neutral or warm, or sense of emotional presence, there's a thin line and one much choose one side or the other. The farther away from that line, in either direction, the more influence the piece is apt to have on the system's sound, what I called force. The closer to the line, the greater chance that the combination of other gear can have influence. Technically, my understanding is that the voicing has to do with frequency distribution. I mentioned the Shunyata Omega-X. One reviewer of it or the pre-X version commented that its voicing was such that while it seemed neutral, something about it gave the sense of having a touch of warmth. I assume that has something to do with frequency balance, but can't say how or that I really know.

 

The thing is I find that "neutral' is typically "colored." For example, in my experience it's rare to find a neutral sounding cable (or tube, fuse or whatever) that doesn't strip the warmth from warm recordings. Rather, the tendency in audio for many developers, perhaps responding to some level of customer demand in recent years, is to focus on squeezing more resolution, bigger soundstage, and more insight into all the details into their products, often at the expense of body and/or emotional presence. As an end user having experienced this dichotomy many times, I've assumed that it must be hard for developers, at least at reasonable price levels, to have both without some degree of compromise.

About 25 years ago, during my PhD studies in mobile financial services in Finland, I encountered an unexpected yet profound requirement that would shape my thinking for decades to come. Before I could delve into the technical aspects of my research, I was required to dedicate my first chapter to a purely philosophical endeavor: defining the concept of truth and selecting which epistemological school I would subscribe to for my research framework.
This philosophical groundwork initially surprised me. Here I was, preparing to research cutting-edge mobile financial technologies, yet I first needed to grapple with fundamental questions that had occupied philosophers for millennia. Though I ultimately chose not to complete my PhD, drawn instead to gain business experience before pursuing academic research, the time I spent wrestling with the nature of truth became one of the most enriching intellectual experiences of my life. The framework it provided has guided my thinking and decision-making in countless ways since then.

When I was conducting R&D on the Veridion project, with The breakthrough to alter conductors in a way that allowed precise control over various aspects of sound and video characteristics, the question of truth was central. Much like attending a live concert, your seat position in a concert hall fundamentally shapes your perception of the performance. Sitting in the front row delivers one sonic experience, while the balcony offers another, and the back rows provide yet another perspective. Each position presents a different "truth" of the same musical event, and choosing where to sit becomes a subjective decision about which perception of that truth you find most enjoyable.

With Veridion's ability to control every aspect of sound and video reproduction, I faced a fundamental question: which definition of truth should be my target? The answer lay in the very name I chose for the technology, Veridion, inspired by the fidelity realism. I set my sights on achieving transparent reproduction of music exactly as it was recorded in the studio, pursuing what might be called the "authentic truth" of the original recording.

What emerged from this pursuit was both unexpected and profound. Through extensive testing and refinement, I discovered that the most emotionally connecting and enjoyable musical experiences came from redbook audio files in their original, unmodified state. Any remastering or digital enhancement, regardless of how sophisticated, resulted in either a loss of musical information or unnatural modifications to the sound.

 

The same principle that reveals the damaging effects of remastering Red Book files applies equally to hardware filtering. While hardware filters can dramatically reduce noise and appear to enhance musical performance, their true cost only becomes apparent when your audio system achieves sufficiently low noise floors without any filtering intervention.

Power conditioners exemplify this phenomenon perfectly. These devices are designed to lower the noise floor, delivering obvious benefits of the blacker background that initially seems to improve the listening experience. However, this apparent improvement often masks a pronounced loss, one that becomes starkly evident only under the right conditions.

The Discovery Veridion power strip provides a revelatory experience in this regard. By enabling direct A/B comparisons, it exposes the hidden trade-offs that most listeners never recognize. Users can finally hear what they're actually gaining versus what they're unknowingly sacrificing in the pursuit of a "cleaner" signal.

 

Along comes Veridion and I realized for about the price of one of the cheapest of QSA plugs, I can add a couple of meters of 14 gauge treated cable to the end of the TV’s captive cord with an adapter. So, that’s what I did first.

This was great advice as I just did this for my 77” OLED. I already had a stacked pair of QSA jitter plugs (violet, I think) at the end of the captive cord but inserting the Veridion with non-treated adapter has noticeably improved the picture. Darker blacks and a very obvious reduction in grain. Sound quality is improved as well while streaming from Prime. This is the same cord I mentioned that I was using with my K50. It’s not yet burned in but I figured I would try it down here nonetheless. Downside is that I now need to go buy more.

 

The same principle that reveals the damaging effects of remastering Red Book files applies equally to hardware filtering. While hardware filters can dramatically reduce noise and appear to enhance musical performance, their true cost only becomes apparent when your audio system achieves sufficiently low noise floors without any filtering intervention.

Power conditioners exemplify this phenomenon perfectly. These devices are designed to lower the noise floor, delivering obvious benefits of the blacker background that initially seems to improve the listening experience. However, this apparent improvement often masks a pronounced loss, one that becomes starkly evident only under the right conditions.

The Discovery Veridion power strip provides a revelatory experience in this regard. By enabling direct A/B comparisons, it exposes the hidden trade-offs that most listeners never recognize. Users can finally hear what they're actually gaining versus what they're unknowingly sacrificing in the pursuit of a "cleaner" signal.

I have to agree. After owning first a Burmester 948 conditioner and then an 8kVA Westwick balanced power transformer, I'm absolutely better off with a simple install of specialist breakers and dedicated lines.

 

selecting which epistemological school

Which was?

Yes, at a minimum, compliance is what we want. But then here is what you also said: "Would I use this in the garden shed? Absolutely. Would I use this for audio? No". These kinds of comments do not inspire us to want to treat devices like this.
…

The design of a $40 block is bad, a $10 block worse. Neither offer anything of value that is curable by any magic potion. $10 just gives us a safe 13A. Not having surge protection is a really bad idea, especially with servers and streamers, because a standard slow blow fuse and the circuit breaker (with compliant earth loop impedance) is no guarantee that your hifi may not get fried. I’ve experienced a hard drive get fried by a surge, since when I use UPS blocks on all my computers and servers.

Just for reference, this is what has been on the founder of QSA’s LinkedIn page for the last 8 years:

mat technology is to bring audio and video products quality to top level in short time.
The world 's first metal molecular activation technology
So that metal molecules into the "smooth state"
Reduce the resistance, enhance the electronic flow in the conductor speed,
@speed up electron running speed per second@.
So as to enhance the performance of any audio products
any audio products remain 70% potential come out ,even you are daily use of cable cooker.
our procession in.short time
just need a few second procession time.

He then lists a myriad of devices it can be applied to, from fuses, many types of wire, audio components and the shell of your car.

Just sticking to the one line I’ve highlighted, this goes to your comments about a preference for thick gauge wire. If you increase the gauge you increase the capacity to carry current. Current, measured as Amperes, is by definition the amount of electrical charge that can be transmitted through a conductor in a period of time. Even I know that, and I’m an economist.

This is the cable I purchased to run between the consumer unit and hi-fi socket.
16 x Neotech NEP-4003 UP-OFC Copper Silver plated Mains Cable (0.5m) - £242.88 (£15.18 each)
The choice was determined by it being very flexible, which was important, it has a drain wire and is rated at 27A. According to the spec sheet it is equivalent to 13 AWG.

Sticking to rationalism (now that this discussion has turned philosophical), this cable will always be capable of carrying 27A of charge. There’s nothing mystical, philosophical or magical about that. The cable complies with the electrical code. My hi-fi system at peak output would only draw about 9A, so I can plug it all into one socket and in that regard this cable is more than sufficient. In my rational world, there are no circumstances under which this cable will ever be current limiting. It will always be able to transfer sufficient electrical charge at the required rate for my audio system, and the cable wouldn’t even reach half of its capacity.

Reverting to the voltage, current, resistance analogy of the water pipe, a water pipe capable of delivering 200 L/m under constant pressure will never limit you to anything under 200 L/m. There is no need to have a bigger pipe capable of 400 L/m to ensure 200 L/m. It may give you peace of mind. It would give you protection in the event of a reduction in water pressure, but thankfully we have legal limits within which the voltage of an electrical supply can change.

Even if the QSA process, whatever it is, does exactly what is described in the highlighted sentence above, it would result in an easily measurable change in the current carrying capacity of the conductor. so why rely on subjective empiricism when the process is being described as something that can very easily be objectively measured? There is of course the question why you would want to increase the current capacity of an adequately specified cable in the first place (reference the pipe analogy).

Call me a troll, ban me from this forum for life, I don’t really care, but this whole idea that a cable or fuse for that matter is “current limiting“ when its technical specification clearly shows that it is not, is to me just nonsense. Remember I live in a country where all electrical cabling by law is rated by its capacity to carry current, not by its physical characteristics (i.e. AWG).

AWG doesn’t seem very sensible or useful to me anyway. It just tells you how thick the cable is. That’s useful if you want to stick it through a hole, it tells you nothing about its electrical properties. I’ve seen 13 AWG cable rated anything between 16A and 27A.

Concluding philosophically, empiricism (cable A sounds better than capable B) is not knowledge without a rational theory to explain it. With respect, QSA has never provided a rational theory (which would be based on the laws of physics) about anything.

 

About 25 years ago, during my PhD studies in mobile financial services in Finland, I encountered an unexpected yet profound requirement that would shape my thinking for decades to come. Before I could delve into the technical aspects of my research, I was required to dedicate my first chapter to a purely philosophical endeavor: defining the concept of truth and selecting which epistemological school I would subscribe to for my research framework.
This philosophical groundwork initially surprised me. Here I was, preparing to research cutting-edge mobile financial technologies, yet I first needed to grapple with fundamental questions that had occupied philosophers for millennia. Though I ultimately chose not to complete my PhD, drawn instead to gain business experience before pursuing academic research, the time I spent wrestling with the nature of truth became one of the most enriching intellectual experiences of my life. The framework it provided has guided my thinking and decision-making in countless ways since then.

When I was conducting R&D on the Veridion project, with The breakthrough to alter conductors in a way that allowed precise control over various aspects of sound and video characteristics, the question of truth was central. Much like attending a live concert, your seat position in a concert hall fundamentally shapes your perception of the performance. Sitting in the front row delivers one sonic experience, while the balcony offers another, and the back rows provide yet another perspective. Each position presents a different "truth" of the same musical event, and choosing where to sit becomes a subjective decision about which perception of that truth you find most enjoyable.

With Veridion's ability to control every aspect of sound and video reproduction, I faced a fundamental question: which definition of truth should be my target? The answer lay in the very name I chose for the technology, Veridion, inspired by the fidelity realism. I set my sights on achieving transparent reproduction of music exactly as it was recorded in the studio, pursuing what might be called the "authentic truth" of the original recording.

What emerged from this pursuit was both unexpected and profound. Through extensive testing and refinement, I discovered that the most emotionally connecting and enjoyable musical experiences came from redbook audio files in their original, unmodified state. Any remastering or digital enhancement, regardless of how sophisticated, resulted in either a loss of musical information or unnatural modifications to the sound.

Aside from what we hear through our systems, or read about in the linear notes, if we have them, virtually none of us has a clue what was done in the studio (same with live performances, unless one was present). And what’s done in the studio is commonly artificial, not an individual or group sitting down and playing together, but pieces of performance compiled, with lots of physical sound adjusters helping out. And then re-engineered by human and machine and recording format. Much as we’d like it not to be the case, the idea of “recreating just what it was like in the studio” is a myth, an illusion and delusion. A home reproduction system — different studio — is an entertainment system that calls for different parameters to induce emotional involvement, including of individual hearing and tastes. A different illusion.

 

AWG doesn’t seem very sensible or useful to me anyway. It just tells you how thick the cable is.

...the codes and values used in the US (NEC) were not intended for laypersons. They are intended for use by tradesmen and engineers, although anyone can learn the parlance/rules. They reference AWG as a convenience of their nomenclature, for ordering, purchasing, communicating, etc.

Of course, a wire's AWG size corresponds to its amperage capacity, not its physical size per se, which an electrician would know. Typically, wire/cable is selected for its application, only part of which is its current capacity.

He would also know corresponding rules, like how it must be fastened, or passed through supporting structures, indoor or outdoor use, caustic environments...the list goes on. Including what size hole to drill.

If one went to the electrical supply store and asked for some 12 gauge wire, they would laugh (at least) and they would know you didn't really know what you were talking about.

Over time, certain wire have become generalized as, perhaps "range cable" or 8-gauge copper ground wire, # 12 Romex, 10 gauge THHN, service entrance cable, etc.