Four way XLR cable shootout

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Comments

  • ClipdatClipdat Posts: 9,443
    Clipdat wrote: »
    Nice suggestions! I would love to check all of those out, but I'm not too eager to spend the money to bring them in. Because at the end of all this testing, I'm going to end up with a lot of XLR cables not being used!

    Whoops, I guess I **** this up. Oh well, it's just money.
  • ClipdatClipdat Posts: 9,443
    edited January 13
    I finished my listening sessions with the WBC Mogami 2534 XLRs, and have hooked up the AQ Red River XLRs to try next.

    Somewhat unsurprisingly, the WBC Mogami 2534 XLRs had similar performance attributes as the WBC Mogami 2964 cables I mentioned here.

    The WBC XLRs were articulate, detailed, spacious, and had great separation of instruments and sounds. They also conveyed a great sense of rhythmic drive and flow.

    Sounds emerged from a three dimensional soundstage with admirable height and width. On some songs, I could actually point at the areas outside the dimensions of the speakers where it seemed like the sounds were originating from. Very cool!

    Most notably, each element within a song had it's own space to expand into without overlapping adjacent sounds. I love this sensation, because I get to pick and choose my favorite sounds/instruments to focus on and follow along with. Or, I can listen to the entire composition as a whole and just enjoy the performance. But most of the time, I found myself following a unique element within the music and loving all the clarity I could hear. Nothing sounded jumbled or confused, rather, there was certain sense of cohesiveness - things just sounded "right".

    Very impressive performance, especially at $24 for a 3 foot pair! Easily my favorite of the four pairs of XLRs I've tried so far on the G1 to LA4 connection.

    AQ Red Rivers are next, let's see what they bring to the table!
  • mantismantis Posts: 16,118
    Clipdat wrote: »
    Per usual, I'm making pretty slow progress on the XLR cable testing, despite having off from work! It always seems like you're going to have a ton of free time when you don't have to work, but then it seems like regular old life & chores takes it's place and you still don't have enough time for all your hobbies.

    Anyway, I've tried Monoprice Premier and AQ Red River between LA4 and AHB2 so far. The Monoprice performed admirably, and gave me an uncanny sensation of being able to "hear all the details", even at lower listening levels. However, their bass presence and weight were a little lacking, especially for electronic music. It was just a little too restrained I think, at least in my setup. The detail retrial was excellent though and they'd make for a good cable to use to demonstrate your system to someone who's never heard it before.

    Next, I tried the AQ Red Rivers and have stayed with those connected since hearing them. The sound just seemed to have more depth and fluidity to it, like the musical elements were more cohesive. They didn't quite have the almost magnifying glass-like effect on the midrange that the Monoprices had, which contributed toward nice imaging effects and presence. But instead, the AQs seemed to have a bolder tonality and tonal richness, along with slightly more weight in the bass frequencies. I think this generally aligns with what I heard previously from these cables. At the moment, I have no desire to remove them and try something else.

    On the Vega G1 to LA4 connection, I first tried Monoprice Premier, and again picked up on some of the performance elements I heard with them in the other position. Namely, there seemed to be this specific area in the middle of the speaker's physical presentation where the majority of the musical information contained within the midrange was originating from. It made for an interesting listen, but ultimately it wasn't engaging me, so I unhooked them after a day or two and haven't had a desire to go back to them in this position.

    Next, I went to the Rapco Silver Hogs. Right away it seemed like they had more depth and like the sound was more organic and flowing. Tonally, I have the same problem with them that I mentioned previously. When I listen to jazz piano, it just doesn't sound right. It's like they are adding an unnatural midrange shimmer to everything, and this really doesn't work for piano and honestly ruins my enjoyment of this instrument. Other types of music and sounds aren't as impacted, and they actually sound pretty good for guitar heavy rock, classical, and electronic. But wow, these cables are absolutely not going to be good for any amount of jazz listening. That strange shimmer effect gets old fast.

    I'm still waiting on my WBC and 1m pair of Red Rivers, so the last XLRs I have on hand to try on the Vega G1 to LA4 connection are the Kopul Premium Performance 3000 XLRs which I'll hook up next.
    Red River is a great cable. Very neutral and transparent. This is why you favor them as you can hear what the signal is and not what's being colored.

    Mogami is what I use in my Guitar Rig , Professionally these are the best IMO cables money can buy. They are very good, very durable and I think they pass along the signals better then any other Professional brand I have tested.
    Dan
    My personal quest is to save to world of bad audio, one thread at a time.
  • ClipdatClipdat Posts: 9,443
    edited January 14
    Day one spent listening with the AQ Red Rivers on the G1 was interesting.

    Straight away I noticed that the sound, in particular the treble frequencies, had a refined, polished and smooth character compared to the outgoing WBC Mogami 2534 XLRs.

    This smoothness seemed to diminish some of the leading edge bite or attack from the tweeter's reproduction of high frequencies. It's not that the highs were rolled off, all of the information was still there. It's just that it lacked any aggression or grit in those frequencies.

    This lack of harshness in the treble, meant that I could turn up the music much louder than I typically listen, and the highs remained smooth and polite. This sensation reminded me of when I was evaluating the AQ Tornado power cables, and I wrote: "Interestingly, there was no treble harshness when I turned up the volume, like how there was when I had the generic power cable connected." and "There were good dynamics and impact, especially when I cranked up the volume to 90db+ levels."

    Perhaps this is some element of the AQ "house sound" that I'm picking up on. This is now the second experience I've had where I get the perception that the AQ cables appear to be engineered to perform their best at higher listening levels.

    Regarding the rest of the frequency range, I noticed that the midrange was devoid of any coloration or unnatural accenting. There was no shimmer or sparkle. It was the most neutral presentation of the mids that I've heard thus far with my G1 to LA4 XLR cable testing.

    Bass energy seemed slightly bolstered versus the outgoing WBC XLRs, similar to the sensation I noticed when I put the AQ Red River XLRs between LA4 and AHB2, which are still connected there. It was as if the bass was just a little deeper and darker.

    Soundstage and dimensional queues were pretty good, but I don't think they had quite as good of separation of instruments as the WBC Mogami 2534 XLRs. The overall presentation was just different. I'm not sure I would use the word "better" to describe it, but the AQ Red Rivers certainly have a different way of presenting the music.

    Lastly, I noticed the same fatiguing sensation which I experienced back when I tried out the Red Rivers the first time, as described earlier in this thread:

    "Also uniquely about the Red Rivers, they seemed to cause a fatiguing sensation to my ears when I first auditioned them, but this went away after subsequent listening sessions and more time in my system. This isn't the first time I've noticed this trait about Audioquest interconnects, but I'm not sure why they seem to be more affected by cable break in versus the other cables in this roundup, which did not seem to present a fatiguing sensation at any point."

    Like last time, I had the same exact sensation in my ears after I was finished with my 30-40 minute listening session! And again, I didn't get this with any of the other XLRs I've tested thus far. Is it something specific about the geometry/materials/construction of the AQ cables that cause some listener fatigue when new? Do they require more "break-in" versus other cables? Perhaps "higher end" cables in general require more break-in time in general? I'm not sure, but it's interesting to think about, and kinda crazy that I noticed the exact same sensation in my ears as last time.

    I will continue to post more listening impressions with the AQ Red Rivers in the system. The AQ Yukon XLRs are scheduled to arrive on Friday.

    Thanks for reading!
  • dr1978dr1978 Posts: 348
    Did you consistently have the volume higher with the AQ's than the other cables? Sounds like you were enjoying them at higher levels, maybe the cumulative effect ended up bothering your ears slightly. Of course that wouldn't explain why it went away with the Red Rivers, unless you toned it down some after your initial listen.
    Pro-ject 2 Experience SB, OPPO BDP-103, Marantz SR5011, Lounge LCR MKIII, B&K Ref 2220, AMC 2100, Polk LSiM705, Polk LSiM706C, Polk LSiM702, SVS SB16-Ultra
  • ClipdatClipdat Posts: 9,443
    edited January 14
    While I was not doing specific level matching between the XLR cable tests, I did play the AQs louder, but not consistently. It was only for two songs, then I returned to my normal listening levels. I only played the two tracks louder to test/confirm what I was hearing in regards to the treble performance that I described above.

    I'll try the system again this evening and see if I notice any fatiguing sensations at normal/moderate listening levels.
  • Joey_VJoey_V Posts: 7,859
    Following.

    With AQ, I noticed a level of harshness with the copper cables which went away when I went full silver (not hybrid).

    Though when I first encountered AQ, I thought they were harsh free when I compared them to other copper cables

    🤷🏻‍♂️
    Joey's Gear:
    Current Gear:
    Primary:
    Digital: Torus RM15 -> Emm Labs TSDx/Bluesound Node 2 -> Emm Labs DAC2x
    Analog: VPI Avenger Reference w/ Rim Drive w/ ADS + 12" Fatboy Dual Pivot + Lyra Etna
    + Audio Research Reference 40th Anniversary -> Boulder 2060 stereo amp (w/ Audioquest WEL Signature) -> new speakers + JL Audio F113v2 x2
    Secondary:
    Rotel RA1592 Super Integrated -> Sonus Faber Olympica 3
    Tertiary:
    Oppo 105D -> Rotel RC1570 preamp -> Rotel RB1582 amp -> Focal Kanta 2


    Main speakers system evolution over the years:
    Klipsch Promedia 4.1 -> Axiom M22ti -> Sonus Faber Concertino -> Sonus Faber Concerto -> Polk LSi7 -> Polk LSi9 -> Martin Logan Mosaic -> AV123 Onix Ref 1 -> Martin Logan Vantage -> AV123 Strata Mini -> Martin Logan Summit -> Sonus Faber Cremona Auditor -> BW 802D2 -> Sonus Faber Stradivari -> Rockport Avior -> BW 802D3 -> BW 800D3 -> ???

    Old Gear:
    Speakers:
    BW PM1 (3.5/5), CM10s2 (3.75/5), BW800D3 (5/5), Rockport Aviors (5/5), Sonus Faber Stradivari (5/5), BW 802D2 (4.5/5), Martin Logan Summits (4.25/5), Martin Logan Vantage (4/5), Sonus Faber Cremona Auditor (3.75/5), AV123 Strata Mini (3.5/5), ML Mosaic (3.25/5), Onix Ref1 (3/5), Sonus Faber Concerto (2.75/5), SF Concertino (2.5/5), Axiom M22ti (2/5), Polk LSi9 (3/5), LSi7 (2.9/5)
    Source:
    Squeezebox 3 -> PS Audio Digital Link III -> Cary 306/200 CDP -> Cary 306 SACD -> EMM LABS DAC2X/TSDX
    Preamplification:
    Rotel RC1070 -> Rogue Perseus -> Cary SLP98 -> Cary SLP98F1 -> Cary SLP05 (sold and then repurchased) -> ARC 5se -> ARC Ref 40th Anniversary
    Amplification:
    HK AVR330 -> Rotel RB1070 -> Rotel RB1090 -> Plinius SA102 -> Cary 211FE -> Classe M600 -> Boulder 2060
    Subwoofer:
    Infinity Entra2 -> SVS 25-31PCi -> SVS 25-31PC+ -> Dual JL Audio F113v2
  • ClipdatClipdat Posts: 9,443
    I concluded three days of listening with the AQ Red Rivers connecting the G1 to the LA4.

    On the second and third listening sessions, I still noticed some level of fatiguing sensation in my ears after listening, but not as prominent as the first time. I also noticed a bit more treble extension with some songs. It seemed like that universal smoothness that I initially heard was subsiding somewhat, and I was hearing some more assertive sharpness in the treble on some songs.

    Therefore, I believe it must be a side effect of cable break-in. Or, my ear and/or brain breaking-in and acclimating to the sound signature of these cables. I could do some more listening sessions, but I'm ready to swap in the AQ Yukon cables instead.

    Overall, I thought the individual performance of the Red Rivers was admirable. However, they didn't quite elevate the overall performance of the system like I had expected, with them connected both in the G1 to LA4 and LA4 to AHB2 positions.

    My main take-away is that they have a clearly defined way that they present the music. I hesitate to deem their presentation superior than the WBC or even the Kopul cables, it's just different.

    Imagine standing on a sunny beach and looking out at the the water, the horizon, and the clouds in the sky. You're observing each element, focusing on each one before your vision shifts to the next thing. You fully take in the scene, and all of the detail and subtlety in front of you.

    Now imagine standing in that same spot, but you put on a pair of polarized sunglasses. You look at all the same things you just looked at, but now they look slightly different. Maybe there's a little less haze on the horizon, not as much reflection on the water, and more depth to the clouds in the sky.

    Technically, without the sunglasses, you see a more exacting representation of what's in front of you. But with the sunglasses on, the slight "colorization" of the scenery served in some ways to enhance what was already there. It allowed you to have additional insight into what you were looking at, even though it technically isn't as "accurate" as what your naked eye sees.

    That's basically how I think of the performance AQ Red River cables on the G1 to LA4 connection. It's simply a different way of presenting the music. It seems to put the focus on tonal accuracy, versus outright detail retrieval. It creates a somewhat more "musical" experience, versus simply playing back various sounds.

    Anyway, it was an interesting experience, and I'm looking forward to trying the Yukons next.
  • ClipdatClipdat Posts: 9,443
    So, speaking of the Yukon cables. I have both the .5m pair for the preamp to amp connection, and the 1m pair for the streamer to preamp connection.

    Which do I try first? Pre to amp? Streamer to preamp? Both simultaneously? Looking for suggestions on how to proceed. Thanks!
  • Joey_VJoey_V Posts: 7,859
    Clipdat wrote: »
    So, speaking of the Yukon cables. I have both the .5m pair for the preamp to amp connection, and the 1m pair for the streamer to preamp connection.

    Which do I try first? Pre to amp? Streamer to preamp? Both simultaneously? Looking for suggestions on how to proceed. Thanks!

    Closest to the source
    Joey's Gear:
    Current Gear:
    Primary:
    Digital: Torus RM15 -> Emm Labs TSDx/Bluesound Node 2 -> Emm Labs DAC2x
    Analog: VPI Avenger Reference w/ Rim Drive w/ ADS + 12" Fatboy Dual Pivot + Lyra Etna
    + Audio Research Reference 40th Anniversary -> Boulder 2060 stereo amp (w/ Audioquest WEL Signature) -> new speakers + JL Audio F113v2 x2
    Secondary:
    Rotel RA1592 Super Integrated -> Sonus Faber Olympica 3
    Tertiary:
    Oppo 105D -> Rotel RC1570 preamp -> Rotel RB1582 amp -> Focal Kanta 2


    Main speakers system evolution over the years:
    Klipsch Promedia 4.1 -> Axiom M22ti -> Sonus Faber Concertino -> Sonus Faber Concerto -> Polk LSi7 -> Polk LSi9 -> Martin Logan Mosaic -> AV123 Onix Ref 1 -> Martin Logan Vantage -> AV123 Strata Mini -> Martin Logan Summit -> Sonus Faber Cremona Auditor -> BW 802D2 -> Sonus Faber Stradivari -> Rockport Avior -> BW 802D3 -> BW 800D3 -> ???

    Old Gear:
    Speakers:
    BW PM1 (3.5/5), CM10s2 (3.75/5), BW800D3 (5/5), Rockport Aviors (5/5), Sonus Faber Stradivari (5/5), BW 802D2 (4.5/5), Martin Logan Summits (4.25/5), Martin Logan Vantage (4/5), Sonus Faber Cremona Auditor (3.75/5), AV123 Strata Mini (3.5/5), ML Mosaic (3.25/5), Onix Ref1 (3/5), Sonus Faber Concerto (2.75/5), SF Concertino (2.5/5), Axiom M22ti (2/5), Polk LSi9 (3/5), LSi7 (2.9/5)
    Source:
    Squeezebox 3 -> PS Audio Digital Link III -> Cary 306/200 CDP -> Cary 306 SACD -> EMM LABS DAC2X/TSDX
    Preamplification:
    Rotel RC1070 -> Rogue Perseus -> Cary SLP98 -> Cary SLP98F1 -> Cary SLP05 (sold and then repurchased) -> ARC 5se -> ARC Ref 40th Anniversary
    Amplification:
    HK AVR330 -> Rotel RB1070 -> Rotel RB1090 -> Plinius SA102 -> Cary 211FE -> Classe M600 -> Boulder 2060
    Subwoofer:
    Infinity Entra2 -> SVS 25-31PCi -> SVS 25-31PC+ -> Dual JL Audio F113v2
  • ClipdatClipdat Posts: 9,443
    What do you mean?
  • audioluvraudioluvr Posts: 3,146
    edited January 20
    Joey_V wrote: »
    Closest to the source
    Clipdat wrote: »
    What do you mean?

    Nashville,TN. if it's country you listen to. :D
    Cambridge Audio 851N Streamer/DAC
    Belles 21A Pre modded with Mundorf Supreme caps
    B&K M200 Sonata monoblocks refreshed and upgraded
    Belles 350A Reference modded with Mundorf Supreme caps
    Polk SDA 1C's modded
    Wireworld Silver Eclipse IC's and speaker cables
  • marvda1marvda1 Posts: 4,288
    Joey_V wrote: »
    Closest to the source

    i think he means try it on the source first.
    Amplifiers: Norma IPA 140, MasterSound Compact 845, Ayre v6xe, Consonance Cyber 800
    Preamp: deHavilland Ultraverve 3
    Transport/Dac: L.K.S MH-DA004, Cayin Venus cd-100i, Musical Paradise mp-d2 mkI,
    Musical Paradise mp-d2 mkIII
    Speakers: Rosso Fiorentino Volterra II
    Speaker Cables: Organic Audio Organic Reference 2
    Cerious Technologies Graphene Extreme
    Interconnects: Argento Organic Reference 2, Argento Organic 2, Gabriel Gold Reckoning
    Power Cables by: Argento Organic Reference, Cullen Cables, 6sons Audio, Swiss Cables
  • ClipdatClipdat Posts: 9,443
    edited January 20
    So I was thinking more about this, and seeing is that I was listening with the Red Rivers in both the LA4 to AHB2 position and the G1 to LA4 position, it makes the most sense to swap in the Yukons at both positions as well and then listen.

    That way, it'll be a fair/even comparison to what I was just listening to most recently, with the AQ cables at both connections.
  • audioluvraudioluvr Posts: 3,146
    I agree with that. Wire manufacturers are trying to achieve a certain sound. Mixing brands ( and even lines) from source to speakers will muddy up a review IMHO.
    Cambridge Audio 851N Streamer/DAC
    Belles 21A Pre modded with Mundorf Supreme caps
    B&K M200 Sonata monoblocks refreshed and upgraded
    Belles 350A Reference modded with Mundorf Supreme caps
    Polk SDA 1C's modded
    Wireworld Silver Eclipse IC's and speaker cables
  • invalidinvalid Posts: 455
    audioluvr wrote: »
    I agree with that. Wire manufacturers are trying to achieve a certain sound. Mixing brands ( and even lines) from source to speakers will muddy up a review IMHO.

    For a review a full loom is more than likely going to give you a more honest review, but it might not be what you want. Mixing and matching brands and even different lines from one manufacturer might work better in a given system and room. That's what's so difficult about choosing cables.
  • ClipdatClipdat Posts: 9,443
    edited January 27
    I completed three consecutive days listening with the AQ Yukons in the system.

    Although I hesitate to outright label them "better" (better is subjective, people prefer different sound signatures) than the less expensive XLR cables I reviewed previously, the Yukons were distinctly different and clearly better performers than the AQ Red Rivers, at least in my system.

    The most dramatic difference was that the overly smooth and polite character of the Red Rivers was gone. Instead, it sounded like I could "hear more" musical information coming through. I hate using the expression "veiled", but the Yukons truly made the Red Rivers sound veiled and colored by direct comparison.

    With the Red Rivers, everything had a universally smooth characteristic, especially the treble frequencies. It was to the point where I caught myself turning the music up louder than usual to try to "hear more" of that treble information. The bass also seemed slightly bolstered/boosted, not unnaturally so, but clearly there was some coloration/accenting happening there.

    With the Yukons, I got a sensation of effortlessness. The sound didn't have that smooth and polished attribute, and the soundstage in general was much more expansive and three dimensional. The sound was less localized to the speakers themselves, and on some songs I actually found myself moving my head around because of how differently the various elements within music were being presented. Everything seemed to be shifted slightly and filled it's own disparate space inside the soundstage.

    Subtleties and nuances such as an instrument's decay and other microdetails were more prominent and easy to hear. The bass didn't have that same colorization/accent as the Red Rivers, but instead had more control and agility. The tonal balance was more neutral in that regard.

    Usually when I'm in "evaluation mode", I am frequently jumping around from song to song. With the Yukons, everything sounded so captivating, which made me want to listen to every second of every song. It was a distinct subconscious performance attribute of the cables that I took notice of.

    In summary, I was impressed by the changes I heard when moving up in the AQ XLR line. It was just striking how much different and superior sounding the Yukon cables were versus the Red Rivers. I'll be leaving the Yukons in the system for a while.
  • ClipdatClipdat Posts: 9,443
    edited January 27
    I forgot to mention it in the post, but there was no fatiguing sensation in my ears whatsoever after listening with the Yukons. Interesting.
  • phipiper10phipiper10 Posts: 933
    Thanks for the effort and sharing. This has given me some ideas!
    Analog Source: Rega P3-24 Exact 2 w/GT delrin platters & Neo TT-PSU
    Digital Source: Lumin T2 w/Roon
    Preamp: Rogue Rogue RP-7
    Amp: Rogue Stereo 100
    Speakers: Audio Physic Tempo Plus
    Cables: Audio Art IC-3e & SC-5 ePlus, Signal Cable PCs
    Misc: APC H15 line conditioner, Noise Harvester, VTI rack, GIK acoustic panels
  • ClipdatClipdat Posts: 9,443
    Thanks for your kind words. Let us know what you end up trying.
  • pitdogg2pitdogg2 Posts: 18,209
    Sounds like the Yukons are keepers.
  • pitdogg2pitdogg2 Posts: 18,209
    I'm left wondering after some reflection. IIRC you disliked the King Cobra Balanced XLR cable yet like the Yukons. The Yukons for all intents and purposes is a King Cobra in a new Jacket. I wonder what change was made to the Yukon cables from the King Cobras??

    Both cables share the same basic description.
  • ClipdatClipdat Posts: 9,443
    edited February 7
    Here's the differences as far as I can tell:

    Insulation/shielding:

    King Cobra:
    Noise-Dissipation System: This cable uses a foil/Mylar/foil shield with 100% coverage to capture RF interference that could modulate the equipment's ground reference. The RF is dissipated through a 22-gauge solid, silver-plated, long-grain copper drainwire.

    Yukon:
    Carbon-Based 3-Layer Noise-Dissipation System (NDS): Preventing captured RF Interference from modulating the equipment's ground reference requires AQ's Noise-Dissipation System. Metal and Carbon-Loaded synthetics prevent most RFI from reaching the equipment's ground plane.

    Connectors:

    King Cobra:
    cold-welded silver-plated XLR plugs

    Yukon:
    Cold-Welded, Hanging-Silver directly over pure Purple Copper. This plug design allows for a connection devoid of solder, which is a common source of distortion. Because the ground shells are stamped instead of machined, the metal can be chosen for low distortion instead of machinability. Purple Copper offers a cleaner, clearer sound than the nickel-plated or OFHC metals commonly found in other manufacturers' plugs.
  • ClipdatClipdat Posts: 9,443
    But yeah I agree Ivan, they are similar. I guess the Yukon is an "improved" version of the King Cobra.
  • gp4jesusgp4jesus Posts: 1,601
    edited February 7
    Comin’ late to the party...

    I noted Monoprice’s cables per foot cost drops as length increases illustrating you’re mostly paying for the connectors.

    3’ pair, $8 10’ pair, $10
    Samsung 60" UN60ES6100 LED
    Outlaw Audio 976 Pre/Pro
    Samsung BDP, Dish Rcvr, Xbox, Phillips CD chgr

    Canare 14 ga - LCR tweeters inside*; CC outside
    BJC 10 ga - LCR mids, inside* & out
    8 ga Powerline - LR woofers, inside* & out
    *soldered

    LR: tri-amped RTi A7 w/Rotels. Woofers - 980BX; M&T - 981
    CC: Rotel RB985 -> tri-amped CSi A6
    5 Audio Pro Subs: LFE & CC - B1.39; all others - Evidence
    Surrounds: Rotel 981 -> AR 12 ga -> RTi A3
    Power Conditioning & Distribution:
    3 dedicated 20A feeds; APC H15; 4 Furman Miniport 20s
  • ClipdatClipdat Posts: 9,443
    Maybe the quality of the connector has a lot to do with the overall performance of the cable. I think certain cable vendors like Douglas Connection adhere to this philosophy.
  • pitdogg2pitdogg2 Posts: 18,209
    Clipdat wrote: »
    But yeah I agree Ivan, they are similar. I guess the Yukon is an "improved" version of the King Cobra.

    Just once again shows it can be the little things.
  • ClipdatClipdat Posts: 9,443
    "Everything matters"
  • gp4jesusgp4jesus Posts: 1,601
    Clipdat wrote: »
    Maybe the quality of the connector has a lot to do with the overall performance of the cable. I think certain cable vendors like Douglas Connection adhere to this philosophy.
    I’ve done this as the the following describes me!

    A way to $ave if your pro setup is on a shoestring, Seismic Audio Speakers (SAS) occasionally has 100’ XLRs on sale $15! Buy one (or more) and, for this example, also buy 3 each MXLR & FXLR connectors. Cut the 100’ into 25’ lengths solder up the connectors giving you 4 25’ mic cords for about 1/3 the $ of their regular priced 25’ XLRs

    A more important note: if I can locate a 3’ pair of SAS from the factory XLR cables in time for your next round of testing I’m curious, and would gladly cover shipping. I honestly don’t have any real expectations though they’re a bit less than the Monoprice Premier cables. And...

    I want to offer up a BIG thank you for inadvertently introducing me to those Monoprice XLRs as I do use some XLRs in my HT and could stand the upgrade and extensively in an old school DJ setup. I’m confident the powered speakers pumping out above 90hz would benefit, too

    Again thanks for your comprehensive review info.

    Tony

    Samsung 60" UN60ES6100 LED
    Outlaw Audio 976 Pre/Pro
    Samsung BDP, Dish Rcvr, Xbox, Phillips CD chgr

    Canare 14 ga - LCR tweeters inside*; CC outside
    BJC 10 ga - LCR mids, inside* & out
    8 ga Powerline - LR woofers, inside* & out
    *soldered

    LR: tri-amped RTi A7 w/Rotels. Woofers - 980BX; M&T - 981
    CC: Rotel RB985 -> tri-amped CSi A6
    5 Audio Pro Subs: LFE & CC - B1.39; all others - Evidence
    Surrounds: Rotel 981 -> AR 12 ga -> RTi A3
    Power Conditioning & Distribution:
    3 dedicated 20A feeds; APC H15; 4 Furman Miniport 20s
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