Quote Hugh Robjohns:

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The other aspect is cost, and the Byre is absolutely right in this. Vovox cables are relatively expensive and not at all suitable in their current form for wiring a studio complex. So they tend to be used as a 'tonal modifier' in specific applications. That's fine for those with money to burn and I'm sure the Hifi fraternity enjoy playing with such things, but for serious studio applications it makes little sense -- practical, technical or financial.

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I agree with the first part of that Hugh, but my view is that if someone tests the Vovox cable and finds that it does make an appreciable difference in their studio, then surely it would be worth installing one or two lines of Vovox on 'mission critical' sources like vocals etc. That's how I'm looking at it anyway, as even in my own modest set-up, replacing every cable simply isn't practical.

But once again I encourage folks to form their opinion by listening for themselves - especially now that Jurg from Vovox has provided some details on how to do this in the UK via SCV. I am sure that those of us contributing to this excellent thread who have heard the cables are very interested in the opinions of those who haven't yet but are open-minded enough to give them a try.

Quote James Perrett:

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Some of us want to know WHY it sounds different - that's the kind of thinking behind many scientific discoveries that are important to our lives today. We would still be living in the stone age if people didn't ask why things happen.

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And I fully agree with James' wise words here too!

Quote James Lehmann:

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I agree with the first part of that Hugh, but my view is that if someone tests the Vovox cable and finds that it does make an appreciable difference in their studio, then surely it would be worth installing one or two lines of Vovox on 'mission critical' sources like vocals etc. That's how I'm looking at it anyway, as even in my own modest set-up, replacing every cable simply isn't practical.

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Sure, but here is where I start to struggle with this conceptually.

If you plug the cable between, say, a mic and a preamp and it sounds better everytime, great. I have no problem with that. And it really doesn't matter whether the audio signal is delivered in a more accurate form than an existing cable (as Vovox claims) or if it is modifed in some pleasing way.

But what if you plug the cable between the mic and the studio wall box (which is then cabled back to a preamp in the control room via 50 feet of general purpose multicore mic cable), and it still sounds better?

How can adding a relatively short length of Vovox to another length of ordinary cable deliver a more accurate signal? Surely the existing cable would undo any good the Vovox cable does? And yet this isn't what people appear to be finding -- myself included -- adding the Vovox cable seems to make an improvement, regardless of the rest of the chain.

I like to think of myself as a logical man with a good technical grounding, but I can't understand what is going on here. I don't necessarily distrust my ears or the opinions of others I know to have reliable ears -- but I can't understand what's going on and that bothers me.

I have spoken to Jurg several times and I plan to meet with him next month to try to learn more about his approach. Watch this space.

Hugh

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Technical Editor, Sound On Sound

Quote Hugh Robjohns:

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But what if you plug the cable between the mic and the studio wall box (which is then cabled back to a preamp in the control room via 50 feet of general purpose multicore mic cable), and it still sounds better?

How can adding a relatively short length of Vovox to another length of ordinary cable deliver a more accurate signal? Surely the existing cable would undo any good the Vovox cable does? And yet this isn't what people appear to be finding -- myself included -- adding the Vovox cable seems to make an improvement, regardless of the rest of the chain.

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Hugh - I had considered the situation you describe but assumed that the benefits of the Vovox cable would only be apparent when connecting, say a mic directly to a pre-amp.

But now you are saying that you and others have also experienced differences by simply adding a length of Vovox to one end of an existing run of ordinary cable!?

I'm no electrical engineer but that does seem truly baffling!

I, for one, will be fascinated in the outcome of your meeting with Jurg from Vovox, and I hope you'll continue to post your thoughts here in this thread for us to debate and discuss. Perhaps you're considering a piece in the SOS magazine about it, but then knowing how meticulous you are in your writing I can sense your strong desire to hunt down some definitive answers before going into print! Anyway, IMHO this topic has been one of the most interesting and eye(ear!)-opening we've had on this Forum lately.

is this the first "effects cable"?

do they make 1-foot lengths to do this? heh heh...

if it had an interesting sound i would consider having one to expirement with...

I've stayed out of this thread until now because I've not tried any Vovox cables but I do have a few fairly esoteric cables (some relatively mass produced, some hand produced in very small quantities) - bought because they made a difference in the context in which I use them (I'm not into wasting money on things I can't hear) - now it's getting reasonably abstract and moving into things in which I do have some experience so here's my two penn'orth.

I do believe that cables can make a difference - even in small pieces. I don't belive that it's magic and I don't believe the rubbish cooked up by most hi-fi manufacturers/dealers to explain the effects. I do however believe that there's more going on than at first meets the eye (or ear) and that whilst claims of "huge improvements" and the like are, ime, very overdone, there are things going on which need further serious, objective scientific investigation. The only trouble with that is that for a serious, objective scientist to stand up and admit to hearing a difference that he doesn't understand and can't quantify, is a big step when he risks incurring the cynical/sceptical derision of the majority of other scientists who won't even accept that the phenomenon can exist let alone being prepared to incvestigate it. So hats off to Hugh for sticking his neck out and saying that there's something in it all - even if it isn't some kind of "special" magic that many hi-fi nuts might want to think it is.

About ten years ago I was heavily involved in the design of a new mastering room for the company at which I worked. After a lot of mucking about with various "hi-fi" tweaky things in the existing rooms, enough people were sufficiently convinced that, with some of these tweaks, something was happening that was repeatable, potentially useful, and worth exploiting.

All the people involved in the experimentation were approaching things from a standpoint of really extreme cynicism about the snake-oil world of hi-fi yet all agreed that some, not by any means all, but some of the things we tried actually made a difference. (On the other hand, some things made no difference at all, or actually caused quantifiable problems, some we barely stopped laughing about for long enough to listen to them.)

One of the "discoveries" (it was a revelation for us anyway!) was that cables, even in short runs and partial sections of longer runs, can make a difference. Why this is, we never quantified to everyone's staisfaction (whilst we were very curious, there was a day job to do that took priority so testing was a slow/fitful process) but no-one argued that there was a difference (we put it down to some kind of electronic properties of, or more likely interactions between, the "hi-fi" cables and others/the equipment/the physical environment). Some argued that the differences were too small to be worth the money needed to get them but that's another matter.

The engineer for whom the room was being built is someone who when mastering an album will sometimes spend hours choosing for each individual track just the right combination of playback machine/ADC/dither type/etc., even before he starts on EQ/Dynamics processing so critically listening to very small changes was the order of the day.

Various cables were chosen for specific roles in which they worked noticably "better" than others (we assumed, for good mechanical/electronic reasons such as those already discussed elsewhere in this thread rather than blaming some kind of made up hi-fi voodoo), and after further messing about, we ended up making a number of patch cord sets in different types of cable. This was because even though the majority of the installed cable in the room was of the same type (again carefully chosen but very much with an eye on the economics of a commercial scale installation) during the course of our testing we'd found that even a 50cm XLR patchcord made a noticable (more so than changing the ADC) difference in some circuits. In other circuits any difference was either inaudible or not sufficiently obvious to be repeatably assessed.

Again, we made no pretence that this was magic, or that it existed in all circumstances, or that it was some kind of night and day change. However, in some setups it made a completely repeatable, clearly audible (to anyone with reasonably good ears/perception - not bat's hearing, just half decent musician's hearing) difference. Staying cynical, we ascribed the differences to good/bad/varying designs between input/output stages in the various bits of gear but it was interesting that a simple patchcord forming just part of a longer run made a difference.

In some cases the suggestion that RFI levels play a major part in the "sound" of an interconnect would appear to be bourne out by some other things we found with some expensive "hi-fi tweaks" involving little stone/wooden blocks which were attached to the sides of cables using velcro or, for the really expensive ones, string made of raw silk Closer investigation of the ones that worked (not all did!) revealed them to be made of/include within them some very pure ferrite material. Whilst these generally worked better than the average ferrite clamp/ring it wasn't magic - they were just very good quality examples of readily understood products - but the prices were astonomical for what they were! (We found an industrial source of equal (and better) quality ferrite compounds and bought those for a fraction of the cost of the, albeit prettier, hi-fi "magic" products.

This, however, didn't fully explain the effects of the strange little Japanese blocks which sat on top of the power amps. When we put them on the amps none of us could hear a difference. After messing around taking them off and putting them back on in different places we decided it was all rubbish and gave up - leaving them on top of the amps as we went on to other things. A couple of hours later, whilst doing some more mundane listening, this time to different speakers, someone came to get the blocks to pack them up for return. As they were lifted off the amps, there was a big change in the sound. Even people who weren't paying attention to the speaker tests looked up or turned around. The blocks went back on but again there was no change and everyone thought they'd imagined it. We left the block in place and half an hour later took them off and again, even people who didn't see the blocks being removed noticed a change. We played around with them over the next week or so and ended up buying them. We couldn't work out what was happening or what they did but things sounded so much worse when they were removed that we decided to take a punt on them. Even if they did nothing, they were a talking point (Subsequently, I've come across a few respected, experienced and generally pretty cynical engineers who use these blocks (and in some cases some pretty scarily expensive cables), some on their amps, some on things like ADCs who all agree that they do something. Even if no-one accepts the manufacturer's pseudo-scientific sounding gibberish "explaination", none can come up with a properly scientific one so who knows - maybe not all hi-fi nuts are as mad as they seem (though most are!)

I really hope Hugh gets to the bottom of some of this. Partly because it might be another bit of ammo to use against the people who say that all cables are just bits of wire and must sound the same , and partly because I hate hearing things I can't explain!

I find this stuff fascinating and like many would like to know WHY these cables (or whatever) make a difference, if of course they make at difference at all.
I do get very cynical and supicious about theories like your block one.
If they were used in a mastering studio, which 'master' of the track(s) sound best in the final product - with or without the blocks. At the end of the day, that's what counts and who knows how both may sound out in the real world.
I've actually been reading up on some articles about unshielded cables (in particular), and if anyone's interested, a quick search on google highlights a few interesting reads.
The human brain is weird and wonderful and many other factors can alter your perception when listening to music.
One which springs to mind is when mixing for video. I remember years ago doing some stuff at the BBC and the engineers were going on about instrument levels and the perception that when the camera zooms into one of the performers, all of a sudden, he sounds a bit louder. I was convinced with a simple demo.
There is also the perception that believing something being better or seeing something in the chain can convince you that it is better, when in fact there may be no change.
Even switching the lights out (complete darkness) can almost convince you that something has changed in the sound.

And what about the university experiment after some boffin thought he had a ghost in his lab, after seeing something move and 'feeling' a prescence.
They carried out a controlled experiment where individuals were put in a darkened room and the resonant frequency of the room was played to them via a set of headphones. During that time, every one of them said they felt a prescence in the room.

Obviously the last bit is nothing to do with the main crux of the thread, but maybe it highlights that we can be influenced by many things which at face value appear unexplainable.

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Jack of all trades, master of some.

Quote:

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Obviously the last bit is nothing to do with the main crux of the thread, but maybe it highlights that we can be influenced by many things which at face value appear unexplainable.

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Medics call it the placebo effect, ecomomists call it the snob effect and sound sound engineers call it the Neumann effect.

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www.the-byre.com No longer Forum Member

What, all my gear has Neumann scrawled in grease pencil on it. Everyone whose anyone knows that my gear is now the greatest EVAR!!

As an added bonus, a noise can on your car exhaust adds at least 15HP (I was told this w/ a straight face once. I hope the UK isn't as infested as much as we are with the aero wing/exhaust can/etc. folk).

P-X

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My Home Studio Build Thread

These aren't the cables with the Zobel networks in them are they? I can't tell from the website.

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Roddy Bell
BBC / Siemens

Since there seem to be a number of deep cable thinkers closely following this thread, may I humbly take this golden opportunity to ask all of you for your recommendations of a superior microphone cable to run my humble AKG dynamic mics into my humble M-Audio FireWire Solo? (My default setting was to simply get an AKG MK 9/10 mic cable, but they don't seem to export them to the US... maybe I'm missing something, but Sennheiser is eager enough to sell me headphone cables...).

Thanks in advance.

So, this is one of those '[ ****** ] happens' kinda scenarios huh?

I am still not convinced of the value of such a product for the simple reason that the environment it is tested in has to be duplicated for it to 'maybe' exhibit the same reults.

So, you prepare for your gig and the Vovox comes out. Hell, it performed magic in the studio.
Using the same pre, the same PA, the same everything.......and the magic disappers.

To me a product must exhibit consistency for me to part with money as an investment in the product's attributes.
To gamble on a result is not something I am too happy with, particularly at £30 a pop (no pun, ok then a little pun).

I am not dismissing the cable by any means, but investing in a product that can only work in an isolated incident does not fill me with great confidence, certainly not in a commercial booking.
I need reliability at all times and this thinking has been the vein of my buying strategy over the years.

If, as I like to throw spanners everywhere, you use the cable in a static environment and the magic appears and all is well in the garden for weeks and then suddenly something about the environment changes, I dunno cables are being laid outside or a huge sat dish is installed on the roof, and suddenly magic disappers.

So, what happens then? Vovox refunds the money?
You lose a client during a perfect vocal take?

Or are we back to '[ ****** ] happens'?

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Samplecraze
Stretch That Note

ok, well... lighten up dude...

its just 30 squid...

think of it as a funky cool stomp box...

in the big picture, its very cheap for something that can give you an interesting sound...

Quote Zukan:

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I am not dismissing the cable by any means, but investing in a product that can only work in an isolated incident does not fill me with great confidence, certainly not in a commercial booking.

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I hear what you are saying, but you could apply the same arguments to microphones. I'm sure you have a range of different mics, and some mics work well with some sources and not with others, but sometimes you'll put up one mic certain that it will do the job and then discover that actually a different mic works better in that scenario... It's the same kind of deal.

hugh

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Technical Editor, Sound On Sound

Quote gerard:

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ok, well... lighten up dude...

its just 30 squid...

think of it as a funky cool stomp box...

in the big picture, its very cheap for something that can give you an interesting sound...

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Eh?
Read my post, very 'light' ....maybe the humour wasn't that funny..mmmm...must read more books about humour....

Mind you 10 metres of this cable would cost a little more than 30 squids.....



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Samplecraze
Stretch That Note

Quote Hugh Robjohns:

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Quote Zukan:

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I am not dismissing the cable by any means, but investing in a product that can only work in an isolated incident does not fill me with great confidence, certainly not in a commercial booking.

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I hear what you are saying, but you could apply the same arguments to microphones. I'm sure you have a range of different mics, and some mics work well with some sources and not with others, but sometimes you'll put up one mic certain that it will do the job and then discover that actually a different mic works better in that scenario... It's the same kind of deal.

hugh

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Not really the same Hugh.

I know that the source material will dictate the mic used and even, if we want to be pedantic, the pre, mixer et al.

But that is not what we are talking about here. We are talking about a cable that performs in certain situations in certain environments, and the question that needs to be asked is 'Can it perform universally and consistently with the same setups for different people in different environments?'

If we have no idea whether FRI or any other 'anomaly' is directly related to the 'sound/presence' of the cable, then how do we know that using the exact same equipment, mic, pre etc., but in a different environment would yield identical results?
That is my problem.

The other problem I have is that, for example, you love the 'sound' this cable produces, so you mainline your booth remotely to your control room with 10 metres of this cable, you plug the mic in during a paid session and absolutely nothing magical happens.
Do you, unlike a mic, remove the cable from the chain and fit it with another (assuming all other channels are taken up)?
What do you tell the paying band?

'Sorry guys, wrong cable'. (dik looking syndrome)
'Sorry dudes, cable's magic's gone.' (bigger dik syndrome)
'Sorry peeps, hang in there while I change this cable. (total dik syndrome)

I am not entering a diss debate here, but unless the cable performs universally and identically every damn time with a certain setup, then I am not convinced of it's consistency.

The argument of 'It's only £30, so chill' is a weak one. This £30 changes dramatically if you need 10 metres of it or many shorter lengths.
It does matter.

I would love this cable to perform the same every single time, even on specific equipment, but if we do not know what influences it then how can we be certain that the environment itself is not a huge influence?
Because if it is, then that will change the minute you change location or add existing mainline cables to the environment etc..

Of course, I could be pissin' in the wind and this cable is the next wonder product, but before I go spending money on metres of this cable I would like a little insight into what the influences are.
I run a commercial business that houses a commercial studio and for me it is not about a foot odf this cable, so cost and reliability factor in heavily.

For others it might be different.

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Samplecraze
Stretch That Note

Quote Zukan:

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before I go spending money on metres of this cable I would like a little insight into what the influences are.

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Only one way to find out Zuke and that's try one out yourself!

Also I think the swapping cables situation needn't be quite as negative as you've made it look. I mean, there's absolutely no harm in swapping one mic or pre-amp for another during a session if you feel it will be beneficial for the recording - I'm sure we've all done this at some time or another, it's normal session procedure. I can't see that this would be too different with a cable apart from the funny looks you might get from folks who are blissfully unaware of what you have established, ie that it might work much better.

hey 0vu, any links for "strange little Japanese blocks " - i can't even imagine what to google for.....

I hear you James, but if your studio is wired up and you are working remotely, it might cause issues.

I think you're spot on with 'Try one'.

I think I will go down that road.

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Samplecraze
Stretch That Note

I remember you could get 'bricks' made of laminated steel, (nicely finished with wood) as found in transformers, that you put onto HiFi equipment, which was supposed to 'soak' up stray RF and what-not, etc, et al. . . .

G

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PA stuff on FB

I'm enjoying this thread and I'm tempted to try one of these cables now.

One quick question - would it be possible to get the best of both worlds from the RF interference/cable capacitance trade-off by running your unbalanced cables through the centre of some earthed metal trunking? That is to say that the cable is separated from the trunking by a certain distance by, say some foam cladding? If that would work it seems like it might be a good compromise.

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'These are my principles and if you don't like them...well, I have others' (Groucho Marx) www.ownlittleworld.net/tunes.html

Quote Zukan:

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I know that the source material will dictate the mic used and even, if we want to be pedantic, the pre, mixer et al.

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Your world is a little more predictable than mine, then Can you really say you've never put up a mic or selcted a mic pre or compressor that you thought would be ideal, only to find it not quite to your liking and so have had to replace it with something brighter/darker/tighter or whatever? I know I have...

Quote:

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But that is not what we are talking about here. We are talking about a cable that performs in certain situations in certain environments

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Perhaps we should qualify this a little better. I personally, have found some inconsistency in using these cables for line level connections. However, most other users -- especially those using them for the more carefully defined mic to mic-pre interfaces -- seem to find them completely consistent. So while I remain a little confused about the whole thing, plenty of others find them a reliable and worthwhile improvement. Indeed, Dirk Brauner, who is no fool, believes in their beneficial properties to the extent that he is including them with his mics now... and that adds to his costs rather than improving his profits !

Quote:

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If we have no idea whether RFI or any ther 'anomaly' is directly related to the 'sound/presence' of the cable, then how do we know that using the exact same equipment, mic, pre etc., but in a different environment would yield identical results? That is my problem.

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Mine too -- but we are both wearing our cynical engineering hats. And the difference between us is that I have actually heard a distinct difference that seemed to be beneficial when using this cable. So I'm approaching it from the, "I heard a difference and now I'm trying to explain it" while you are doing the entirely sceptical naysaying.

I agree that the apparent inconsistency I have experienced is frustrating and limits the practicality of the cables for some of us until its properties are better defined... but I am reasonably convinced that these cables can 'improve' the perceived sound quality in some situations, and we just need to define what those situations are, rather than poo-pooing the idea out of hand.

Quote:

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The other problem I have is that, for example, you love the 'sound' this cable produces, so you mainline your booth remotely to your control room with 10 metres of this cable, you plug the mic in during a paid session and absolutely nothing magical happens.

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Does that really matter? Sometimes I'll put a mic up in front of a vocalist and something 'magical' happens when we record a take. Sometimes that magic simply isn't there. Does that mean I shouldn't have invested in my expensive mics that I know, sometimes -- in the right conditions -- can deliver magical results?

Quote:

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What do you tell the paying band?
'Sorry guys, wrong cable'. (dik looking syndrome)
'Sorry dudes, cable's magic's gone.' (bigger dik syndrome)
'Sorry peeps, hang in there while I change this cable. (total dik syndrome)

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The degree of 'dikiness' is only what you perceive it to be. If you can get the results using wax string and paper cups, what does the band care? Most band members wouldn't know what you were changing anyway!

Quote:

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I am not entering a diss debate here, but unless the cable performs universally and identically every damn time with a certain setup, then I am not convinced of it's consistency.

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I'll not argue with you -- maybe others who have had more consistent results will. I just think you are placing a little too much emphasis on this supposed sonic consistency. I don't think such a thing exists when we are talking about different musical sources.

The EQ or compression settings you used on a drum track yesterday won't be the same as those settings you use today. The position of a mic in front of a vocalist yesterday may well be different from the optimum position today....

Quote:

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I would love this cable to perform the same every single time, even on specific equipment, but if we do not know what influences it then how can we be certain that the environment itself is not a huge influence?

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Sure... but on the other hand, unless we go into this with a completely open mind and try using the cable for ourselves, how will we learn which situations it works well in and those in which it makes little difference? Dissing the whole idea is hardly constructive.

As I've said repeatedly, I'm not trying to be evalgelistic about this. There are a number of issues about it with which I still have problems... but the fact remains that in what appeared to be well controlled and fairly exhaustive experiments, sonic benefits were clearly heard by myself and several other people, and many others have found similar results in completely independent trials and tests... None of us can fully explain it, but we all heard it! That makes me feel uncomfortable, but fascinated and determined to learn more.

Quote:

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before I go spending money on metres of this cable I would like a little insight into what the influences are.

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But that's precisely what I'm trying to find out!

Hugh

Well, I will now attempt to be open minded and I think testing the cable is the only way of knowing whether the consistency will show up or die a death.

I am not against 'things that sound great for no apparent reason' type of arguments as I own items that improve the sound of a device for no apparent reason.
But the difference with these types of 'items' I own is that they display consistency in any environemnt using the same set up.

I will try to test these cables and see if I can replicate the same results using the same gear but in different locations, as there does not seem to be any technical tests we can perform at the moment to validate or even to give a name to the effect being talked about here.

Tech hat off and general 'I am joyous to be alive' type of attitude has now taken place.

So, that leaves one question: 'Do these cables come in varying lengths or do I have to make one up?'

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Samplecraze
Stretch That Note

Sings... "So, you got a Vovox microphone cable.... that don't impress me much, uh uh ah ah ah, so you got the lead, but have ya got the...."

How much are they? Someone said £70, did they not? I hope you get at least 200 metres for that money.

Quality cables are significant items in any studio that intends to record music to the highest quality, but there is a limit.

I'm sure they are good cables, at that price they ought to be, apologies if they are not that expensive.

Sung to which tune?


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Samplecraze
Stretch That Note

Need you ask? Shania, innit? My ex.

I don't listen to Shania.....

I watch her, but never listen to her..

So, why did she dump you?

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Samplecraze
Stretch That Note

I dumped her.

Not what she told me this morning as she was getting dressed.


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Samplecraze
Stretch That Note

Quote Zukan:

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Not what she told me this morning as she was getting dressed.

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That must have been just before she showed up at mine wanting some proper lovin'

And I wondered why she smelt of kebabs.

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...rubbish at words 'n' stuff.

We ethnics like to keep our stringed vests on at all times.

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Samplecraze
Stretch That Note

Beeing a sceptic is difficult at times. Here persons I trust say that things make a difference, that really should not matter. Hmm!

Just maybe someone could make some test recordings here. I sort of think that if the difference can be heard on a normal 16bit 44.1kHz wave file, I will gladly pay for it. If not, well, some other time.

If they do make that kind of difference on a line level signal it should be really easy to run a mono signal down the two channels of just about any sound card.

If the "magic" only happens when connecting microphones, it might be a bit more difficult, but still doable. Two mics close, a cable, two channels. I know, the mics will not catch exactly the same thing, but run for a while and then swap cables.

If the "magic" only happens in situations which could not be checked by listening to the wave files (in random, double blind tests), well, not this time then.

Gunnar

Quote ghellquist:

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Just maybe someone could make some test recordings here.... Two mics close, a cable, two channels. I know, the mics will not catch exactly the same thing, but run for a while and then swap cables.

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Done it. I considered posting my own test files but I realised that as this particular product can behave differently depending on where it is connected and to what I feel my own test in my own studio will be largely irrelevant to other people's circumstances. You will certainly hear a difference in my test files but this sort of difference may not be the same as in your studio.

If you're genuinely interested, why not try to arrange a test yourself? It's really the only way to make your own mind up about this.

I have tested so many cables over the years and they do sound different; clearly if you have a really good preamp and speaker you will hear more of the difference. I can totally understand wanting to know why somethings are different or better but do not measure different or better. What I do not understand is why people say that if it does not measure better then it is not. The new Maserati has less power to weight ratio than the BMW M6 yet is quicker round the track, no point in arguing that it isn't because it is less powerful - but it is great fun to find out why, esepcially if you go for a test drive. Somethings defy logic. Like me preferring and buying a brand new Boxster over a three year old 911. Now I know that the 911 is faster amd more iconic and has more street cred but the Boxsetr is more fun to drive - and so it is with cables, and guitars and synths etc etc etc. why not test drive some cables with your ears only, ok and an amp and speakers and a sound source?

I purchased a Brauner Phantom mic which of course came with the Vovox cable. I liked the feel of the cable, and the quality I felt with the cable to the connector. I did a A/B/C test against a standard cable, and the Blue Dual 22 AWG cable.. My test was on a vocal track going through my Portico pre into my Rosetta 800 into Cubase. I found the definition with the Vovox cable to offer the best sound out of the 3. I don't know why it sounded better. I had my wife also listen and she came to the same conclusion. So I ends buying a 2nd Vovox cable for my studio as well. I had no noise or interference with the cable at all. Any new cables or replacement cables I will buy will now be Vovox. I was convinced.

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revelationsoundstudio.com

Quote Glenn Bucci:

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I purchased a Brauner Phantom mic which of course came with the Vovox cable. I liked the feel of the cable, and the quality I felt with the cable to the connector. I did a A/B/C test against a standard cable, and the Blue Dual 22 AWG cable.. My test was on a vocal track going through my Portico pre into my Rosetta 800 into Cubase. I found the definition with the Vovox cable to offer the best sound out of the 3. I don't know why it sounded better. I had my wife also listen and she came to the same conclusion. So I ends buying a 2nd Vovox cable for my studio as well. I had no noise or interference with the cable at all. Any new cables or replacement cables I will buy will now be Vovox. I was convinced.

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Blimey GB,

Now that's less of a thread revival: more of a thread resurrection!

Reg

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Google less; read more!

No doubt he was caught out by the mysterious 're-ordering forum index' bug that crops up from time to time.

Just wanted to say a lot of very interesting reading in this thread guys! I have made many notes

I am also in the very sceptical camp and think this..
"Insufficient suppression of RFI can also result in more subtle signal degradation. RFI which enters the signal path, even at
very low levels, can cross-modulate with ultra-sonic harmonics of the desired signal in downstream amplifiers, producing
subtle in-band artifacts usually called "distortions". Jensen and Sokolich called this phenomenon "spectral
contamination".[3]" Taken from a paper by Bill Whitlock of Jensen Transformers (a goldmine of sense and reason in matters of signal transfer)should be considered.
Is it not perhaps possible that these subtle artifacts are interpreted as "better" in much the same way as valve distortion or the "Aphex Effect"?

The "it sounds better so what is your problem" (dude!) faction are merely a distraction to the debate. I think Bach is "better" than Punk regardless of the fidelity with which they are reproduced (i.e. I will listen to pretty ***t G. Gould but not even the most audiophooled Sex Pistols!).

What are needed are differential tests, "straight with gain" al la Quad. They threw up some VERY interesting results for power amplifiers decades ago.

Re the source of the copper for all these "super" cables. Has any reviewer ever sent a sample off to be analysed?

Dave.

Edited by ef37a (04/03/12 07:02 AM)

I don't care either way at those prices.

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PA stuff on FB