DO CABLES AND WIRES IMPACT TONE?
A PRODUCT COMPARISON TEST
By David C. Stephens
Many of you are probably familiar with the continuing arguments among audiophiles about the sonic differences between various component interconnects and cables. I’m not sure when it started. My first recollection is when I noticed Monster Cables’ claims that its speaker cable was sonically superior to “zip” cord commonly used to connect loudspeakers to power amplifiers in home stereo systems. My initial reaction, like many, was that simply using a heavier gauge wire would equal the benefit of paying for a much more expensive “special” wire from Monster. So, I switched from generic zip cord to generic heavy-gauge wire and smugly assumed I’d reaped all the rewards possible from speaker wires. (After all, my system did sound better, at least louder).
Years later (in the mid-eighties), having been influenced by publications such as The Audio Critic, The Absolute Sound, Stereophile and the old Audio Magazine, I found myself with a very nice Bryston stereo system with Kimber Kable as speaker cable. My Bryston dealer talked me into trying the Kimber Kable. Amazingly, when I replaced my 12-gauge generic wire with the seemingly lighter gauge Kimber Kables, the sound of my system improved. Kimber has published White Papers explaining how the braiding of the wires, oxygen content of the copper and a number of other factors can impact the sonic signature of a cable or wire. I don’t understand it, but I clearly witnessed an improvement in my stereo system’s sound.
This cable madness has been carried to the nth degree in the audiophile world. You can easily spend thousands of dollars for a very short run of speaker cable. If you choose, you might spend hundreds of dollars on interconnects between your components. The merits and demerits of these products are much discussed. You can imagine that people spending mega-bucks on such equipment might become quite defensive if someone were to question their investments. Manufacturers and reviewers spend much energy defending their products and reviews. The readers’ mail in most audiophile magazines makes for some spirited and interesting reading. Of course, the Internet discussion groups can carry the volume of this discussion to whole new levels!
My objective here is not to stir up a new debate among guitarists. Instead, I’d like to point out the differences that I’ve heard between various cables and wires. Hopefully this review can help many to decide whether or not they would be happier with high-end cables for their guitars and amps.
Congested, hard, nasal, honky, hooty, strained, harsh, hashy or veiled are all words that describe the sounds of lesser performing cables. Sweet, open, clear, crystal-like, natural or smooth are some words that describe the best sounding cables. The same characteristics can be used to describe the differences between guitar cables and speaker cables. In fact, I’ve found that these descriptors apply to just about any audio equipment that I’ve heard. I’ve found that cables fit in a continuum ranging from very sweet, clear and open being the best to very hard, honky and nasal being the worst.
Compared to “lay people”, I’ve noticed that guitarists and other musicians seem to have less trouble hearing the differences that we are talking about here; however, I’ve met and corresponded with more than a few musicians that think this whole area of wires sounding different is pure voodoo and fabrication. Most guitar players seem to fall somewhere in the middle, easily hearing the difference between the best and the worst, but not being so clear about the middle performers.
In my experience, differences in cables can be heard with almost any amplifier, but it’s easiest to hear the subtle differences with equipment that has extended frequency response. For this comparison we used Acoustic Image’s exceptionally flat responding Clarus 2R to drive a Raezer’s Edge Stealth 12 ER (“Extended Range”) cabinet, with an adjustable tweeter crossover and attenuator. This combination has truly extended frequency response, reaching up to 20 kHz, rather than rolling off at 3 kHz, like most guitar amplifiers and speaker combinations. Some will insist that a guitar cannot possibly sound good through such a clean “hi-fi” setup, but I’ll argue that it can sound incredibly good. If you like the natural sound of an acoustic archtop then you should like the sound of this setup. I like the tone with either fingers or pick, but finger-style really seems to accentuate the natural tone and clarity that the Clarus/Raezer’s Edge combination can produce.
The primary guitars used for this comparison were my Custom Heritage Golden Eagle, strung with round-wound Thomastik-Infeld strings and Tom Gentry’s wonderful Megas Athena solid-body, strung with flat-wound T-I’s. Interestingly, Tom found it easiest to detect differences when we used his guitar and I found it easiest when we used my guitar. I believe this demonstrates that no single setup is best for making these comparisons, but it’s best to use a familiar setup.
The candidates follow alphabetically. The prices quoted are suggested retail prices. Some are available at discounts and some are not. I indicate when I’m aware that discounts are available. Note that the Acoustic Image Clarus 2R amp has Neutrik Speakon output connectors, so all of the speaker cables had at least one Speakon connector or I used my Speakon to phone jack converter.
Our stock reference was the 14-gauge cables provided by Acoustic Image with their Clarus 2R amplifier. Although AI isn’t in the business of selling cables separately, they’ll sell you one of these cables without an amplifier for $25, plus shipping. No discounts. Reviewer owned.
The Alessandro Amp 2 is a 4-conductor solid 17-awg long-grain copper speaker cable, costing $49.95 for a 3-foot length. Sometimes discounted. Manufacturer loan.
The Alessandro Amp Pro is a 4-conductor solid 15-awg “functionally-perfect” silver speaker cable, costing $259.95 for a 3-foot cable. Sometimes discounted. ”Buddy-owned.”
The Audioquest Slate is constructed with “Long Grain Copper” in a large “Circular-Array Hyperlitz” construction. My guitar-buddy and review compadre Tom Gentry, using high quality silver solder and Neutrik connectors terminated the review samples. We compared two Slate cables, one with two Speakon connectors and one with ¼” phone plug on one end and a Speakon connection on the other end. I haven’t listed a price because these cables were “homemade” by Tom, having purchased the cable in bulk from a discounter and adding the terminations himself. For those inclined toward do-it-yourself projects, you’ll probably have sources to figure this out for yourselves. The savings can be substantial. Reviewer and “buddy-owned”.
ProCoSounds Fat Max is an 8-gauge cable consisting of four 11-gauge conductors and high quality, proprietary, gold plated terminations. This is the least flexible of the speaker cables sampled. I purchased mine at Guitar Center for $39.95 a couple of years ago. They’re available direct from ProCoSounds with custom terminations. Reviewer owned.
Monster Cable makes a speaker cable with proprietary, gold-plated ¼” jacks and a flexible, black jacket. I bought my three-foot version at Guitar Center for $19.95 a couple of years ago. Monster’s website says that the Performer 500 cable has “Special Time Correct” windings for accurate music reproduction and “Magnetic Flux Tube” for improved bass. Reviewer owned.
I also tried a light-gauge extension speaker cord that was provided by Polytone with a MegaBrain head. I don’t think it’s available separately. Reviewer owned.
The Polytone cable was, by far,
the worst of the group. It was hard, harsh and nasal sounding and it greatly
reduced the dynamics of the speaker. This cable was at least twoan
orders of excellence worse than the stock Acoustic Image cable, probably worse
than that. If the best sounding cable was a “10” and this cable were worst at
“1”, then the next-worst cable was at least a “5” or maybe even a “6”. There’s
no reason to seek out one of these and just because it comes free with your
Polytone amp doesn’t mean that you have to use it. Parts like these may be what
gave solid-state a “bad name.”
As I said, the next level of sonic performance was several degrees better than the Polytone. The stock Acoustic Image cable has good dynamics. It suffers only in comparison to the best cables. When compared to the best, the AI has a little bit of hard edge to its tone and it’s slightly nasal sounding. As I said before, this wire is several times better sounding than the Polytone.
The Fat Max was a bit of a disappointment, coming in no better than the stock Acoustic Image. Perhaps in high-current applications, such as driving a bass cabinet, it might shine better. However, for guitar it’s no better than the AI. Like the Acoustic Image, it’s not really “bad” sounding, but it costs considerably more than the AI cable. Besides costing more, it’s the least convenient cable reviewed because it’s fat and stiff. If quarters are tight behind your speaker cabinet, then you’ll have a problem with the Fat Max.
The Monster Cable speaker cable is a no-nonsense, medium-gauge, three-foot cable with nice gold-plated connectors. Unfortunately, it too was no better than the stock Acoustic Image cable. Still, at its $19.95 list price, the Monster turns out to be the “best buy” in the medium quality group.
There’s a considerable jump in performance from the Fat Max, Monster Cable and Acoustic Image to the three top contenders. On my scale of “1” to “10”, the top three cables are all within the “9” and “10” range. In this rarefied range, the amount of break-in can be heard and could, potentially switch a ranking. With this in mind, all candidates were broken in with a couple of weeks of playing and constantly being plugged into a powered amp and guitar. Still, we could hear a difference between the two top-rated Slate samples, which I suspect is due more to the break-in of one sample.
Rating a 9.5 out of 10, the Amp Pro was the runner-up in this comparison. That makes it the top performing commercially available, ready to play cable. The top-rated Slate was custom-built by my buddy Tom. The Amp Pro was clear as crystal and detailed, without any harshness. I can’t begin to explain how the construction results in audible superiority, but my ears say that it does. This is an excellent cable in all respects. It’s flexible, well made and great sounding.
A very small step down is the Alessandro Amp 2, which I’d rate at 9 out of 10. Unless you’re soldering-inclined, that actually makes this the “best buy” of the high performance group. Though not cheap, it gets you into the upper echelon of speaker cables at a price point that will not embarrass you to admit in mixed company.
I’ve already let it slip, the “10” of the comparison was the Audioquest Slate. This was the sweetest, cleanest, purest sounding cable that I’ve ever heard. It’s dynamic, open and natural in every way. I don’t know what else to say. Unfortunately, to enjoy it, you’ll have to make your own. Be sure to use solder with high silver content and Neutrik connectors.
The two versions of the Slate didn’t sound exactly the same. One was slightly sweeter than the other. There were differences in the connectors, but I suspect that the best sounding cable was actually the one that had been broken-in the longest. We did our best to break in all cables at least forty hours, but the favorites inevitably got the most use. Also, Tom had constructed his first Slate several weeks before the comparison.
The Alessandro Instrument Two is a double-balanced silver plated long-grain copper conductor guitar cable priced at $99.95 for a 12-foot version (sometimes discounted by the manufacturer), This cable uses Switchcraft ¼” plugs for termination and is fairly flexible. Sometimes discounted. Manufacturer loan.
George L’s offers three instrument cables, a .155” low capacitance cable with their famous original solderless ¼” jacks, a .225 version with slightly larger jacks and the .155” “Vintage Red”, with raw brass, large ¼” jacks. The factory-direct prices for ten-foot, pre-packaged lengths cost $21.50 for the .155”, $23.50 for the .225” and $23.90 for the Vintage Red. These are often discounted. For example, I purchased my first twenty-foot, .155” George L’s direct from Mona Lewis at a steel guitar show for $20 for. All review samples are reviewer owned.
Klotz guitar cables are assembled and marketed in the USA by Kendrick Amplifiers. Kendrick uses German-made ultra-low capacitance Klotz cable and Neutrik ¼” male connectors. A 3-meter version costs $49.95, direct from Kendrick. We also had two 20-foot versions of this cord that are available for $69.95. Not normally discounted. Manufacturer loan and “buddy-owned.” Klotz cables are available direct from Murch Music in Canada as well.
Monster Cable’s Performer 500 Monster Jazz Instrument Cable is $44.95 for a 12-foot cord. This cable features gold plated, proprietary ¼” plugs and a nice, flexible outer jacket. Sometimes discounted. Reviewer owned.
The Spectraflex Studio Quad is a cloth-jacketed cable using proprietary ¼” termination with a flexible strain relief built into the plug. Mine was $50 when I purchased it several years ago. Reviewer owned.
Bottom-of-closet, no-name Candidate One is cloth-jacketed with Neutrik connectors. Its cost cannot be recalled. “Buddy-owned.”
Bottom-of-closet, no-name Candidate Two has a flexible rubber-like jacket and decent looking Switchcraft ¼” connectors. Its prices is also unknown, but cheap. “Buddy owned.”
No surprise, the bottom-of-closet, no-name Candidate Two was, by far, the worst sounding of the guitar cords tested. It was harsh, hooty, honky and changed the nature of the guitar’s sound. Put this thing in the chain with a crummy amplifier, poor speaker cable and wonderful guitar and you’ll be wondering why any one would buy a custom archtop guitar. A Benedetto will not sound like a Benedetto with one of these things in the sound-chain. If you’re going to spend mega-bucks on a custom or vintage guitar, or even if you’re just planning on a modest, well set-up budget guitar, you owe it to yourself to avoid this kind of trash.
Candidate One shows that you don’t have to spend mega-bucks to get a decent sounding guitar cord. This cord heads up the middle ground, sounding almost as good as the Spectraflex, Monster and George L’s inhabiting the middle ground. I’d rate this cord a 5.5 out of 10.
The Monster is the next step up the sonic chain, coming in at a 6 out of 10. This cable actually darkens the tone, apparently in an attempt to make the sound more “jazzy”. I’d prefer to dictate the character of my sound with picks, strings, pickups, etc., but this is a legitimate approach to shaping a jazz sound. The Monster darkened the sound without adding harshness.
The Spectraflex had more clarity than the Monster and no added darkness to the resulting tone. This cable has nice flexibility and the vintage-look cloth jacket that many like. Other than the tonal difference (the Monster is darker), I rate the Spectraflex and Monster the same, at a 6.
The George L’s used to be my reference standard. They come in at a 7 rating out of 10 and clearly surpass the rest of the mid-pack cables. Interestingly, the George L’s all sound the same to me. The differences between the cables all seem related to the jacket material and appearance with no significant performance difference. The .155” versions get twisted and tangled more easily than the .225” version. If I had to settle on just one George L’s, I’d go for the .225” version.
The Alessandro Instrument Two is the runner up of the top echelon of guitar cables in this comparison. I rate it a 9 out of 10 on the sonic scale. Its tone is crystal clear and open. The improvement from the George L’s to the Instrument Two is substantial. I did not consider pricing in the aural rankings, but the Alessandro’s relative high list price works against it for someone considering a purchase.
The top ranked Klotz guitar cable rates a 10 out of 10 in this comparison. Its lack of coloration and almost complete neutrality set it apart in the test. The Klotz also behaves well physically by coiling easily and connecting solidly to the guitar and amp. Those of you accustomed to using free guitar cables or those under $10 will think that I’m crazy to think of a $69.95, twenty-foot Klotz as a best buy, but I’ll be ordering one as soon as I finish writing this comparison. It will now become my reference of how a guitar cable should sound and perform.
I hope this is helpful to many. I’m also hoping that those who think that all guitar cables and speaker cables sound the same will continue to be happy with their current cables. I don’t need any flames; so don’t seek me out to straighten out my thinking. I just trust my ears. I’ve been an amateur musician for about forty-three years and, although I may not be the greatest guitarist in the world, I think that my hearing can be trusted.