Cables course, part 2: speaker cables in detail
25.7.2018
Translation: machine translated
In the first part of our series on audio cables, we looked at the general basics of high-fidelity cable technology. In the second part, we take a closer look at loudspeaker cables.
With our series on cables, we're hitting a very hot spot in the high-fidelity field. There are some who spend astronomical sums on top-of-the-range connectors to get the most out of their systems. Others don't give a damn about the cable frenzy. As I wrote in Part 1, I believe that improving the sound of a hi-fi system means first and foremost optimising the position of the speakers and the acoustics of the room, not buying overpriced top-of-the-range components and accessories. Only then is it worth thinking about cables.
What type?
The best place to start is with the speaker cables. In my experience, it's better quality cables or, more accurately, more suitable cables that will deliver the desired improvement. In a hi-fi system, there are electrical cables, known as LF or small signal cables (eg. between the CD player and the amplifier), digital cables, phono cables (from the record player to the amplifier or preamplifier) and the famous loudspeaker cables. Over a distance of three metres in most cases, these have to carry a fair amount of voltage and current as well as a hell of a mix of frequencies. In addition, the outputs of the amplifier's final stages and the inputs of the loudspeaker or its crossover form two interfaces which, depending on the type, show quite significant differences in electrophysics.
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In Part 1, we highlighted that there are complex interdependencies between parameters or, as the experts say, propagation constants such as inductance, capacitance or resistance. So there may be amplifier/loudspeaker combinations in perfect harmony with one type of cable rather than another, even a more expensive one, where the sounds they let out are soft and listless.
This is annoying. It's annoying: there's no such thing as the best cable or the ideal cable. When in doubt, there's only one possible remedy: try different cables.
Most cables are copper, for good reason. In terms of value for money, it has the best electric current conduction characteristics. In this context, too, the question of purity comes up again and again - how much oxygen and other foreign substances are still in the copper. Some manufacturers boasting of their oxygen-free copper (OFC) indicate a level of nine decimal places, which is very tricky given that it is already very difficult to obtain five decimal places. In any case, to avoid falling for the (advertising) hoax, you'll need to analyse the crystal structure yourself using a scanning electron microscope. During a visit to Vovox in Kriens, I was amazed at the differences that exist. Director Jürg Vogt is, among other things, a materials expert. As it is highly unlikely that you will have such a microscope, I would recommend that you interpret the expressions "high purity" or "pure crystalline" with caution.
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A small number of specialist market-leading companies (today notably in China, but there are still steelworks in Europe and the USA) actually supply most cable manufacturers, who therefore have little influence over the purity of their raw material. The question of at what degree of purity the differences in Hi-Fi technology become academic is controversial. It's the transformation that counts. Here, the mechanics and other factors play an important role: does the supplier use a continuous solid core or, as in most cases, does each conductor consist of a large number of individual conductors, known as wires? Are the individual conductors arranged in parallel, twisted around each other or cleverly intertwined? In this intertwining, do they maintain an arbitrary or defined spacing, are they pressed tightly against each other or not? All this can impact and even contribute or not to the harmony between the loudspeakers and the amplifier.
There are also copper cables with a higher or lower silver content. Even some very expensive pure silver cables are available. Silver has a slightly higher EC value than copper. Electroconductivity is a physical quantity that describes the electrical conductivity of a substance. Of all the metals, silver has the best value, followed by copper, but silver is also much more expensive.
Serious manufacturers do intensive research to find the best geometry, and the insulating material also has its part to play. A master's thesis at ETH Zurich would certainly not be enough to list all the approaches and solutions. Poor consumers are told a lot of stories, even fairy tales. That's not our intention here. Try it yourself.
Because THE solution doesn't exist: beware of all those who promise you miraculous solutions. Instead, trust the retailer who, from a certain price level, it goes without saying, allows you to try out several types.
No more sheet metal decks
What you can already do beforehand: inspect your speaker connections. It used to be that you'd find a pair of female connectors there (with the designation black/red or minus/plus). Nowadays, you'll often see two pairs for bi-wiring (more on this below). On delivery, the pairs are often connected with inexpensive sheet metal bridges. Get rid of them as soon as possible and replace them with small cable bridges. If you've thought of a certain type of cable, make sure they match. If the sockets are close enough together, you can also insert the insulated ends of the positive and negative poles into the "plus" and "minus" connections respectively. Do not cross the cables. You will short-circuit the amplifier or even destroy it.
By the way: if not, always - for both stereo speakers! - make sure that the positive pole of the amplifier is connected to the positive pole of the loudspeaker. Otherwise, you'll get fuzzy bass and hesitant balance.
Barrettes or bananas
I would advise against "loose" cable ends. Copper reacts very quickly to airborne oxygen and forms a patina with low conductivity. That's why two types of connector have become popular for both amplifiers and loudspeakers: semi-circular 'bars' (also known as 'spades') and rod-shaped 'bananas'. They come in many shapes. Gold-plated, brass-coated, hollow or solid, soldered or crimped. In particular, check the finish of these connectors. Many amplifiers and loudspeakers allow both variants - to be sure, take a look at them and ask your dealer to make them to suit your needs. There's no point arguing about which is better (in my opinion, the best connector is Neutrik, which in any case was first established in the professional sector). On the accessory market, there are many adapters between the strip, the banana and a thin wire for older amplifiers or loudspeakers. Adaptation should pose no problem. In the long term, I advise you to aim for a direct connection if possible because of possible electrical contact resistances.
Single or dual wiring
Nowadays, most of today's Hi-Fi and high-performance loudspeakers have separate connections on the outer side for bass and mid/high frequencies. The two zones can then be connected with separate speaker cables (bi-wiring) or even amplifiers (bi-amplification). Tri-wiring and tri-amplification are rarer, but they do exist. You can argue about whether they make sense or not, but it's primarily a question of cost. Only hi-fi fans who are keen to try something new should try to control frequency ranges with different cables. What pleases at first often becomes annoying in the long run with an inhomogeneous sound. Over the years, I have repeatedly found that the best sound is obtained with a single cable (simple cabling) and proper connection of the fittings to similar cable bridges. Alternatively, use a cable that has already been adapted internally for bi-wiring and contains four wires. Good vendors offer a variety of products. Ordering separately is only worthwhile for a few very elaborate crossovers, but mostly with the same cable or cable type.
That said in passing: it may be far more advantageous to ask a dealer or manufacturer equipped for the purpose to modify the speaker's internal wiring. Let's not forget that the speaker alone contains several metres of cable. However, this is an option to consider only for expensive loudspeakers, as the work, carried out e.g. by crTech / Rohrer HiFi in Toffen, is quite expensive.
And how much does it cost?
Here we come to the crucial point. You can spend between zero and 10,000 francs per metre of speaker cable. Zero, if you use the cheap wires supplied, re-use an old cable or get a suitable cable free from the retailer when you buy a speaker (of course, only for a certain sum). A five-figure sum if you want an exotic cable in even more exotic equipment. Apart from the free supply of a cable with the purchase of a speaker, we advise against the other options.
Count between 5 and 20 per cent of the price of a loudspeaker. So, for a loudspeaker that costs 1000 francs apiece, the cables for a pair of drivers will cost you between 50 and 200 francs. This is, of course, only a general rule. The author has already tried a number of hyper-charged cables and was delighted with them, but it all comes down to the top end of the scale. For normally responsible hi-fi fans, significantly smaller investments can already bring a lot of improvement.
But, I repeat (it can never be said enough): first install the speakers correctly, then adapt and optimise the room acoustics as possible. Then check whether the standard version of the cable (which may be on loan) is not sufficient. The standard version is equivalent to two times three metres with connectors. If so, ask the retailer (from whom, it goes without saying, you will then buy the cable of your choice) to lend you two or three different types. And may the best man win.
In the next issue, you'll learn how to do a cable hearing test at home. You'll also get a bit of information about the other cables in a chain.
It's all about the cables.
I have been a journalist in the audio industry for over 30 years. I have a reputation as an avid music lover, a die-hard analog fan and an uncompromising critic of speakers. This surely has something to do with my lamentable attempts to play violin and drums beyond amateur status. For a while I lived and worked in Switzerland, my favorite country, where I love to return.
