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Thread: CABLES

  1. #51
    MartinT Guest

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    My tuppeny's worth. I use only one brand of cable: Kimber. I have used them ever since buying some 4TC speaker cable about 20 years ago which did wonders over the QED 79 stand I'd been using until then. Now I have some pretty esoteric (and expensive) Kimber Select hybrid silver/copper cables for my balanced interconnects and speaker cables.

    Why do I use Kimber? Their cables have a homogeneous and complimentary sound encouraging you to keep to the same cable type throughout. I once tried Nordost and couldn't get on with it at all; not a comment on Nordost as such, but a strong validation that cables are synergistic and complimentary to a system. I also know that Kimber make all their own cables in-house and invest heavily in R&D. Ray Kimber speaks sense and appears to have a great understanding of what makes cables work.

    Ultimately, I use Kimber cables because they sound better than any other brand I've tried and because they don't get in the way of good system performance. Yes, they're expensive but I've bought slowly over the years such that I now have a full set.

  2. #52

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    I liked the Kimber KCAG interconnect very much.

    Now I use Transparent , partly because of their ( and the AS dealer's ) very good upgrade policy.
    Hans

    MBL 1531 -> Allnic L-4000 -> Audiolab 8000S used as power amp only -> Quad 2805. Cables: Transparent Ultra

  3. #53
    Join Date: Jan 2008

    Location: Wrexham, North Wales, UK

    Posts: 110,012
    I'm AudioAl'sArbiterForPISHANTO.

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    Why do I use Kimber? Their cables have a homogeneous and complimentary sound encouraging you to keep to the same cable type throughout. I once tried Nordost and couldn't get on with it at all; not a comment on Nordost as such, but a strong validation that cables are synergistic and complimentary to a system.
    100% correct. The synergy achieved by using the same cable loom (doesn't matter the manufacturer) throughout is vital in achieving long term musical satisfaction from your system.

    The fact that you're so satisfied with your system, Martin, and not chopping and changing equipment every two minutes chasing some unattainable goal, is in no small part due to the attention to detail you've paid to cables, mains set-up, and stands. Never underestimate their cumulative effect on your enjoyment of music...

    Not enough people pay proper attention to the fundamentals!

    Marco.
    Main System

    Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & reg mods]. Funk Firm APM Achromat/Nagaoka GL-601 Crystal Record Weight/Isonoe feet & boots/Ortofon RS-212D/Denon DL-103GL in Denon PCL-300 headshell with Funk Firm Houdini/Kondo SL-115 pure-silver cartridge leads.

    Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp/Denon AU-310 SUT.

    Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.

    CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.

    Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new, by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.

    Preamps: Heavily-modified Croft Charisma-X. LDR Stereo Coffee. Power Amps: Tube Distinctions Copper Amp fitted with Tungsol KT-150s. Quad 306.

    Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.

    Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.

    Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.


    Protect your HUMAN RIGHTS and REFUSE ANY *MANDATORY* VACCINE FOR COVID-19!

    Also **SAY NO** to unjust 'vaccine passports' or certificates, which are totally incompatible with a FREE society!!!


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