Mark Grant Cables - A Tale of Four Connectors!

[YNWaN]

Mark Grant Cables – A Tale of Four Connectors!

http://i62.photobucket.com/albums/h90/markemark_2006/grouppic.jpg

A few weeks ago I was chatting to Mark Grant (of Mark Grant Cables) about his G1000HD interconnect cable, This cable is custom made for Mark to his specification and is available terminated with four different types of RCA plug. The G1000HD has crimped on Canare plugs (£45), the G1500HD has soldered on Neutrik Profi plugs (£65), the G2000HD is available with either soldered on WBT Cu (copper) plugs (£195) or WBT Ag (silver) plugs (£245). In each case, the actual cable used is exactly the same, the price difference of £150 between the cables being entirely due to the cost of the different connectors used to terminate the cable. On his website (the cables are available direct from www.markgrantcables.co.uk) Mark describes the cable as being:


“A high purity copper cable, not silver or silver plated copper. The central conductor is a single solid core of high purity copper, this is surrounded by low density gas injected dielectric insulation and a dual layer shielding system consisting of two layers of dense coverage high purity copper braiding and a vibration damping translucent PVC outer jacket”

I was interested in trying Mark’s cable and he suggested that I might like to compare the effect of the different connectors – with some trepidation I agreed. Mark offered to loan me four 1 metre stereo cable pairs, each made up with the different plugs and, true to his word, a couple of days later a package arrived – stuffed full of shiny cables!

The first thing I did was to look at the quality of Mark’s manufacture. Each of these cables is very neatly constructed. Custom printed heat shrink is carefully applied (colour coded and printed with Mark’s logo and cable directionality). Mark left the heat shrink unfitted (intentionally) on one end of one cable and as a result I was able to cast a critical eye over the quality of his soldering; I was pleased to see that it was absolutely excellent – cable was neatly trimmed and the actual solder was shiny and precisely applied.

In Use

The Canare plug is a visually simple construction and most of it is hidden under the neatly applied heat shrink. The contact metal is gold plated brass and both the positive and return are crimped to the cable conductors (Mark has invested in the correct crimping tools to achieve the correct connection). In use you simply push the connector into place. However, in practice I found the connectors to be a touch on the loose side and my pre-amp, in particular, didn’t like to make a good connection unless the plugs were pulled out to just the right position. I mentioned this to Mark and he immediately offered to change the plugs, but as this was just a test I didn’t bother – when positioned ‘just so’ they did work fine.

The Neutrik Profi plug makes an altogether more secure contact. Again, the conductors are gold plated brass but the plug has quite a unique construction. The return is longer than usual and sprung loaded; this means that the return makes contact before the positive and retracts into the body of the plug as the plug is pushed onto the socket. The Neutrik’s snap into place with a very positive feel and the connection was always secure.

The WBT plugs are a very elaborate (and very nicely made) construction. Both the plugs are WBT’s finest ‘nextgen’ offerings (WBT-0110). The Cu and Ag plugs share the same construction but the CU plugs use contacts manufactured from pure oxygen free copper and plated with a thin layer of 24k gold. The Ag plugs use silver for the contact material (with no further plating).In each case the centre pin is a sprung construction and the return is an complex three point chuck (only one of the three points is actually conductive). The outside barrel of each plug screws onto the body and, in so doing, clamps the return connector firmly against the plug socket. The WBT connectors are easy to fit and, because of their precision construction, they are easy to remove (this last aspect was highlighted by some other interconnects I have that are fitted with WBT copy connectors – these were a right pain to remove and the outer barrel was very difficult to unscrew on these).

The Comparison

Well, there are a lot of potential issues with comparing connectors such as these four. In the first place, I am sympathetic to the idea that a cable is either connected or it is not, the electricity flows, or it does not; if the connection is made, what else is there to consider. Secondly, assuming the conductor does matter, doesn’t it make sense to match the same conductor materials for both the plug and the socket (and the cable too). In this case this was an investigation by myself using my system, the chassis sockets are (I believe) gold played brass (as most are). As mentioned earlier, the actual cable is un-plated copper, but even the copper WBT plugs have a thin layer of gold plated over them and the wire is soldered to the plugs – the solder used in this case has a small amount of silver content, but no copper, gold or brass. In the case of the WBT Ag connectors the electrical signal must travel along a copper conductor, through the solder alloy, then through a silver connector and through a layer of gold plate, through a brass connector, then another layer of solder and finally to another copper wire – six metal to metal transitions for just one connection! The path is hardly less circuitous for any of the other connectors (or most cables in general). Given such issues, can the plug really make any difference? Thirdly is the issue of preconception. In this case I hadn’t purchased anything and I wasn’t looking to buy anything; I was happy to find that there was no difference between these connectors……but, for whatever reason, that is not what I found.

The final hurdle is one of testing methodology. To be honest, this was a simple issue for me as I was only interested in forming my own opinion, for my own interest. I was not interested in a scientifically valid investigation into metallurgy or contact resistance etc. What I actually did was to plug each of these cables in between my phonostage and my pre-amp (the only place RCA equipped interconnects can go in my system) and have a listen – if I heard a difference I made a few notes. I did use the mute control on my pre-amp between listening to each cable/connectors and I did use the same music – I also used each cable for the same length of time in case anyone thinks that one may have benefitted from extended use at the expense of another.

The Listening

Although I have listed my findings in Canare, Neutrik, WBT Cu and WBT Ag order, this is not the order that my listening was carried out; I actually listened to them in a number of different orders so that the cable preceding the current one was different.

I must admit, I half expected to find no difference between these plugs, or at least very little. As it turned out I found some of the differences to be pretty obvious; more obvious than the differences between different interconnects often are!

Canare

With the G1000HD cable fitted with these connectors the overall sound struck me as quite ‘warm’, almost ‘sweet’. Partly I thought this was because very fine detail seemed a bit understated, or even missing. The leading edge of notes seemed softened, blunted. Bass had good weight (greater than the other plugs in this comparison) and perceived extension, but it also seemed a touch soft. Overall the music ‘romped along’ well, but I did think the soundstage lacked separation and air and, for me, this detracted from the illusion of a musical event.

Neutrik Profi

I was surprised by the Neutrik fitted cable as it immediately struck me as quite noticeably different to the Canare fitted cable. It did sound a bit ‘dry’ compared to the Canare; but it also seemed to have significantly better instrumental separation and the soundstage was wider than with the Canare’s. Bass seemed to have better focus and texture, though outright weight and extension was marginally less than with the Canare’s. On a negative note I thought the sounded a bit thin in the upper mids; male voices seemed to be more about the lips and teeth than the throat and chest.

WBT nextgen Cu

Soundstage seemed slightly less wide than with the Neutrik’s, but instruments were, if anything, even better focussed and there was a rich tonal range with good dynamic contrast. Not surprisingly, both the WBT plugs shared very similar qualities but they were not identical. The copper offerings were less obviously delineated than the silver plugs, less ‘projected’ in the mid-range; but they still had good rendition of fine detail and some may find their balance more natural than that of the silver option.

WBT nextgen Ag

The silver version of the WBT immediately struck me as having strong leading edge attack of notes. The mid-range was strongly projected and low level resolution was good. Fine detail stood out in a way that wasn’t so apparent with the other cables/plugs tried. However, the balance had a tendency to emphasis Sss sounds and I eventually found the more up-front presentation of the Ag’s a touch artificial; I could understand why some might find the Ag’s a bit ‘hi-fi’ and the Cu’s more ‘musical’. In addition, I wasn’t entirely taken with the bottom end; whilst the top was all light and filigree detail, the lower registers seemed a touch subdued. Upper bass was tight but also a bit hollow in tonal character. Lower bass was a bit lessened and ultimately a bit soft.

Conclusion

Well, as you can probably tell, ultimately I wasn’t all that taken with the silver WBT plugs (despite the fact that many consider them to be ‘the ultimate’). They seemed to shine a light on the upper-mid frequencies, but this was at the expense of the lower registers and I ended up finding their presentation impressive but rather artificial. The Canare equipped cable was OK, gutsy, but I missed the separation between instruments and overall I found it a touch veiled. I didn’t like their rather vague connection quality either. In stark contrast, the Neutrik’s made a much better connection and were also, by far, the best value. They offered most of the advantages of the much more costly WBT plugs but at a fraction of the price; if it wasn’t for their rather lean mids they would be the outright winner. As it turns out, I don’t really have a winner as such. The copper version of the WBT’s were, probably, the best balanced of all, but at a cost, and ultimately they weren’t that different to the Neutrik’s!

I was surprised by these connectors and the differences were such that I can imagine someone who liked the sound of the Canare equipped cable being rather less keen on the leaner and tighter Neutrik cable. Why these differences exist is another matter entirely. No doubt some will assure me that I’m imagining these sonic differences and that they don’t exist at all, but over a two week period of auditioning I consistently came to the same conclusions. Perhaps it is to do with the mix of metals used, the impedance of the connection, the surface finish, the force the connectors are clamped together, the dialectic – who knows. Whatever the cause of the sonic differences, my conclusion is that the type of connector used does make a sonic differences and I wonder how much of the differences heard between cables is actually a result of the way, and with what, they are terminated.

[Barry]

An excellent review Mark and very well written I must say!

Some time ago I compared four analogue cables and my approach and methodology was identical to yours: listen to a reasonably wide variety of music with each cable and randomly follow one cable with another until you have heard all the test tracks with each cable, making notes as you go along. And only do it for an hour at most at a time, to avoid listening fatigue.

Your findings are interesting in that you were listening to differently manufactured RCA phono connectors only. Also like me, you could only report how they sounded to your ears and in your system.

At this point I have to declare my interests, put my cards on the table so to speak, and declare that I think the RCA phono connector is a rather poor design; I don't like them at all, much preferring XLRs for balanced and/or unbalanced line and CAMAC connectors for unbalanced line. But, like it or not, the RCA phono has become the industry standard, and whilst the basic design has remain unchanged, the build quality has improved since the '50s by tarting up the conductors of the plug: replacing the nickel-plated copper with gold, silver or rhodium plated brass. The basic geometry of the design remains the same.

However there is one manufacturer who has attempted to ameliorate the design and reduce my criticism: Neutrik make the only connector where the return connects first and breaks last, and when fully pushed home and mated grips the socket like there is no tomorrow. It is interesting that out of the four designs, you found that overall The Neutrik was the best of the bunch.

I cannot acccount for the audible differences you heard. Since the audio signals are alternating, all discussion relating to the nature of dissimilar metals in contact and associated contact potential or diode effects, are not applicable. Also, any dielectric used in the insulation of the plug will be sufficiently good (that is have a moderate dielectric constant and low loss-tangent) for it not to be important, anyway the electrical length of the plug is just too small for it to be in anyway important.

Anyway, this is a subjective audio forum and whilst I wish I could explain or account for the differences you heard, I think we should be content and agree your comparison makes for interesting reading, with the important message that the most expensive connectors are not necessarily the best!

Again very well done!

Regards

[YNWaN]

Thanks Barry, glad you enjoyed it :).

I agree with everything you say; the RCA connector isn't inherently very well designed in my opinion either. Even the WBT's, whilst having a locking chuck arrangement for the return, still rely on a sprung centre pin. It would be interesting to see precisely how the Neutrik plugs are constructed. Whilst the return is spring loaded, it is also free to rotate 360 degrees - presumably a wiper is used to make contact with the return, unless the spring element is used as the conductor.

I also entirely accept what you say regarding the dialectic etc. I agree that there is no clear reason why these subjective effects should be heard - but, that is what I found.

I would have also quite liked to have compared the Eichmann plugs, but at present Mark does not offer these (though I believe he may in the future). I have Eichmann plugs fitted to my usuual interconnect.

[Marco]

Hi Mark,

Excellent review, and thanks for taking the time to do this. I've long believed that the plugs used on cables often have more impact on the sound than the wire itself, and having used all of the plugs in question, with Mark's excellent G1000HD cable, I also concur that there are significant sonic differences between the various plug types.

It was interesting reading your comments, as right up until the end, your thoughts on the effect of the different plugs mirrored my own, and I was thinking to myself 'it does indeed look like these plugs have an inherent 'sound'' - that was until you commented on the silver WBTs! To my ears, in my system (and indeed actually in two systems I know very well, belonging to friends) the filigree detailing and the leading edge effect with notes is definitely apparent, with the silver WBTs, but I detect none of the following:


However, the balance had a tendency to emphasis Sss sounds and I eventually found the more up-front presentation of the Ag’s a touch artificial; I could understand why some might find the Ag’s a bit ‘hi-fi’ and the Cu’s more ‘musical’. In addition, I wasn’t entirely taken with the bottom end; whilst the top was all light and filigree detail, the lower registers seemed a touch subdued. Upper bass was tight but also a bit hollow in tonal character. Lower bass was a bit lessened and ultimately a bit soft.


There is most certainly nothing "a bit soft" or "a bit hollow" about the bass in any of the systems I've heard, using G2000HDs (with silver WBTs), nor is there the effect, you refer to, of added sibilance, or really anything "artificial" about the sound at all, which leads me to assume that this is likely an effect gained when these plugs are used in conjunction with the components in your system, rather than it being an inherent sonic signature of the plugs themselves. Cables (and the plugs that they use) can often produce sonic effects that are very system-dependent.

On the contrary, my experience of Mark Grant G2000HDs (fitted with silver WBTs), in comparison with, say, the same cable, fitted with copper WBTs, is that the silver WBT-equipped cable simply becomes more revealing of the music reproduced by the system and, crucially, the sonic signature one's system imparts onto said music. Therefore, with the silver WBTs, in any system I've heard them used in, I perceive no sonic effect other than that of increased resolution.

Sometimes, however, such 'honesty' is a double-edged sword, and whilst allowing one more insight into recordings, can also highlight aspects of what a system is doing that were not apparent before (thus 'opening the window', as it were), revealing deficiencies in the process, which were masked before by cables (or plugs) with inherently less resolution. I've heard this effect in systems many times, and it often leads to people going down the wrong path, in order to address the problem.

I'm not saying that this is definitely what's happening in your system (one cannot do so, simply because there are too many variables, and I've not heard the effect you describe), but it's a possibility, and something you may wish to consider (perhaps highlighting an area of incompatibility with your Naim equipment or other cables?) especially given that our views on the 'sound' of the various plugs concurred completely, until you arrived at the silver WBTs.

One other thing worth considering is that, in my experience, interconnect cables are best assessed as a 'complete loom' (I.E from source component(s) to preamp, and preamp to power amp), in order for one to properly sample their full 'flavour', as it were (I use G2000HDs, with silver WBTs, throughout my system). You wouldn't have been able to do that in your system, as with it being made up largely of Naim equipment, your gear, I presume, uses mostly DIN plugs? Therefore, you'd have been mixing and matching the G2000HDs with your other cables, and in turn diluting their effect, or perhaps even creating a mixture of effects, which may have worked, up until the silver WBTs entered the equation and highlighted what was wrong...

Who knows? I'm simply floating some thoughts :)

For me, silver WBT-equipped G2000HDs remain as my reference cable, simply because, in my experience, it allows near-microscopic insight into the musical programme, whilst imparting very little signature of its own in the process, which is all one can realistically ask of an audio interconnect cable.

One question I'd ask you, which would be interesting to know, is how would you compare the sonic effect in your system of using, say, Mark's G1500HDs (ones fitted with Neutrik plugs) and the Epiphany Acoustics interconnects you were sent recently? I've also had the opportunity of listening to the latter, in comparison with my usual reference (and also with what I remember of the Mark Grant cables I've used previously), and the difference is most apparent. If you perceive a similar difference, then it would be most interesting to know what that is :cool:

Marco.

[YNWaN]

Yes, I had considered the system character, cable/connector character mix issue you mention - but there isn't really much I can do other than report how I found it, at that time, in my system.

There aren't really that many signal cables in the system. The arm cable is captive to the arm, the phonostage cable can be changed as in this report, the pre-amp cable has to have 5 pin DIN plugs at each end and the power amp interconnects have to have 4 pin DIN at one end and XLR's at the other - the G1000HD isn't appropriate for replacing any of these.

My Epiphany Acoustics cable has been 'customised' a bit - I happened to have copper Eichmann plugs on my previous interconnect and after my Epiphany review I unsoldered them (as I fitted them in the first place) and very carefully cut off the Epiphany plugs and fitted them - so I've never compared the G1000HD cable to the standard Epiphany.

[Marco]

Hi Mark,


Yes, I had considered the system character, cable/connector character mix issue you mention - but there isn't really much I can do other than report how I found it, at that time, in my system.


Absolutely; which makes your findings equally as relevant as mine.


There aren't really that many signal cables in the system. The arm cable is captive to the arm, the phonostage cable can be changed as in this report, the pre-amp cable has to have 5 pin DIN plugs at each end and the power amp interconnects have to have 4 pin DIN at one end and XLR's at the other - the G1000HD isn't appropriate for replacing any of these.


Indeed. However, that makes it difficult, in my opinion, to fully pin down the effect of the G1000HD, or the various plugs, as the sonic signature you're hearing will be a cumulative one, along with that of your existing plugs and cables.

However, what you've reported is still very interesting...

I wonder whether DIN plugs and XLRs could be fitted to the G1000HD cables you've got, and next time you could then assess the effect of the cable, as used throughout your system, rather than just the plugs, which could be assessed separately, using simply the cable on your phono stage? That way, I think you'd get a better handle on what's happening with both the plugs and the cable itself. Just a thought! :)


My Epiphany Acoustics cable has been 'customised' a bit - I happened to have copper Eichmann plugs on my previous interconnect and after my Epiphany review I unsoldered them (as I fitted them in the first place) and very carefully cut off the Epiphany plugs and fitted them - so I've never compared the G1000HD cable to the standard Epiphany.

Ah, so you didn't listen to the Epiphany cables 'as is' before modifying them? That's a bit unusual, but no worries. It would've been interesting to know what you thought of the stock cable, and the resultant effect of fitting the Eichmanns.

The results of my comparisons, between the stock Epiphany cables, and my silver WBT-equipped G2000HDs, the effects of which have been tested in three separate systems, have been very interesting indeed. However, more on that next week when I write my review :cool:

Marco.

[Epiphany Acoustics]

The results of my comparisons, between the stock Epiphany cables, and my silver WBT-equipped G2000HDs, the effects of which have been tested in three separate systems, have been very interesting indeed. However, more on that next week when I write my review :cool:

Marco.

Next week?! I can't wait that long! Looking forward to it :eyebrows:

[Marco]

Lol... It should make interesting reading! :)

Marco.

[YNWaN]

Absolutely; which makes your findings equally as relevant as mine.

Did I imply differently - that wasn't my intention?


I wonder whether DIN plugs and XLRs could be fitted to the G1000HD cables you've got,...

I think it would be very difficult to achieve - the insulation is just too bulky on the G1000HD for the DIN plugs - it might be possible with a lot of careful messing about - but I'm not personally that keen on doing it.


Ah, so you didn't listen to the Epiphany cables 'as is' before modifying them? That's a bit unusual, but no worries. It would've been interesting to know what you thought of the stock cable, and the resultant effect of fitting the Eichmanns.

I didn't modify the Epiphany cable until after I had written my report - it was assessed as it is from the manufacturer. After I had decided I liked the cable enough to want to use it (and had written and posted my findings), I modified it with the Eichmann plugs. A week or so after that, Mark sent me his cables. the point I was making was that I therefore never had a stock Epiphany cable at the same time as the G1500HD. I wouldn't modify a component before assessing it; I wouldn't claim it was standard either, when it was actually modified.

With the Eichmann plugs fitted the slightly flat and forward quality of the Epiphany cable is ameliorated and 'air' and focus are improved; I really don't hear the negative qualities that Jerry reported either (though I thought there was some justification before).
_________________

Marco, I recently read your summary of the Ekos and the Troika and didn't really recognise the components, as I know them, in what you said - we all have our own views.

[Epiphany Acoustics]

Lol... It should make interesting reading! :)

Marco.

Such a tease...! (I'm hoping its interesting in a good sense, by the way!)

[Marco]

Hehehe... Soz - I'll just have to keep you in suspenders until then! :eyebrows:

Marco.

[Marco]

Hi Mark,

I've just noticed your edit:


My Epiphany Acoustics cable has been 'customised' a bit - I happened to have copper Eichmann plugs on my previous interconnect and after my Epiphany review I unsoldered them (as I fitted them in the first place) and very carefully cut off the Epiphany plugs and fitted them - so I've never compared the G1000HD cable to the standard Epiphany.

Ok, noted. I'm glad you cleared that up, as it was a little confusing.

So let me ask you then, have you compared the Epiphany cable, fitted with Eichmann plugs, with, say, the G2000HD, fitted with copper WBTs (bearing in mind, for reference, that a G1000HD becomes a G2000HD, when fitted with either copper or silver WBTs)?

If you haven't, I'd appreciate it if you carried out the comparison and posted your findings, as I'd value your opinon. Why not have it ready in time for when I do my review next week between the stock Epiphany cables and my G2000HDs (with silver WBTs)? :)

Marco.

[YNWaN]

Unfortunately, I have already returned Marks cables to him.

[Marco]

Ah, no worries. Did you try such a comparison before the cables went back? I'd imagine that curiosity would've gotten the better of you... I know it would've done, had it been me! ;)

Marco.