what makes a good external tonearm cable.

[karma67]

looking for you views on construction methods,shield and wire type,ie 4 conductor from din then split into 2 for the rca's or 2 runs of 2 core to rca's,ground wire connected to shield? floating shield or connected at 1 source end only.
whats your view?

[oldius]

Preferably, one that reaches the amplifier!

[Wakefield Turntables]

It's irrelevant really your still going to get vibration travelling down the arm tube. It all depends on how much you want and if can notice a audible difference.

[Beobloke]

Preferably, one that reaches the amplifier!

Quite so.

I would also add having the correct connectors on each end is a big bonus.

[Ammonite Audio]

Not having yards of über-stiff heatshrink at either end of the cable is a good thing too. It's amazing how many 'high end' cable makers don't seem to understand the need for tonearm cables to be reasonably flexible.

[Barry]

It's irrelevant really your still going to get vibration travelling down the arm tube. It all depends on how much you want and if can notice a audible difference.

We're talking about external cabling: so the more flexible the better.

To that end, the outer sheathing ought to be either rubber or silicone rubber, or use none at all. And the cables should have a reasonably small outer diameter.

[walpurgis]

I bought some of this to try out, it's much slimmer than the average dual coax and nicely flexible, looks very decent quality.

https://www.ebay.co.uk/itm/Sommer-ONYX-2025-Twin-Stereo-Cable-Screened-RCA-Pair-Guitar-Splitter-320-0102/161976042274?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649

[bosa]

Having a Michell Orbe with the circular arm mount J would say flexibility is key. I have used a Nordost which is great in this respect and now have a Kondo silver which has been wired with two earth/ground cables which are both connected to earth on the phono preamp and it does not matter which or both are connected regarding hum as always silent.

[Barry]

Flexibility of the tonearm lead is essential for a sprung suspension TT. Less so with something like a Thorens TD124, and probably not too important with decks like Garrard 301/401 and Goldring G88/99s.

Since the voltage levels are very low, and flexibility is desirable, I would use cable used with hand-held microphones, such as Neumann, etc.

[Primalsea]

I would say split into 2 separate 2 core cables as soon as possible. Most tonearms already have both channel wires in close proximity within the tonearm, so around 10 - 30pf capacitance between channels from just that.

[karma67]

So a 2,2 core cables is preferable over 1 4 core split into 2 at the rca end.

[Barry]

So a 2,2 core cables is preferable over 1 4 core split into 2 at the rca end.

Yes. In fact I would go further and suggest using a separate 2-core screened cable for each channel. The two cores will be connected to the 'hot' and 'cold' pins of each channel of the cartridge, with the screening connected to the arm metalwork along with a lead to connect to the metalwork of the TT. Don't connect the screening to anything at the plug end.

Since most cartridges (but not all) are ostensibly balanced devices, using the above wiring layout allows you to use a phonostage with balanced inputs, should you so wish.

[karma67]

Cheers Barry, Simon of paradise fame suggested the same thing

[tlscapital]

Flexibility of the tonearm lead is essential for a sprung suspension TT.

Most logically in theory, as it is for most or in most cases. Only during my tweaks, I decided to get rid of my original and a bit trashy looking by then SME3009 cable and discover else.

While my soldering friend was there after finishing the re-cabling on my tonearm, all I had under the hand were 2 "quality" audio cables (not high end) still packed I was given "free".

One was rather of the flexible kind and the other one rather rigid. Since I've never tested either, I couldn't decide accordingly and went with my gut feeling there; the more rigid and lighter one !

Cut off the male RCA's at one end and solder the SME 4 pin connectors to it. With enough room in my then newly "tailor made" solid wood plinth, I "locked" it in place with a cable mount.

This finally eliminated all external stress on the cable (t'was a problem before) and with a big/long enough necessary loop (due to rigidity) it allows the inner suspension bounce to work rather freely.

Instantly loved it much better than my original SME cable. I know the old corroded RCA's... Still. After that I used the flexible cable to connect my preamp to my amp with and got use to it for a while.

At one stage I decided to purchase a similar cable of the same build and specs to the one I used for my tonearm to replace the flexible one and... Loved it much better. Better "focus", 'tighter" and "denser".

It matches my ear and gear much better IMO. Where I am certain, it can be the other way around on other phono chain set-up. I know; cables are just cables... No one listens to cables... But me :D

My point being to have lighter "rigid" cable length between both attached points in the plinth will give less tension on the suspension than any flexible cable hanging between similar attached points if ever.