Could this be a 'giant-killing' tonearm cable?

[MartinT]

[MikeMusic]

I assume this is because I can't get the window open far enough

Emailed Yannis and ordered a 223.5 Litz. Arrived Saturday.
Connected between Rega Isis and Naim 82 comparing to a TQ

Phono-Phono leads both using a Phono Din Adaptor
Couple of favourite tracks to try
Jeff Beck - Roy's Toy
Mavis Staples - Eyes on the prize
I thought there was more detail, more background information, not usually heard, better treble, especially on cymbals, a wider sound stage.
Broadly a small improvement
Sally preferred the TQ which I found surprising as her hearing is usually better than mine
So why only a small improvement ?
1. Brand spanking new lead not burned in. From memory the TQ was better than I'd heard it before so that is well burned in
2. Is the 82 limiting the signal ?..............

[Marco]

System synergy, perhaps, Mike?

No matter how much any of us here raves about any particular cable, there is no guarantee that anyone else will obtain the same results, in a totally different system. Quite simply, cables produced by ANY manufacturer can NEVER be a universal panacea.

All one can do is buy cables, report what one hears for the benefit of other forum members, and hope that if they also go for them, that what's described will also be what they experience, when using the same cables

One thing I would say is that, when assessing cables, it should really be done as a complete 'loom' from a single manufacturer, i.e. the whole system should be hooked up with the same cable, rather than mixing and matching with those from other manufacturers, as the effect of the new cable will be altered (and to an extent diluted) by the 'sonic signature' of the other cables, already being used.

Therefore, if you really want to hear what the 223.5 Connect Litz (or any other cable) can do, you need to introduce it as the analogue audio signal carrier throughout your system, not simply between your Isis and 82, which I know is easier said than done in a largely Naim system!

Marco.

[StanleyB]

No matter how much any of us here raves about any particular cable, there is no guarantee that anyone else will obtain the same results, in a totally different system. Quite simply, cables produced by ANY manufacturer can NEVER be a universal panacea.

Absolutely.

One thing I would say is that, when assessing cables, it should really be done as a complete 'loom' from a single manufacturer, i.e. the whole system should be hooked up with the same cable, rather than mixing and matching with those from other manufacturers, as the effect of the new cable will be altered (and to an extent diluted) by the 'sonic signature' of the other cables, already being used.

Not necessarily. Let me explain:
A particular set of interconnects might be correctly balanced between say the output impedance of your preamp and the input impedance of your power amp. But that same set of interconnect might be in total imbalance between your CD player and your preamp.
One reason for that, as far as I have been able to deduct from my own cable designing days, is that with no fixed standard as far as output and input impedance is concerned, it is a trial and error game for the consumer as far as finding a suitable solution is concerned.

[MikeMusic]

System synergy, perhaps, Mike?

No matter how much any of us here raves about any particular cable, there is no guarantee that anyone else will obtain the same results, in a totally different system. Quite simply, cables produced by ANY manufacturer can NEVER be a universal panacea.

All one can do is buy cables, report what one hears for the benefit of other forum members, and hope that if they also go for them, that what's described will also be what they experience, when using the same cables

One thing I would say is that, when assessing cables, it should really be done as a complete 'loom' from a single manufacturer, i.e. the whole system should be hooked up with the same cable, rather than mixing and matching with those from other manufacturers, as the effect of the new cable will be altered (and to an extent diluted) by the 'sonic signature' of the other cables, already being used.

Therefore, if you really want to hear what the 223.5 Connect Litz (or any other cable) can do, you need to introduce it as the analogue audio signal carrier throughout your system, not simply between your Isis and 82, which I know is easier said than done in a largely Naim system!

Marco.

I'm happy enough with it to keep it for sure.
It still has to burn in and this is not this cable's permanent slot. I assume that will be somewhere between the record deck and amp - which needs some work, the absolute minimum being a SUT and Phono pre amp.
Wanted to try one and after my experience with TQ speaker cables against Naim I was prepared for a so so result.
'Happy enough' seems a good nutshell description

[Marco]

Absolutely, Stan, electrical compatibility is indeed another important variable to take into consideration.

All I can do is state from experience that, in general, I've always had better results using the same interconnect cables from source to power amp, than mixing and matching different types. Speaker cables are a different matter.

However, like anything in audio, there are very few hard and fast rules to universally follow - as ever, one must 'suck it and see'

Marco.

[Marco]

Hi Mike,

I'm happy enough with it to keep it for sure.
It still has to burn in and this is not this cable's permanent slot. I assume that will be somewhere between the record deck and amp - which needs some work, the absolute minimum being a SUT and Phono pre amp.

Nice one. Experience so far definitely suggests that the 223.5 Connect Litz works best when used in the above scenario, particularly in conjunction with a 423.5 Phono Litz tonearm cable, between SUT and phono stage, which is precisely where I'm using it at the moment, to stunning sonic effect!

I really like the attention to detail Yannis has paid, in terms of earthing/grounding, by employing the use of flying leads to 'drain away' unwanted noise. I'm certain that this is a major reason why his cables sound so 'quiet', unfailingly musically involving, and thus allow the full dynamic range of the source components (and music) to be heard in all its glory.

Your new cable should really come alive when an SUT and new phono pre-amp are introduced into your system!

Marco.

[sq225917]

Marco, have you had a chance to record your deck yet with that test record? I'll be free from the chains of impending website launch by next week. I could pop over to 'supervise'...

[Marco]

Hi Simon,

Soz, mate. Not yet, and TBH, I don't really know what I'm doing when recording it...

I'm busy until the end of the month (catching up on stuff since I've come back from hols), so why don't we arrange a sesh for sometime after that? We need to get an agreed date in a diary, though, otherwise it'll never happen.

Your place or mine, it doesn't really matter, although I'd quite like to hear your Kuzma!

If you need the test record returned before then, just let me know

Marco.

[MikeMusic]

Hi Mike,

Nice one. Experience so far definitely suggests that the 223.5 Connect Litz works best when used in the above scenario, particularly in conjunction with a 423.5 Phono Litz tonearm cable, between SUT and phono stage, which is precisely where I'm using it at the moment, to stunning sonic effect!

I really like the attention to detail Yannis has paid, in terms of earthing/grounding, by employing the use of flying leads to 'drain away' unwanted noise. I'm certain that this is a major reason why his cables sound so 'quiet', unfailingly musically involving, and thus allow the full dynamic range of the source components (and music) to be heard in all its glory.

Your new cable should really come alive when an SUT and new phono pre-amp are introduced into your system!

Marco.

I even asked for a flying earth lead, currently doing nothing !