Phono cable recommendations?

Oh no, don't pay $5000 for a phono cable!

Zu Event II. 90° 5-pin > WBT Next Gen Silver RCA @ 6' is $1224. You can config on their site (zuadio.com) from 39" to 15'.

Most cables are effectively fixed-parametric equalizers and time domain compromisers, too often at blindingly fierce prices. The Zu Event series are among the most objective cables you can find at any price and are commensurate with the performance of topmost-tier TT/arm/cart combinations.

Phil
 
did any of you ever try unshielded interconnects
all mine from arm through whole systems are 99,99 glowed silver in cotton or silk hoses with lomass connectors
absolutely no noise in 112db sensitive hornsystem
my experience is once you introduce syntetic dielectricums or shields, then I get this hf turbulence and sibilance
the street cred obtained is obviously below par, but I don´t care
 
did any of you ever try unshielded interconnects
all mine from arm through whole systems are 99,99 glowed silver in cotton or silk hoses with lomass connectors
absolutely no noise in 112db sensitive hornsystem
my experience is once you introduce syntetic dielectricums or shields, then I get this hf turbulence and sibilance
the street cred obtained is obviously below par, but I don´t care

I don’t know Leif - i think that earns you extra street cred but I think my barometer for adjudication of hifi street cred has a lot of wow and flutter.
 
One could try the Analysis Plus Silver Apex. I did and have kept it though I use it between my phono stage and preamp as my toneram (Reed 3P) comes with captive wire. Fremer likes it, uses it, and considers it a bargain at $1000 for 1M RCA.

We use this too, great value.
 
did any of you ever try unshielded interconnects
all mine from arm through whole systems are 99,99 glowed silver in cotton or silk hoses with lomass connectors
absolutely no noise in 112db sensitive hornsystem
my experience is once you introduce syntetic dielectricums or shields, then I get this hf turbulence and sibilance
the street cred obtained is obviously below par, but I don´t care


Your wire will corrode over time. I agree both cotton and silk sound very slightly better vs teflon, but having cables degrade over time is unacceptable. My goal is making things that you can pass down to your kids. The high frequency issues you notice with synthetic insulation, namely teflon, is an artifact of burn-in. It will gradually go away over time. When people test cables they rarely have the patience required to get through burn-in, and then mistakenly attribute sounds of burn-in to the sound of the cable. Silk and cotton actually never properly burn-in, as the position of the conductor vs the insulation is always changing slightly, but otoh it doesn't effect the conductor in the same way, because it's not actually touching the conductor completely. This is a problem though, because now air gets in and corrodes the wire. If you are to do this, the only way you can make a cable that will not corrode is to put it in a tube filled with inert gas.

Also, you should try UPOCC silver, it's 6N+ and some of the high frequency issues you have are caused by relatively cheap 4N silver. If you make identical cables using UPOCC silver/teflon I guarantee they will be far, far better vs your 4N cables, buy you have to give them several hundred hours WITHOUT handling them to get past burn-in.

There is a big issue with the cable industry. Many are designed by people who don't understand the entire function of the cable is to be able to bend it, and that the cable should not degrade over time. Using thick solid-core wire in porous insulation is one of the worst possible cable designs, not only will you get corrosion, but you also get cracking. For power cables you'll get enough resistance built up over time that heat will be generated in the cable, which could lead to combustion. Yet I've seen exactly such cables gushed over here. It's ridiculous, imo. I also see designs with ribbons or foil placed in an arrangement where the cable can't be bent without far too much stress placed on the components, the result is the cable can't be bent very much before it fails.

Anyways, sorry about the rant, it's not all directed at you, it's my frustration seeing my competition sell products that are either going to fail over time, corrode over time, are a safety issue, or even all three at the same time!

And don't get me started on cable companies using fake or look-alike connectors! Somehow it's accepted, as these companies are never called out for putting a set of $50 XLRs you can find on Amazon or Alibaba that resemble $500 XLRs on cables that cost thousands of dollars. Could you imagine spending well into the 5-figures for a set of cables using fake connectors? Personally, I'd be upset but it's never mentioned. I suppose it's just a lack of education or awareness, or people don't care they are getting ripped off.

On shielding, it varies... especially with phono cables. If you measure you'll find shielding does in fact reduce noise, but subjective preference is almost always with the unshielded cable. You can mitigate the harmful effects of shielding by using larger diameter shields that are spaced further away from the wires.

My line level cables are unshielded, but phono and digital cables are shielded. With line level RCA cables, having no shielding is a 1 in 100 issue, maybe even less. With phono it's much more frequent and for digital not having shielding reduces resolution.
 
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did any of you ever try unshielded interconnects
all mine from arm through whole systems are 99,99 glowed silver in cotton or silk hoses with lomass connectors
absolutely no noise in 112db sensitive hornsystem
my experience is once you introduce syntetic dielectricums or shields, then I get this hf turbulence and sibilance
the street cred obtained is obviously below par, but I don´t care

Does your gear use transformers at the input and output?
 
Dave C
silver does not corrode like copper
in fact the black layer/oxyde (?) that comes on silver, is as good a conductor as the silver itself and does not introduce distortion like on copper
reg shielding I don´t live in a very densely populated city, so I guess environment is on my side in this matter
I don´t agree that teflon chocolate color disappears by burn-in...(yes I have a Audio Dharma cable cooker)
once I ab testes Cardas litz wire in amp.....teflon coated first and the I peeled it off with a scalpel and it sounded far better
recognise the same signature in teflon caps as well
 
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btw my power wires are from RS components 2 x4sqmm 1x 2,5 sqmm and double layer braided copper shield
system gnd is 5mm thick copper wire dug into the ground around my entire house
 
Dave C
silver does not corrode like copper
in fact the black layer that comes on silver, is as good a conductor as the silver itself and does not introduce distortion like on copper
reg shielding I don´t live in a very densely populated city, so I guess environment is on my side in this matter
I don´t agree that teflon chocolate color disappears by burn-in...(yes I have a Audio Dharma cable cooker)
once I ab testes Cardas litz wire in amp.....teflon coated first and the I peeled it off with a scalpel and it sounded far better
recognise the same signature in teflon caps as well


The theory that corrosion on silver is ok is folklore and misinformation spread by people who sell cables that corrode. Also, silver corrosion is generally Silver Sulfide and it's NOT as conductive vs silver.

You seem to have a firm preference for cotton or silk, but after corrosion sets in you'll have a completely different material covering your wire... and over time it will progress as the corrosion can penetrate into the grain boundaries of the silver. Then you get a loose black dust... As you can see I've tried this, probably 15-20 years ago, so I'm very well aware of what happens to this kind of cable!

Litz wire is coated with enamel, it's not the same and results can't be extrapolated to regular wire.

The AudioDharma cable cooker does not provide a full burn-in, not even close. It reduces the amount of time burn-in takes but you'll still need burn-in after using the cooker. I know exactly the sound you're talking about and all it takes is patience for it to fade away. Caps can take well over 500 hours.

Solid power wires are great for permanent installation but it's unacceptable for power cables that are meant to be bent repeatedly.
 
Silver (Chemical symbol Ag) is a brilliant gray white metal that is quite soft and malleable. It is quite resistant to corrosion and does not oxidize easily, although it readily forms a surface tarnish of silver sulfide
 
I run my tonearm cable balanced since nearly all cartridges are balanced sources. This vastly reduces any artifact the cable might have! Beyond that I use low capacitance cable as this pushes the resonant frequency of the cable capacitance and the cartridge inductance higher, making it easier for the phono section.
 
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I run my tonearm cable balanced since nearly all cartridges are balanced sources. This vastly reduces any artifact the cable might have! Beyond that I use low capacitance cable as this pushes the resonant frequency of the cable capacitance and the cartridge inductance higher, making it easier for the phono section.

Ditto here
 
@Atmasphere
Care to share a favorite 'low capacitance cable' for this application? I can see you are a 'cable pragmatist' (as am I) and am curious what you like.
 
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I've been using a Mogami console cable that is about 23-24pf/foot.

I've heard differences in cables many times- I knew Fulton when he was introducing the entire concept of 'You can hear differences in interconnect cables' and literally on his own founded the exotic audio cable industry (that was back in the 1970s FWIW....). It was annoying and a bit mysterious why his cables and many later cables could make such a dramatic difference!

And that is exactly why I developed amps and preamps that supported the balanced line standard for home use- to get away from cable artifact. Decades ago a local engineer was recording the orchestra I was in (St. Paul Civic) and he let me listen to the microphone feed. This was about 1972. I saw the mics hanging over the orchestra- and 100 feet or so of cable going up into the cloud ceiling and then back down again into the recorder. That made an impression and is why our MP-1 was the first balanced line preamp made for consumer use.
 
Sure makes sense all 'round. I have been meaning to play with that Klotz low cap instrument cable...but can see why Mogami is what you use.

As an aside my old (now sold) ex-Columbia VMS70 rig had lots of Belden wire in it (especially the desk...it had seen lots of repairs and also mods to simplify signal flow).
 
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