Got new XLR cables on demo

peter the butcher

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The other week I was thinking about a cable upgrade for the XLR connections on my PS Audio Stellar Gain Cell Dac and the PS Audio M700 mono Bloc amplifiers. There were so many to choose from, did I go down the same TQ Black II speaker cable? Or try something completely new to me. I decided on what I already had and was happy with, a set of XLR cables made by a one man (and one lady, Jane Foster)) business and Audiophiles UK forum member, Andrew Foster who runs AF Audio. And to this end I E-Mailed Andrew, and was promised a pair of cables that would “Blow the bloody doors off” some of the “high end” competition. They are made with multi strands of Silver Wire, which I believe is not cheap and “other” things.


Andrew calls the new cable, the “Bodhi” meaning enlightenment. The cable is a collaboration between 2 friends who met at the Daventry Hi Fi show in 2022, I will let Andrew comment...
“at the last UK Audio Show at Daventry which I was exhibiting at. A really nice chap named Eric walked in and asked if he could try his filters on our system, we said yes and they blew everyone away in the room. We have since met up on a few occasions. Just after Christmas we decided to make a cable which kept to the AF audio ethos (good value for money) but could go up against the big boys. I made my best cable I knew how to make, we then added Eric’s years of knowledge. This is done with a mathematical formula for the conductors, this had the same conductor configuration but with multiples of bundles, wow wow wow. The beauty of Eric’s vast knowledge of knowing what sound every single strand will reproduce we can now tailor each cable to the customers requirements.”


How do they sound? Well straight out of the box and not run in yet...WOW. I am not one for using all the usual big and often over used Hi Fi Jargon, but... (All CD's are FLAC rips)





First up was “Wandering”, by the Japanese electronic genius, Yosi Horikara. The bass was just so much better I turned the subs down a notch (which I have never done before), there was just more definition in the various soundscapes, and personally I do not mind a tinge of brightness, and was half expecting it, but no, just the sound of the music been played


Next was the famous album from music legends that are Dire Straits, “Love Over Gold”. Again the bass was so well controlled and more of it drums sounded more real, there was a separation of the various instruments that I had not come arccos previously. Next track is a “go to” favourite, “ private Investigations” , the solo guitar and piano shone out at the tracks beginning, as to those footsteps moving across the stage (and the Glockenspiel)


Next is my favourite track from the Yes album “Going For The One”, the marvellous “Awaken”. Rick opening piano sounded so real, and more acoustic than it should, considering it was an electric


As many will know now, I am an “organ “ nut, and a couple of years ago had the privilege of been at a recording of an SACD I sponsored, recorded by Jake purches of Base 2 Music, it sounded “so real” as well as the astounding 16Hz Bass, the Tuba stop used in the 1st movement of the Percy Whitlock Organ Sonata in C Minor (that I dedicated to my late father) sounded like I was there in Rochdale Town Hall.


Next, female vocal. Melody Gardot singing the track Worrisome heart, (from the album with the same name), sax was incredible, sounded so real, as did the piano and snare. The vocal was all there and not bright in the least, or “breathy” as is usually the case in some female vocals.


The penultimate track of Jean Michelle Jarres “Equinoxe” was next up. Again the stereo effects /soundstage were well pronounced, as was the air and separation around the various synths.


Am off to listen to my favourite orchestral work, the famous Symphony of Saint Saens, a live recorded version of “The 3rdSymphony “ organ” which has that super final movement, (will probably need new speakers next, lol)


The cables are on another price level to what I have, and should be considering the materials used...But in my view they are worth it just for the different sound signature they produce, and that will only improve when fully burnt in. Don't quote me, but I think they are the first set of these fine cables that are available commercially, so I have them here on demo, I will be buying them after the demo period is over.


If there are any questions, am sure Andrew from AF Audio will answer them





oh that organ part has just started, wow wow wow


Equipment used:


Intel i5 NUC running Audirvanna with a 2 TB SSD


PS Audio Stellar Gain Cell Dac/Pre


PS Audio M700 mono bloc amps


Amphion Argon 3 LS speakers


TQ Black II speaker cable
 

bencat

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Well first that needs to be asked is what is the price for a set of 1 mtr XLR,s . At least then we are aware of what ball park we are in ? Second do they offer home demonstration ?
 
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DomT

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The other week I was thinking about a cable upgrade for the XLR connections on my PS Audio Stellar Gain Cell Dac and the PS Audio M700 mono Bloc amplifiers. There were so many to choose from, did I go down the same TQ Black II speaker cable? Or try something completely new to me. I decided on what I already had and was happy with, a set of XLR cables made by a one man (and one lady, Jane Foster)) business and Audiophiles UK forum member, Andrew Foster who runs AF Audio. And to this end I E-Mailed Andrew, and was promised a pair of cables that would “Blow the bloody doors off” some of the “high end” competition. They are made with multi strands of Silver Wire, which I believe is not cheap and “other” things.


Andrew calls the new cable, the “Bodhi” meaning enlightenment. The cable is a collaboration between 2 friends who met at the Daventry Hi Fi show in 2022, I will let Andrew comment...
“at the last UK Audio Show at Daventry which I was exhibiting at. A really nice chap named Eric walked in and asked if he could try his filters on our system, we said yes and they blew everyone away in the room. We have since met up on a few occasions. Just after Christmas we decided to make a cable which kept to the AF audio ethos (good value for money) but could go up against the big boys. I made my best cable I knew how to make, we then added Eric’s years of knowledge. This is done with a mathematical formula for the conductors, this had the same conductor configuration but with multiples of bundles, wow wow wow. The beauty of Eric’s vast knowledge of knowing what sound every single strand will reproduce we can now tailor each cable to the customers requirements.”


How do they sound? Well straight out of the box and not run in yet...WOW. I am not one for using all the usual big and often over used Hi Fi Jargon, but... (All CD's are FLAC rips)





First up was “Wandering”, by the Japanese electronic genius, Yosi Horikara. The bass was just so much better I turned the subs down a notch (which I have never done before), there was just more definition in the various soundscapes, and personally I do not mind a tinge of brightness, and was half expecting it, but no, just the sound of the music been played


Next was the famous album from music legends that are Dire Straits, “Love Over Gold”. Again the bass was so well controlled and more of it drums sounded more real, there was a separation of the various instruments that I had not come arccos previously. Next track is a “go to” favourite, “ private Investigations” , the solo guitar and piano shone out at the tracks beginning, as to those footsteps moving across the stage (and the Glockenspiel)


Next is my favourite track from the Yes album “Going For The One”, the marvellous “Awaken”. Rick opening piano sounded so real, and more acoustic than it should, considering it was an electric


As many will know now, I am an “organ “ nut, and a couple of years ago had the privilege of been at a recording of an SACD I sponsored, recorded by Jake purches of Base 2 Music, it sounded “so real” as well as the astounding 16Hz Bass, the Tuba stop used in the 1st movement of the Percy Whitlock Organ Sonata in C Minor (that I dedicated to my late father) sounded like I was there in Rochdale Town Hall.


Next, female vocal. Melody Gardot singing the track Worrisome heart, (from the album with the same name), sax was incredible, sounded so real, as did the piano and snare. The vocal was all there and not bright in the least, or “breathy” as is usually the case in some female vocals.


The penultimate track of Jean Michelle Jarres “Equinoxe” was next up. Again the stereo effects /soundstage were well pronounced, as was the air and separation around the various synths.


Am off to listen to my favourite orchestral work, the famous Symphony of Saint Saens, a live recorded version of “The 3rdSymphony “ organ” which has that super final movement, (will probably need new speakers next, lol)


The cables are on another price level to what I have, and should be considering the materials used...But in my view they are worth it just for the different sound signature they produce, and that will only improve when fully burnt in. Don't quote me, but I think they are the first set of these fine cables that are available commercially, so I have them here on demo, I will be buying them after the demo period is over.


If there are any questions, am sure Andrew from AF Audio will answer them





oh that organ part has just started, wow wow wow


Equipment used:


Intel i5 NUC running Audirvanna with a 2 TB SSD


PS Audio Stellar Gain Cell Dac/Pre


PS Audio M700 mono bloc amps


Amphion Argon 3 LS speakers


TQ Black II speaker cable
Great write up
 

hearhere

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Odd isn't it that we audiophiles think we need to spend so much on cables connecting our equipment. We usually use cables no more than a meter in length. We seem to think we need to pay HUNDREDS (some pay thousands) on each pair.

The pro guys who produce the music we listen to set up multiple microphones in concert halls or recording studios, connected to their mixing decks using hundreds of meters of XLR balanced cables. They use similar XLR balanced cables to their active studio speakers to enable the editing engineers to fine-tune the signal before creating their master recordings. They use "cheap as chips" cable from Canare, Belden, Mogami, etc. as there is no advantage or valid reason to pay more.. These cables are responsible for the music we listen to, delivered by our CDs, LPs and streaming services.

Why, oh why do we spend so much on the piddly little one meter cable between our DAC and amp? It's because we are swayed by the snake oil salesmen who do whatever is necessary to pull the wool over our eyes and emply our pockets! Or am I being cynical?
 

rabski

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Odd isn't it that we audiophiles think we need to spend so much on cables connecting our equipment. We usually use cables no more than a meter in length. We seem to think we need to pay HUNDREDS (some pay thousands) on each pair.

The pro guys who produce the music we listen to set up multiple microphones in concert halls or recording studios, connected to their mixing decks using hundreds of meters of XLR balanced cables. They use similar XLR balanced cables to their active studio speakers to enable the editing engineers to fine-tune the signal before creating their master recordings. They use "cheap as chips" cable from Canare, Belden, Mogami, etc. as there is no advantage or valid reason to pay more.. These cables are responsible for the music we listen to, delivered by our CDs, LPs and streaming services.

Why, oh why do we spend so much on the piddly little one meter cable between our DAC and amp? It's because we are swayed by the snake oil salesmen who do whatever is necessary to pull the wool over our eyes and emply our pockets! Or am I being cynical?
Here we go again.

First, people tend to object to being told that they're so easily fooled. I'm very, very choosey about spending, and I'm very good at listening to things. Now, possibly you believe I was 'swayed by snake oil salesmen', or just maybe I used my ears and my money in a way I considered wise and proportionate.

Second, the suggestion that all studios use 'ordinary' cable has been contradicted countless times. Many do, for sure. Many don't.
 

DomT

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Odd isn't it that we audiophiles think we need to spend so much on cables connecting our equipment. We usually use cables no more than a meter in length. We seem to think we need to pay HUNDREDS (some pay thousands) on each pair.

The pro guys who produce the music we listen to set up multiple microphones in concert halls or recording studios, connected to their mixing decks using hundreds of meters of XLR balanced cables. They use similar XLR balanced cables to their active studio speakers to enable the editing engineers to fine-tune the signal before creating their master recordings. They use "cheap as chips" cable from Canare, Belden, Mogami, etc. as there is no advantage or valid reason to pay more.. These cables are responsible for the music we listen to, delivered by our CDs, LPs and streaming services.

Why, oh why do we spend so much on the piddly little one meter cable between our DAC and amp? It's because we are swayed by the snake oil salesmen who do whatever is necessary to pull the wool over our eyes and emply our pockets! Or am I being cynical?
That’s a subjective view. I don’t follow that thinking in my studio as others don’t.
 

peter the butcher

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Great write up
Thanks, it was just I said to the chap who made them I would do a little write up. And if they were shite, I would say, but they are good, and when they have a few hours on them, hopefully they will be better. Anyway, have them on a 30 day demo
 

Metatron

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Second, the suggestion that all studios use 'ordinary' cable has been contradicted countless times. Many do, for sure. Many don't.
I know you've pointed at a pamphlet before to back up this point - IIRC for Studio Connections.

But we're not in said studio everyday and no doubt studios offer various services and want to convey some differentiator or USP. They all want to suggest they'll have your recording and final mix sounding better than any other studio.

How trustworthy is any claim a studio uses the expensive stuff all the time and not just as part of a PR exercise? That's rhetorical because I would only be satisfied with an evidenced based response that shows studios doing this everyday without fail, and accounts that show they don't buy pro cables.

For those Wammers who have a studio, I am referring to sizable studios responsible for famous artists, not a one or two man band doing recording local churches and new bands hoping to be the next big thing.

Edit:
What @hearhere said seems to have weight because unless you, I or anybody can reliably determine from any given recording whether the studio used the audiophile stuff or the pro stuff, then it would seem to make no obvious difference. Then the adage of "why pay more?" applies.
 
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Metatron

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That’s a subjective view. I don’t follow that thinking in my studio as others don’t.
To me, you appear to follow subjective thinking because you believe the pricier cables sound better than the usual pro stuff in your studio, and this has not been objectively and conclusively proven by science in general, not just for you.

I therefore don't see how @hearhere's view can be dismissed for being subjective. All views on personally preferred sound signature, equipment, perceived value etc are exactly that, subjective. Even my reasoning or appeal to reason/science in the above post will be viewed by others as subjective/unreliable, because individually we weight different criteria differently to one another. Some go more objective, some rely on perceptual experience and are dismissive of what science claims to have established. As such, all opinions are subjective.
 
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DomT

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To me, you appear to follow subjective thinking because you believe the pricier cables sound better than the usual pro stuff in your studio, and this has not been objectively and conclusively proven by science in general, not just for you.

I therefore don't see how @hearhere's view can be dismissed for being subjective. All views on personally preferred sound signature, equipment, perceived value etc are exactly that, subjective. Even my reasoning or appeal to reason/science in the above post will be viewed by others as subjective/unreliable, because individually we weight different criteria differently to one another. Some go more objective, some rely on perceptual experience and are dismissive of what science claims to have established. As such, all opinions are subjective.
Maybe I should have said that what he wrote was incorrect rather than subjective. Not all studios do as he said. A large studio on a budget may do so due to the huge amount of cables required.

I didn’t say that I bought ‘pricier cables’ and that pricier cables are better; those are your words. People buy the cables that they want to use. They don’t all sound the same and science doesn’t say that they do.
 

Psilonaught

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I use pure silver cables throughout and I only "think" I can hear a slight improvement over quality pro audio cables. Frankly I've always struggled to hear differences between interconnects and I have a pretty high end system.

I think I've spent around £500 on all the cables in my system which is very low. It also sounds exceptional so I highly doubt spending a lot more would offer any benefits.

Someone feel free to lend me a £1000+ high end cable to try and I'm happy to post my findings however 🙂
 

rabski

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I know you've pointed at a pamphlet before to back up this point - IIRC for Studio Connections.

But we're not in said studio everyday and no doubt studios offer various services and want to convey some differentiator or USP. They all want to suggest they'll have your recording and final mix sounding better than any other studio.

How trustworthy is any claim a studio uses the expensive stuff all the time and not just as part of a PR exercise? That's rhetorical because I would only be satisfied with an evidenced based response that shows studios doing this everyday without fail, and accounts that show they don't buy pro cables.

For those Wammers who have a studio, I am referring to sizable studios responsible for famous artists, not a one or two man band doing recording local churches and new bands hoping to be the next big thing.

Edit:
What @hearhere said seems to have weight because unless you, I or anybody can reliably determine from any given recording whether the studio used the audiophile stuff or the pro stuff, then it would seem to make no obvious difference. Then the adage of "why pay more?" applies.
I've referred to a number of interviews in the past, rather than any advertising or cable manufacturer details. For example, the engineers who did the refit on David Gilmour's Astoria studio. I believe (I stand to be corrected) that Peter Gabriel's Real World Studio is similar. They are of course not alone. I tend to be careful to avoid examples where there is an obvious marketing tie-in and I don't recall ever mentioning Studio Connections. It's also worth noting that a great many musicians, guitar players notably, are very fussy about using specific cables for their instruments.

Obviously a great many studios are built with compromises in terms of costs, and cabling is going to be proportionally a massive expenditure. Of course, the majority of any studio's 'output' is also not aimed at serious listeners with higher-definition replay equipment either, so many would be happy not to spent hundreds of thousands of pounds on a potential improvement to benefit only a tiny minority. You may as well use the argument that as the overwhelming majority of listeners use a mobile phone and in-ear headphones, then all of our equipment is somehow invalidated.

It always seems quite ironic that this sort of argument exists within a hobby that basically involves using and enjoying equipment and setups that the vast majority of people would consider pointless. We chase the smallest differences and improvements that often even those close to us cannot hear, or if they can, would not care about. We then criticise each other for doing exactly the same thing, but in some subdivision of the hobby that interests us less.

Is some of it subjective? Of course it is. That's the whole point. Is anyone suggesting that their entire system comprises only equipment that is objectively 'better' than all the alternatives? Everyone posting here has a system with items in it that you could criticize on the basis of some objective indicator.
 

tackleberry

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I’ve heard hundreds of cables, I don’t get it. When I got my most recent speakers, using xlr for active was something a bit different, and trialed a few cables. £100 mogami some chord something or other. Heard no difference. As with the power cables I tried.

It’s nice that there are plenty of cable companies out there making money. Great for whoever wants the cables too.

I’ve never heard difference enough to buy anything other than just well made second hand ‘bargains’
 
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Metatron

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I didn’t say that I bought ‘pricier cables’ and that pricier cables are better; those are your words. People buy the cables that they want to use. They don’t all sound the same and science doesn’t say that they do.
True, I thought incorrectly that was the inference. Regarding the last sentence, assuming the cable is correct guage for the purpose, science indicates there is no difference large enough to be heard.
I've referred to a number of interviews in the past,
I still remember some part of an old cable thread where I was directed to some case study PDF for Studio Connections. Maybe somebody else, but you passed comment on it similar to your earlier post.

It's vague as to how much of the industry may use something costlier than typical VD, Klotz, Mogami, etc as I don't know a source of trustworthy data on the matter.

Equally interviews are hearsay. Artists say all sorts of things if it sounds impressive, if it adds something to how people perceive them as artists. They often do weird things because they are eccentric or high - a few Oliver Reed interviews for instance. Or Banksy's reclusiveness. Johnny Depp's wry charm and subtle wit. If some air of mystery or nuance sells product, or creates a greater sense of awe for audiences as to the effort and skill in the artistry, then it's fair game.

But an interview with a claim is not hard evidence it is true, or anything but occasional if it is.

Is anyone suggesting that their entire system comprises only equipment that is objectively 'better' than all the alternatives?
They do not use the term "objectively", they use "is" or "was" in its stead. They report or claim A betters B often enough as if factually objective. And equally we often seek somebody's opinion when we should just seek first hand experience.

The first post is full of such... starting with
The bass was just so much better I turned the subs down a notch (which I have never done before), there was just more definition in the various soundscapes,
 

rdale

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To me, you appear to follow subjective thinking because you believe the pricier cables sound better than the usual pro stuff in your studio, and this has not been objectively and conclusively proven by science in general, not just for you.

I therefore don't see how @hearhere's view can be dismissed for being subjective. All views on personally preferred sound signature, equipment, perceived value etc are exactly that, subjective. Even my reasoning or appeal to reason/science in the above post will be viewed by others as subjective/unreliable, because individually we weight different criteria differently to one another. Some go more objective, some rely on perceptual experience and are dismissive of what science claims to have established. As such, all opinions are subjective.
Where would we be without the cable police to save us from ourselves?
 

rabski

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True, I thought incorrectly that was the inference. Regarding the last sentence, assuming the cable is correct guage for the purpose, science indicates there is no difference large enough to be heard.

I still remember some part of an old cable thread where I was directed to some case study PDF for Studio Connections. Maybe somebody else, but you passed comment on it similar to your earlier post.

It's vague as to how much of the industry may use something costlier than typical VD, Klotz, Mogami, etc as I don't know a source of trustworthy data on the matter.

Equally interviews are hearsay. Artists say all sorts of things if it sounds impressive, if it adds something to how people perceive them as artists. They often do weird things because they are eccentric or high - a few Oliver Reed interviews for instance. Or Banksy's reclusiveness. Johnny Depp's wry charm and subtle wit. If some air of mystery or nuance sells product, or creates a greater sense of awe for audiences as to the effort and skill in the artistry, then it's fair game.

But an interview with a claim is not hard evidence it is true, or anything but occasional if it is.


They do not use the term "objectively", they use "is" or "was" in its stead. They report or claim A betters B often enough as if factually objective. And equally we often seek somebody's opinion when we should just seek first hand experience.

The first post is full of such... starting with
Light hearted retort...

You don't half use a lot of 'I remember' and 'I thought' for someone to complain about 'hearsay' :ROFLMAO:
 
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