A dilemma with 35' interconnects
 

Over the past year, I have invested a lot of money in updating and upgrading my audio system, particularly in cabling and power conditioning. And then this morning I had one of those OMG! moments.

My two primary amplifiers (I have a 7.4 home theater system) are located approximately 35 feet from my preamplifier. I am currently using Canare L-4E6S cable terminated with Neutrik XLR connectors as the interconnects between my Theta Casablanca IV preamp and my Krell FPB 200c and 250m amplifiers. (For those who are interested, here is the manufacturer's description of this cable: http://www.canare.com/ProductItemDis...oductItemID=53).

I am not at all dissatisfied with the performance of my audio system; in fact, I'd say most of the music I play through it sounds pretty damn good. And yet, I wonder whether these interconnects represent its weak link. Given the length of cables needed to do an A/B comparison, I cannot borrow a more audiophile set of cables (I'd need three) from a dealer. Moreover, the likely cost of such an upgrade would be many thousands of dollars, which is money that would be irresponsible to spend given my already somewhat depleted financial resources.

Thoughts/recommendations anyone?

Jonathan.......


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I have the same cables that you have. The ones I have I purchased from BJC. They are about 20 feet long and work just fine. I personally don't think that the extra 15' will make any audible difference. So since you asked for thoughts/recommendations, that would be: don't be irresponsible and enjoy what you already have. [emoji16]

That’s good advice from Dan and nicoff

MY suggestion is to make a second same sort set of the interconnects. And add a pair of splitter XLR at each end. So you basically are running TWO SETS to each connection. This may sound crazy, but there are a group of folks who SWEAR by this method of improving performance.
The only problem is the splitter trios. Making them yourself? Basic XLR for a few bucks are great, and easy to work with, soldering up as set to split the out signal to two with only the shortest (have to be about eight inches total wire pre-construction to let the XLR bodies fit back off the connector while making them. Then same thing except two into one XLR at the amp end.
I know it seems it would not mean anything... But read about it.
If you find the setup works you could just have or do yourself, two sets of WIRES to the same XLR you now use thus avoiding the spitters completely. Or, just take the leap and add the second set of wires to one set of your current XLR
Google ""Doug Schroeder Method, Double ic"" to find some discussions... and think it over. Making one set to try might be worth the bother. If the one set helps.. Then you can do the rest.
I spent $3,200 for one pair of seven meter IC.. so I can understand your frustration.
I have myself not used the Schroeder method. but from other experience, I can see how doubling up can work to enhance the performance of a long set of cables.
I think this might help you out.

A dilemma with 35' interconnects
 

The Canare L-4E6 is a star balanced 4 conductor mic cable. It has relatively high conductor to conductor capacitance of 150 pf/m.

Another option is to use a lower capacitance two conductor cable. I use Audio Technica AT 8300 AT which has a conductor to conductor capacitance of 35 pf/m.

Both cables use polyethylene insulation and stranded copper conductors.

After that you will be into specialty cables using other conductor and insulator materials like silver, silver plated copper, PE, and PFTE.

Who knows if there will be a difference is sound quality? Not for me to say as I haven’t tested any of it. :)

An inexpensive quality cable option is Belden 1800F.

Capacitance info from BJC — "Capacitance contributes to high-frequency rolloff, so the lower the capacitance of the cable, the flatter the frequency response in any given application (how flat will depend on the device impedances as well as the capacitance, so it's not possible to generate a one-size-fits-all frequency response chart; but in every case, the lower the capacitance, the flatter that curve will be). Capacitance, like many cable attributes, is a per-foot characteristic; while high capacitance won't ordinarily make a significant difference in short runs, it becomes an increasing problem with longer runs."

Belden 1800F
https://www.audioaficionado.org/atta...1&d=1563729594

Ron

Jonathan... WW Solstice 8 XLR’s will outperform anything you can make. With my discount, it may also cost less than DIY.

Even for a pair at 35’ and that’s a fact. :yes:

Do high end cable manufacturers list full technical specifications of there wires? I can't seem to find that info easily.
I notice an emphasis on the outer insulation materials, geometrics and fancy proprietary trademark names and letters.

Ron

Good advice here. One thing to pay attention to, given the high capacitance of the Canare cable, is the input impedance of the amplifier at the other end. If it is a typical ~50K Ohms, then the cable-amp roll-off frequency could be as low as 2 kHz.
The Canare (and Mogami) microphone cables excel at noise rejection, but are intended for a 1K Ohm microphone preamp, so a roll-off above 100 kHz, at 35 feet. Whether this is important in your system depends also on the output impedance of the pre-amp - if it is low, there won't be much or any concern.

A low capacitance 'digital' cable (meaning controlled impedance at much higher frequencies, well above audio) might (maybe) make a difference. The above mentioned Belden and Audio Technica look like good choices. Wireworld is likely also low capacitance, based on its construction. BJC offers the Belden 1800F.