7500 for USED cables? Are they joking?

Since we are on the subject, let me add to the "snake oil" side of the debate.

Just picked up a new power cord that was absolutely raved about in a couple of reviews. I bought it used, so the price was not as bad as buying new. I did this even though i have seen the insides of more than a few "commercial" built cords and about threw up after hearing the price. Well, this cord was no different. Even paying list price for everything, this cord has about $40 - $60 ( at the VERY most ) in raw parts. The only reason that it costs that much would be that fancy "snakeskin" sheathing and the hospital grade plug. Even though selling price of this cord is nearly half a grand, it uses standard "industrial grade" mass produced wiring in it.

This specific power cord is not any different than most of the other "tweaky" power cords that i've seen either. The reviewers might have found this out if they took it apart. Only problem is that the manufacturer GLUED, used shrink wrap and "potted" the insides of the connectors to hide their "top secret" design. Did they do this because they didn't want someone else to steal the design from them ? Or did they do it because they didn't want you to know that they were stealing from you ???

To answer your question, NO, i haven't tried it yet. Yes, it might sound different than another cord, but NO, it is not worth that kind of money. After all, ANYBODY can put "high grade" connectors on industrial grade $2 - $3 per foot power cabling and call it something fancy. The scariest thing is that this cord is considered to be a GREAT "bargain" amongst those that have reviewed and used it.

I will say that wires DO make a difference. With that in mind, there is next to nothing that a "wire company" can put together that you can't do yourself. That goes for selection of parts, ferrite's, impedance compensation networks, fancy geometries, "burning in", cryogenics, radiation treatments from plasma powered UFO's, etc... As such, i say long live "DIY" and those that are willing to learn and get their hands dirty. Death to "shysters" and those that aid them. They are the prime reason that high end is in the state that it currently is.

Why bother trying to achieve "high end results" when you can't even afford ONE cable ? Instead, the mass majority will purchase a complete system with half a dozen speakers for the cost of ONE cable. Now tell me which "components" ( one cable or an entire surround system with a dvd player, tuner, preamp, power amp, speakers, etc... ) took more research, development, parts, labor, tooling, machining, and marketing to produce ? Then ask yourself why you support "shysters" with shady business ethics ?

If you've got money to burn or throw away, that is your prerogative. Other than that, all i can say is "a fool and his money are soon parted". I've been that fool and i hope that i've learned a lesson ( again ). Most "reviewers" are nothing more than "false prophets" with most audiophiles worshiping a golden calf when it comes to wires. Sean
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PS... This is MY personal opinion and is not aimed at anyone in specific. I may not agree with you ( a LOT of you ), you may not agree with me. I'm sorry if you feel that i kicked you in the "nuts". You're more than welcome to kick me in the head and knock some sense into me with an intelligent rebuttal. With that in mind, I hope that we can still share different points of view and respect each other in the morning : )

Paul, you take for granted that all studios are "plummed" with "generic" cables, crappy electronics and use JBL's to mix and master their recordings. That is just not so. While they may not be using the most "expensive" or "technologically advanced" wiring, some studios do actually use "audiophile grade" wiring and audiophile grade equipment to listen to and mix their recordings.

Just for sake of clarity ( and i think that most "regulars" here already know that i feel this way ), i am not saying that "wire is wire". It sure ain't. I'm just saying that what we you pay for and what we get ( especially in this specific area of audio ) may not balance out too well.

As to Tim's comments about me being an "old dog" and not being able to be taught any new tricks, that may be "partially correct". I do have my "beliefs" and think that they are well founded, BUT i am always open to learning. If you don't believe this, go back a few years to Audio Review and dig through the archives. Ozzy ( a regular at AA ) and i went round and round about power cords. He was preaching and i was denying. There were something like 60 posts made between a small group of us within a matter of half a day. I am now a believer that power cords can make a difference, so some things can change. I may be like a piece of "stone" in some ways, but it is at least "soft" stone. Some things DO "sink in" after a while : ) Sean

PS... if something does "sink in" and make a permanent impression after a long period of time, would that make me a "fossil" ???
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Paul, sorry to ruin your day, but i'm going to respond to your post.

First of all, this is a forum open to all members and anybody can respond. Even if you, me or someone else doesn't like the person or what they have to say.

Secondly, you're question pertaining to the "golden age of stereo" was a somewhat rhetorical question. As such, i did not think that it was all inclusive to any other / all your comments or questions that you would make in this thread.

Third, it would be somewhat logical to assume that a recording engineer / studio using "ratty old cheap cables" might also be using "ratty old cheap components and speakers". As such, i may have incorrectly assumed that you were thinking in an exponential manner or following any form of logic. I appologize for giving you that much credit.

Fourth, the tone of your comments assumed that the mass majority of studios make recordings using cables of lesser quality. Your assumed stance from that point of view was that there is nothing to be gained by fancy wires when trying to reproduce the performance in your listening area. The fact that most studios use balanced lines throughout the entire ( or nearly entire ) equipment chain should show that they have in fact taken into consideration the importance of cables, minimizing their influence on the signal while trying to minimize the potential for degradation from sources such as rfi, emi, line loss, etc... This in itself contradicts your initial assumption.

Fifth, some of the vintage recordings that you find of higher than average quality were probably recorded in a simple format in analogue mode with minimal signal tampering taking place. As such, heavy amounts of EQ, compression, digital processing can make ANY recording sound worse, even those of today using high tech modes of operation. Comparing minimalist recordings done in a relative "purist" style to highly complex recordings done in a highly manipulative style would normally result in very different products, regardless of age or vintage.

Sixth, I'll be glad to disregard your less than articulate or specific posts that sometimes border on troll bait. Sincerely, your friend Sean
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Mark, there are manufacturers that already make the claim of their components NOT being cable sensitive i.e. all cables sound and measure the same within the confines of their system. The first that come to mind are Krell ( with their CAST system )and Van Alstine. Sean
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Charlie aka Danvetc brings up a good point. How many people posting to this thread have ever worked in or have intimate knowledge of the recording or pro sound reinforcement field ? I am not talking about boot-legging a concert with a portable Panasonic cassette deck and a Radio Shack mic or hauling your buddies guitar amp in the back of your van or truck either : )

For the record, i used to run a private pro-sound reinforcement company. From 1984 to 1986, i used to book concerts at a local venue here in Chicago. I was also the "soundman" at every show that was performed there during that period of time. I've recorded demo tapes on several different 24 track boards with a full array of effects for more than a few bands in several different locations. You can find my name on more than a few albums from local Chicago based bands and a few from Europe ( primarily the U.K.). I've also sold pro sound gear at the retail level as a profession. While i hated the gear that they had, it was a job : )

I currently have four very large PA "stacks" in my basement that i'm re-designing for a Chicago based band. These consist of two mains and two side-fills. In small clubs, the side-fills are large enough that they can be used as mains. These guys trust my ears and knowledge enough to put the entire sound of their band in my hands.

I tell you this not to brag, but to give you some idea as to where i'm coming from in terms of experience and exposure. As i've mentioned before, i try to keep my comments based on first hand experience. The only time that i will pass on other information is if it comes from a credible source that i am directly familiar with. I've got better things to do than sit here and spread rumours or pull people's chains.

Now let's hear from some of the others. This way we'll have a better idea as to why they made the comments that they did and how they arrived at those conclusions.

As to people using "coloured speakers", you show me a "flat" or "neutral" speaker and i'll show you a different room / acoustic environment : ) Sean
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