Cables more hype than value?

again, with all due respect, I challenge you to tell me what "electronic instruments" are SUPPOSED to sound like. Let's say you're a rock fan.....there has never been a stadium rock concert where imaging is considered. Stereo sources become part of a main mono mix. And do you really strive to have your home system sound like a stadium rock concert? Conversely, consider an acoustic instrument concert in a small venue. If no mic-ing is used and you're in the sweet spot, only then do all the variables audiophiles discuss come into play.

I spent my life in this business. I'll say again, while studios may experiment with different cable tweaks, virtually NO studio (not even the top studios) wires the entire studio with Nordost Valhalla.....its simply not necessary while it might even color the original source. Those who disagree would be better to argue that they're ATTEMPTING TO SCUPLT A DIFFERENT AUDIO EFFECT ON THEIR HOME SYSTEMS, OR AT THE VERY LEAST, A SOUND THAT MATCHES THEIR LISTENING PREFERENCE.

I too have previously spent a lot of dough on home audio cables. And it's hard to feel good about spending $10k on speaker cables if they don't sound DIFFERENT. If you like DIFFERENT then go for it. DIFFERENT is not always better. But DIFFERENT could be what your individual taste requires and that's OK.

again, with all due respect, I challenge you to tell me what "electronic instruments" are SUPPOSED to sound like. Let's say you're a rock fan.....there has never been a stadium rock concert where imaging is considered. Stereo sources become part of a main mono mix. And do you really strive to have your home system sound like a stadium rock concert? Conversely, consider an acoustic instrument concert in a small venue. If no mic-ing is used and you're in the sweet spot, only then do all the variables audiophiles discuss come into play.

I spent my life in this business. I'll say again, while studios may experiment with different cable tweaks, virtually NO studio (not even the top studios) wires the entire studio with Nordost Valhalla.....its simply not necessary while it might even color the original source. Those who disagree would be better to argue that they're ATTEMPTING TO SCUPLT A DIFFERENT AUDIO EFFECT ON THEIR HOME SYSTEMS, OR AT THE VERY LEAST, A SOUND THAT MATCHES THEIR LISTENING PREFERENCE.

I too have previously spent a lot of dough on home audio cables. And it's hard to feel good about spending $10k on speaker cables if they don't sound DIFFERENT. If you like DIFFERENT then go for it. DIFFERENT is not always better. But DIFFERENT could be what your individual taste requires and that's OK.

Of course cables make a DIFFERENCE. But here's the rub. Look at this from this perspective: A recording engineer in one of the top studios in the country prepares to record a vocalist. Consider the signal path: microphone ---> cable ---> pre-amp ---> cable ---> EQ component ---> cable ---> compressor ---> cable ---> A/D converter ---> cable ---> into computer program (Pro Tools, Logic, Cubase, etc) for more sonic manipulation) ---> cable ---> D/A converter ---> cable --->speaker. I count about 7 different runs of cable between 8 different components. These 15 steps of flow will theoretically affect the original vocal source. Top studios (especially those who know how to record REAL ACOUSTIC instruments from clasical, jazz, folk, country, etc) either preserve the original source or manipulate the sound according to the performers expectations. Top studio's main goal is to never add color UNLESS it is desired, The very best studios in the world use Mogami cable...... a pair of interconnects can cost under $100. I've been in the top studios in LA, NY, Nashville and virtually NONE use the fancy cables that are topic to these discussions. The goal is for the engineer to sculpt the final audio outcome of what the performer desires. IF YOUR HOME SYSTEM IS FLAT, NEUTRAL, UNCOLORED, virtually ANY neutral cable is all that is necessary. IF YOU'RE TRYING TO CHANGE (MAKE DIFFERENT) THE SOUND THAT WAS CAPTURED IN THE ORIGINAL RECORDING, then spend $10,000 on some cables made of gold and platinum that were soaked in tomato juice. And you've also got bragging rights as the rich guy on these forums.

Frogman - some of the top studios in the world have cheap Yamaha NS10s in their arsenal of equipment. There is a good reason for this, and it's not about creating a believable mix or master......it is about complying with radio expectations, sales to the ear-bud crowd, etc....the joke is that if you can get it to sound good on NS10s, it'll sound OK on your car radio or I-pod.

My point above was that you might have 8-10 cables between the components in a studio signal chain. The components themselves can easily cost $100k plus. We don't spend that kinda dough on hardware gear if we can't perceive a benefit. Those specific 8-10 components I noted are most often connected with high quality Mogami cables they cost roughly $3000 - $5000. Do you not believe 99.9% of the TOP studios would gladly spend 5-10 times that amount on cables if they made the difference that you are suggesting. The theoretical science behind cables is interesting, and the cable industry has exploited this information. But again, how much of a difference does it make in a studio set-up. The studio biz is competitive and I will purchase every "edge" I can to beat my competitor. A tube condenser mic or vintage compressor or Pultec EQ or great monitors will often make obvious audible differences. I've never had a client "hear the cables" and that's because relatively inexpensive Mogami cable is completely neutral to the human ear. (MASTERING is a whole different topic where commercial requirements/expectations must be met to promote sales - hence equipment tweaks are used to boost and cut, etc etc.)