Somehow, I don’t think top recording artists give 2 sh#%s what the cables are made of.
As a class, recording artists are like any other. There are some that extremely knowledgeable and some who are completely ignorant. Just like audiophiles. 🤣
Fools prattle on about silver, ignoring what make cables sonics differ. Dielectric and geometry explain six nines of cable sonics. Internally, electronics have umpteen metal, plastic and resistive interfaces. SS gear adds uncountable metal / semiconductor interfaces. Tube gear adds oxidizing metal interfaces. Cables are tone controls and are system specific. See ieLogical CableSnakeOil |
I carried my own cables, mic pre, eq, level control, amp and speakers. My company did studio installation. Some studios were very specific as to cable, others, not so much. Some studios went offline for a month or so to be rewired. Some studios had a wide assortment of mic and instrument cables by Belden, Mogami, Canare, Monster, AKG, Neumann, etc. Some musicians were quite surprised when we changed a cable instead of a microphone to achieve a particular tone. Bottom line: It's the system. |
Engineers are not fools.
Hogwash. Most had walls of individual cables. Snakes are used on stage for safety, but I never worked a session anywhere with a snake box on the floor. Typically for a large session, cables would run to a wall jack panel which could be wired with multi-conductor or individual cables. For vocals and overdubs, often we would run a single cable under the doors. Some studios had a few cables in soundproof pass throughs to connect directly from the mic to the preamp.
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Look at the dielectric and geometry. That is six nines of their sound, some of which are terrible in some systems due to their 'tortured' design. |