Help with XLR ICs.

@tattooedtrackman I’m happy that the Pegasus interconnects have already sold (they sold very quickly). Also, I don’t even think about the ultra expensive cables like Firebird or Dragon, because, for me, they’re so far outside of the realm of affordability. But, it’s ok the dream. Besides, no need to spend that much, as reference quality sound can be achieved by much less expensive cables than Dragon or Firebird, such as Pegasus, IMHO, and Thunderbird. The Dragons and Firebirds of the world were created strictly for those who’s pockets are much deeper than mine. Comparatively, I may be able to afford a nice Mercedes, but Rolls Royce is simply out of the question, Lol. I was extremely fortunate and to stumble upon a brand new pair of Thunderbird XLR, .75m, at a substantial discount. I got lucky on this one.  Also, thank goodness for the good old internet, on-line, used market. Yes, I’m extremely excited, and look very much forward to the arrival of the AQ Thunderbird interconnects. I’ll be sure and post my thoughts on the Thunderbird after I get a chance to get them fully burnt-in. Happy listening.

This is a serious question, not intended as a flame:  can someone please explain to me, given the topology and function of balanced circuits, how any particular XLR cable composition can make a significant difference in sound, since whatever influence is cancelled back out by the recombination of the signals at the receiver end?

I do agree that well constructed cables that don't lose signal are beneficial.  I'm a Mogami fan.  But those are street cables compared to what is being recommended here, and I am not understanding how the composition of an XLR cable would be as with single-ended. 

Mogami is the best you can get for most gear, the prices company charge for simple copper is insanity, if you want gold wires you need gold all the way from the generator. Making your own using neutik or switchcraft gold ended connectors is nearly the best you can get 

I have an ARC REF 6, and I use Shunyata Anaconda XLR's, which can be had used at very reasonable prices.  In fact, I have a Shunyata loom because I think that their cables sounded so good in my system.  I have them between my MSB DAC and the ARC REF 6 and to the Pass Labs 250.8.  Surprisingly, when I replaced the ARC stock power cable with a Shunyata Alpha v2, the improvement was clearly audible -- enough to make me very happy with the purchase!.

I didn't read the whole thread, but I'll be putting my AQ Thunderbird 0.75M XLRs up for sale in a few weeks. Watch for those, strong bass, excellent sound, same family, just didn't work out in my system.

@nagel  please check your messages in here. Mike. 

Iconoclast UPOCC Gen 2. They are the high end division of Belden .They will send you the cables to try . If you do not like them they will pay for return shipping also. You have zero dollars out of your pocket to try. Fantastic cable and company to work with 

This is a serious question, not intended as a flame: can someone please explain to me, given the topology and function of balanced circuits, how any particular XLR cable composition can make a significant difference in sound, since whatever influence is cancelled back out by the recombination of the signals at the receiver end?

@jji666 The issue is that there’s a balance line standard (AES48) which most high end home audio equipment does not support. The result is that the shield of the cable is used for audio signal return much like it is with single-ended cables. So the construction of the cables, along with the capacitance resulting, makes a difference. Part of this has to do with the fact that the source impedances are higher than studio equipment as well as the input impedances of the equipment being driven.

There are high end home audio preamps that support AES48 and can drive impedances typically found where balanced lines are used in professional (broadcast, recording and so on) applications. If these preamps are used then most of the conversation of this thread is moot because the cables no longer make a difference (which is a large portion of the intention of balanced lines in the first place)!

Thanks. So does that translate to: if the equipment is truly balanced, then the XLR interconnects do not make a difference, but if the equipment isn't balanced but instead just has XLR but is really single-ended, then the XLR cables matter similarly to single-ended cables?

does that translate to: if the equipment is truly balanced, then the XLR interconnects do not make a difference, but if the equipment isn't balanced but instead just has XLR but is really single-ended, then the XLR cables matter similarly to single-ended cables?

@jji666 No, a lot of gear out there really is balanced. But that isn't the same as saying it supports the standard. To support the standard, AFAIK the source driving the cable ignores ground. So a phono cartridge, which is floating, is a good example as is a dynamic microphone.

When it was done with tube equipment in the old days a line transformer was used. To do it solid state you have to have a circuit that is OK not referencing ground (these days there are chips  like this one for that) or you use a transformer. There is a third technique using a patented circuit that involves a Circlotron output.

So most balanced gear for home stereo use simply references ground, IOW there are two single-ended outputs, one out of phase with the other. This does not support the balanced line standard, so the cables will affect the 'sound' and different cables will sound different. I think this is really bad because first, the balanced line system is supposed to get rid of this problem and second because if you think about it, none of the cables you ever choose would really be 'right'- we all know that next year the people that made the 'best' in a shoot out would have a better cable (likely for more money) and if they don't someone else will; hence all the answers to this thread with different suggestions!

When your gear supports the standard there's none of that- its all plug and play with no worries and the best sound of the cable possible.

@atmasphere Thanks for clarifying that equipment can be balanced and still not support the standard, I think that this clears up a lot of confusion.

I have been trialing some XLR cables recently, in this case a friend loaned me some Wireworlds and Analysis Plus cables. A very distinct difference in sound between these cables, you can't miss it. I guess my equipment (Schiit->Benchmark->Coda) does not follow the standard.

@zlone You might try a pair of Mogami Neglex XLR cables just for fun. They are not expensive and they are very good.

@atmasphere You might try a pair of Mogami Neglex XLR cables just for fun. They are not expensive and they are very good.

Thanks, I will take a look!

I’d definitely recommend Mogami Platinum Studio XLR cables. Platinum Studio is made with a Mogami w3402 bulk cable, a customized version based on the W3173. It is assembled in Torrance, CA. The XLR plugs are from G & H. Been using one between my CDP and DAC for a few weeks and love the sound. Going to order two more pieces for one of my pre/amp combos.

I don’t work for them (or anyone else for that matter).

@audphile1 or anyone, would like to know if you hear a rather noticeable or significant difference when you changed from the Acoustic Zen to the Nordost Tyr XLR, or any XLR to another XLR cable?

Currently I have two pairs of XLR in the price range of $2k and although there’s a difference it’s not night and day. I wonder if a $4k XLR will provide a bigger change in sound? In my experience power cables bring a more significant difference than XLR interconnects.

@ryder I’m also interested in the Tyr2. I compared a Shunyata Alpha v2 XLR ($3500) against my Synergistic Accelerators between my Esoteric K-05XD and Diablo 300 and preferred the $1200 Accelerators. Very system dependant.