Speaker wire construction and sound quality


I'm not new to mid to high end stereo listening but have concentrated, over the years, mostly on the obvious equipment choices such as amplifiers, CD players, loudspeakers, etc. Most recent decisions regarding these have been based on information and advice found through forums such as this and, for the most part, have worked out well.

In the old days (50+ years ago) when monaural was king and high volume strong bass reproduction was the goal of most young pursuers of high fidelity, speaker wire construction and quality were not common subjects of conversation. Everyday electrical extension cord in those days was the cable of choice. In the past twenty or thirty years my approach has not been that much different in that I have simply chosen specialized and relatively expensive heavy gauge wire and left it at that.

Things have changed. The choice of speaker conductor has become a big deal and I simply don't understand the technical arguments supporting one type or another of the available choices. For the most part I'm pretty happy with my system but am always looking for ways to reduce brilliance/shrillness which I am very sensitive to because of a hearing condition called hyperacusis.

I've tried some of the more obvious fixes such as tube based DAC's and they definitely have helped. FYI, my basic system consists of the following: Rogue Audio Sphinx integrated hybrid amp, Shanling solid state CD player, California Audio tube DAC and Martin Logan Odyssey speakers. This was not a ground up designed system, just what it has ended up being as a process of piecemeal evolution.

Getting back to speaker wire, is there really that much difference in sonic quality related to a choice of the many that are available? I've read many articles on the subject and the opinions vary greatly to the extent of being totally contradictory to one another. I don't have a super audiophile system, I know, but are there some basic considerations that one should take into account in making a choice, and is there any advantage to bi-wiring?

I'm not that good at describing sound character because I don't have a good handle on the terminology but I do know brilliance when I hear it. It was suggested by someone whose knowledge I respect, that speaker wire could have a positive effect in resolving the brilliance issue while maintaining detail. As an experiment, he loaned me a pair of cables that are highly reviewed and cost over $5000. I can't afford something like this but was curious to see if I could tell the difference; I couldn't. I even tried the same experiment with my pair of Jamo Concert 8 bookshelf speakers using the same music ( Jazz at the Pawnshop) thinking they might be more sensitive to subtle changes, and still could not discern a difference. I realize that this could be as a result of my own observation deficiencies but would very much like to hear what you all have to say about this issue.
128x128broadstone

Showing 2 responses by bombaywalla

Hey Broadstone,
leveraging on Almarg's post:
As with most electrostatics, the impedance of your speakers descends as frequency increases, being spec'd at 4 ohms nominally but only 1 ohm at 20 kHz.
The reason for this is that electrostatic speakers are essentially one big capacitor! The perforated metal panels in your M-L are what they call "stators" or "grid" & they are stepped up to a rather high voltage (100s of volts) & the see-thru diaphragm is probably the thickness of 2 Saranwrap sheets is called the rotor/diaphragm. The construction of an electrostatic speaker, thus, is essentially that of a capacitor - the 2 metal perforated sheets form the 2 electrodes of a capacitor & the diaphragm is the dielectric material.
Here are a couple of links for you to read up on electro-static loudspeakers:
http://en.wikipedia.org/wiki/Electrostatic_loudspeaker
http://www.sanderssoundsystems.com/technical-white-papers/esl-speaker-wp

So, given that an ESL is a big capacitor, not every s.s. or tube amp can drive this large amount of capacitance. In fact, most s.s. amps cannot. S.S amps go into oscillation i.e. they become unstable with a large capacitative load. This can manifest itself as "shrillness" that you were/are hearing. In fact, it is well-known among ESL owners that "special" amps are needed to drive that speaker. Thus, there is good reason that Roger Sanders makes a power amp for his ESL.
If I had to take a wild guess, I bet that your s.s. amp was oscillating while driving the M-L. Oscillation is really bad for the power amp - not only does it create odd-harmonic distortion that destroys listening pleasure but it also literally destroys the s.s. amp over time. Oscillations in a power amp output stage can create high peak currents that can destroy the output transistors (BJT or MOSFET or JFET) over time.
By switching over to a tube amp, as Almarg already indicated, you reduced the amp's ability to source power into a low impedance & you also added increasing output resistance at the amp output - tubes, by their physics, have higher output impedance (which, in technical terms, is like adding an ESR to the capacitor, which adds a stability zero in the overall freq response & could be stabilizing the amp). You stumbled upon a partial solution for reasons unknown to you.
As Almarg already indicated - make sure that your power amp is designed to drive a highly capacitative load. Most amps in the market are not.
Hope that this helps.
Broadstone,
(boy, your username sounds like a CIA operation!!) it might be good for you to read this particular thread on what the essential parameters are for good cable design:
http://forum.audiogon.com/cgi-bin/fr.pl?fcabl&1363313104&&&/Why-are-we-going-300-or-more-directions-