Taralabs cables

This is the matching power cord for the Air Evolution Interconnect and speaker cable's,       Air Reference AC




The RSC Air Reference AC  uses Air-tube™ technology that reduces dielectric distortion within cable; has an extremely low noise floor with unsurpassed picture clarity.  It is shielded and has 14 gauge conductor runs; SA-OF8N® copper; 24 RSC® Gen 2 conductors separated into live and neutral paths; live and neutral paths are in individual Teflon® air-tubes™ and separately shielded; ground path is provided by exterior shield; Anti-Corrosion coated SA-OF8N® copper braided shield.
Wattgate standard IEC plug, shielded14 gauge conductor runs.SA-OF8N® copper. 24 RSC® Gen 2 conductors separated into live and neutral paths.Live and neutral paths are in individual Teflon® air-tubes and separately shielded.Ground path is provided by exterior shield.Air-tube™ technology reduces dielectric distortion within cable.Extremely low noise floor.Unsurpassed picture clarity.

Hi denon1,  yes,  taralab's does build to order by hand, I would also mention that the likely time frame specified in your post is also to fill order's that may be ahead of your order,  Greg,  you should have seen me with my anticipation for my cable's to arrive,  we'll worth the wait,  happy listening greg. 

As is often the case in such a diagonal disputation, both are partly right. One source of the widespread disagreement stems from the lack of any standardized criteria for judging power requirements. Thus, one expert may be stating how much power we need to produce a certain volume of sound during crescendos, while the other may be telling us how powerful an amplifier we must have before any further increase in available power ceases to yield any perceptible improvement in sound. On the other hand, another expert—the field is thick with them—might be figuring power requirements on the basis of a high-efficiency speaker system like the Klipschorn, while yet another expert may have decided that the only speakers worth listening to are low-efficiency types like the AR-1, so he bases his estimate on its power requirements.
All are legitimate approaches, but it is obvious that no one of them can supply a universal answer. Hence the compounded confusion.
Let's get one thing straight at the outset: "Need" has no bearing on the matter. It is senseless to ask how much power we need, because the answer is "none." We don't need high fidelity, when it comes right down to that. Nobody would die, no governments would collapse, no panics would ensue if, all of a sudden, high fidelity had never been.

Considering the amount of careful research, cautious theorizing and wild speculation that have been lavished on the amplifier power question, we should expect to be considerably closer to the answer in 1962 than we were five years ago. This does not seem to be the case.
We have instruments for measuring sound pressure levels in the air, for measuring electrical power, and for analyzing distortion content to the third decimal place, and the literature is full of learned dissertations on the structure of musical sounds, their behavior in concert halls and living rooms, and the relationships between ears and the sounds around them. Yet one audio expert still maintains that 0.5 watts of amplifier power is all you ever need, while another says 50 watts is barely enough. Who is right?

All right, then, how much power should we have? Simply stated, we should have enough power to reproduce the desired sound at the desired level without exceeding a certain limit of distortion. This reads like a masterpiece of evasion, but it is a step in the right direction, for no expert will disagree with it.
But what level is the "desired" level? Background music level, foreground listening level, or the kind of ear-shattering level that a conductor might hear from his podium?
The hi-fi system owner who does not plan to use his rig for anything except background music can just forget all about power requirements. At very low listening levels, the ear's powers of discrimination are poor, so any amplifier that is sold under the guise of high fidelity will do. A cheap 5-watter will be adequate, and it isn't too important if its distortion is fairly high, because nobody really listens attentively enough to background music to notice its sound.
The only time we benefit from high fidelity is when we concentrate on the program, because that is when we start to get finicky about the sound. Our ears are most responsive to upper frequencies when the sound is loud, and it is at high levels where a hi-fi rig's distortion is prone to be most severe. If the amplifier is clipping the tops off peaks at high listening volume, the resulting raggedness of sound is much more audible than it would be were the amplifier doing the same thing at a much lower volume level. This, of course, helps to befuddle the issue, because the higher the listening volume, the lower the amplifier's distortion must be in order to sound pleasant. And we all know that the harder we push an amplifier, the more distortion it generates.

Even the biggest, costliest amplifiers exhibit this power loss at the frequency extremes, but in these, the losses don't usually start until well beyond the audible range.
Let's assume now that we have access to an amplifier's power response curve, and can see that it will deliver its full rated power to 20Hz. Is this any guarantee that it will sound the same, at low levels, as a high-powered unit? It is not.
Power response curves show the power levels at which different frequencies will generate the same 2% distortion at which the midband power is usually rated (fig.3). What they fail to show is distortion at less-than- maximum power levels. An amplifier that yields 2% distortion at full rated output may yield 0.2% at half power, or its distortion may never drop below 1% regardless of how little power we drive from it. And since we do most of our listening at power levels far below overload, the amplifier's minimum distortion, or "residual" distortion, is of considerable interest to us. Here, again, is where the typical low-powered job falls far short of its heftier ilk.

The formula that we described for arriving at our minimum RMS power figure assumed that the loudspeaker radiated its sound in all directions away from the source. In truth, some speakers don't. The best loudspeakers for small-room listening are direct-radiator types, simply because they do radiate the sound over a broad area. But horns. which usually behave best in very large rooms, tend to direct most of their output forward, so a higher proportion of the radiated sound goes directly toward the listener. This would tend to reduce the power requirement even more for a horn-loaded system, but the high efficiency of the average horn puts its power requirement so low to begin with that it is pointless to quibble over an extra watt or two, even though this may represent a doubling or halving of the computed figure.
An orchestral crescendo, or a full choral passage, contains transients that are fully 10dB higher than the average volume of the sound, as measured by a sound level meter. A 10dB increase in level represents a 10-fold increase in power, so how can we possibly hope to cope with this sort of thing? Fortunately, we don't have to. Recording studios and broadcast stations use peak limiters to keep these huge transients out of the received signal, and tape recorders have their own built-in limiting action. Transients are high- frequency phenomena, and tape will saturate instantly if a strong treble impulse is fed to it. The result is a shearing-off of the peak, and if the overload doesn't last too long, this won't cause any more audible disturbance than a good peak limiter.

Thus far, we have fairly well established the power that we must have in order to avoid outright overload when reproducing original orchestral level through a speaker of known efficiency. But it is not all the power we should have on hand, because there’s more to fidelity than just reproducing sound at the proper volume.
Anyone who has perused an amplifier’s power-vs-distortion curve will have noticed that distortion rises gradually with output until just below the overload point, beyond which the distortion skyrockets. This is one reason why a high-powered amplifier is likely to sound better than a low-powered one even at every low power levels. They may both be operating at well below their overload point, but the fact that the high-powered one is running at 1/10 of full power when the other is at 8/10 of full power will mean that the former is contributing less distortion at all times  and this will generally show up as cleaner, more "comfortable" sound.

So, for the purposes of this article, we are going to assume that you will, at least occasionally, play your system at foreground level.
What about orchestra-in-the-room level? Although a popular advertising gambit, this is an absurd notion. To be mundane about it, there simply isn't room for a symphony orchestra in the average home, so even if it were possible to re-create the original volume of the orchestra as heard from the conductor's podium—which it is, but it takes scads of power and a highly efficient speaker—the effect could not be realistic. It would also be very un-neighborly. A solo performer, or a chamber group, could be in your living room, and sounds very convincing when so reproduced. But recording engineers realized long ago that orchestra patrons listen from out in the hall rather than from the podium, so they do their microphoning to convey as well as possible the illusion of listening from a mythical "best seat in the house." Their recordings sound best when reproduced to scale; higher volume levels make them sound overblown and unnatural.
As sound waves travel away from their source, their total acoustical power remains essentially the same, but as each wave spreads out over a wider area, it thins itself out. Thus, the actual intensity of a sound some distance from its source will be considerably lower than its intensity right at the source. For this reason, we measure sound intensities in a concert hall in terms of variations in air pressure (or the sound pressure), rather than in terms of watts of acoustical power. The original power at the source can then be computed, if desired, by a simple formula based on the fact that sound pressure weakens by a square root function as its distance from the source is doubled.

Sound pressure readings are made using a special microphone probe and a meter that resembles a tape recorder's VU meter but is calibrated in dynes/cm2 of pressure or in decibels above the threshold of human hearing. The sound meter shares the same shortcoming as a VU meter in that its indicator needle, having some inertia, does not respond fully to transients, but gives an average (or RMS) reading.
The RMS level of sound during an orchestral crescendo, as heard from a fairly close seat in the concert hall (row C, for instance), measures about 100dB on a sound level meter. The acoustical power (not electrical, please note) needed to create this sound level, at a distance of 15 feet from a loudspeaker in a 10' by 15' by 20' room, is on the order of 0.4 acoustic watts.
If we used a 100% efficient speaker (which is unlikely, because there's no such thing), we could recreate the RMS power of the original sound with 0.4 watts of electrical power. To find the amplifiet power required to get this acoustical power from a practical speaker, we simply multiply the reciprocal of the speaker's efficiency rating (in percent) by 40. Thus, for a 10% efficient speaker, we have: 40 x 1/10W, which works out to 4 watts. For a typical "low-efficiency" speaker of about 1% efficiency, we would need 40 watts of amplifier power to produce 0.4 acoustical watts.

The power figure derived by the above calculation represents the minimum amount of RMS power needed to reproduce an orchestral crescendo at its original measured sound pressure. The figure will apply as a total power requirement for both channels of a stereo system, but it will not apply for a monophonic system, because mono sound of a certain measured pressure level does not sound as loud as the same level when the reproduction is stereophonic. This means that, in order to reproduce monophonic material at the subjective level encountered in the concert hall, we need more power than would be indicated on the basis of sound level meter computations.
How much more is a moot point, because the disparity between stereo and mono power requirements varies with the program material, the way it was microphoned, and the acoustics of the listening room. It usually works out to about a 1–2dB difference, which seems negligible until we remember that it takes double the power to raise the listening level by a mere 3dB. To cope with a 2dB increase, we must up our original power estimate by a factor of about 1.6. Hence, if our original figure came out to 4 watts, we would have to multiply this by 1.6 to get our power requirement for monophonic listening, and this would come out to 6.4 watts for the 10%-efficient speaker.

There's a second reason why high-powered amplifiers should outperform low-powered ones, even at low output levels. It is customary to equip an amplifier with an output transformer that is no larger than it has to be in order to yield full rated power in the middle range. The British are still making low-powered amplifiers with substantial output transformers, but the prevailing attitude in the US seems to be that the low-powered amplifier is sort of a stopgap component, to tide the buyer over until he can afford to purchase something good. There is rarely any attempt to design a really good low-powered amplifier. As a result, the typical 10-watter, even though it may well meet its rated power at 1kHz, is severely limited in power capability at both ends of the spectrum. The power loss is usually most severe at the low end, where there is often a great deal of energy in the audio signal, so the unit may only be able to deliver half, or less, of its rated power before the program material overloads it 

The light output transformer in most low-powered amplifiers is susceptible to core saturation at low frequencies, and even though this may be held low enough to meet overload limits down to, say, 20Hz, it nonetheless imposes a severe limit on the amplifier's low-frequency residual. Thus, typically, the low end will exhibit increasing distortion with decreasing frequency, even at the very lowest output power levels. At 1 watt, where the mid-band is contributing only 0.3% or so distortion, there may be 1% distortion at 30Hz.
Actually, it is a rare low-powered amplifier that will produce as little as 0.3% distortion at low levels, even through the midband. Most of them, sloppily designed as they are, have enough distortion in their earlier stages to hold their residual at about 0.75% no matter how good their output stage may be, so they can never sound as good as the more carefully designed high- powered units. The few exceptions to this rule are so costly that one might just as well buy a higher-powered unit and be done with it.
There are extenuating circumstances occasionally, though. Loudspeakers and amplifiers that ate designed specifically for one another should be used together regardless of the amplifier's power rating. Some speakers are fragile, and will burn out if hard-hit by a hefty amplifier. Fusing helps, but the series resistance in the line reduces the electrical damping applied to the speaker, inhibiting the amplifier's ability to prevent spurious cone vibrations. Consequently, if you must use such a speaker, it's advisable to bypass its fuse, and couple the speaker directly to an amplifier that won't be able to damage it.

High-power advocates have always claimed that one reason a high-powered amplifier sounds better than a top-notch low-powered job, even at low levels, is because the big one's reserve power gives it better control of the speaker's voice-coil. It was reasoned that a large reserve of power, operating through a tight negative-feedback system, could bring more power to bear more rapidly for suppressing spurious vibrations of the speaker cone. This sounded plausible, until the first of the all-transistor amplifiers came along and befogged the issue.
Transistors just do not behave like tubes. Transistor amplifiers whose measured distortion is higher than that of the cheapest "hi-fi" amplifiers somehow manage to sound much better than they should, and the absence of an output transformer from most transistor amplifiers (the low-impedance transistors connect directly to the speaker) eliminates most of the annoyance value of marginal overload on peak passages. As a result, a transistor amplifier seems to produce far more clean power than a tube amplifier of the same rated output.

Even more significant, however, is the "transistor sound" at low output levels. Even the feeblest transistor amplifiers we have heard (a 3-watter, for instance) sound like high-powered amplifiers when operating at low levels. They are transparent, crisp,and have the same kind of bass solidity that high- power advocates have always attributed to the monster amplifier's reserve of speaker-controlling watts. So the superiority of the high-powered tube amplifier is not just a matter of reserve power.
Just what it is a matter of is still open to question, but we may be in a better position to answer this when we get the opportunity of comparing high-powered transistor amplifiers with their betubed competitors. Tube amplifiers have fouled up the power question for years, because the low-powered ones so often suffered from shortcomings that had nothing to do with the simple fact that they were 10- or 12- or 15-watt amplifiers. Transistors may change the picture.

So, where do we stand? For the nonce, let us say that computed power may be taken as the power we should have on hand if we use a transistor amplifier or a high-powered tube amplifier. In the lower-power categories, tube amplifiers in general will not produce the best sound that the average speaker can furnish. They may be adequate, and can nonetheless provide enjoyable listening, but they do leave room for improvement. Whether or not the improvement is worth an additional outlay of money to you is up to you. But it's there for the buying

The Grandmaster Evolution AC




The GrandMaster Evolution AC power cables is the absolute ultimate power cable design. It employs twenty four RSC conductors for each of the live, neutral and ground “earth” conductor paths. A total of nine low frequency conductor paths is used combined with the 72 RSC solid core high frequency conductors. The 72 RSC high frequency conductors are shielded in three separate groups for live, neutral and ground. Then the shields are combined to provide a phenomenal ground path together with RF/Emi rejection.

Hi Denon1, when do you expect your cable's?

Taralab's Air Phono cable's , A affordable analog phono cable that any high end enthusiast's can afford and enjoy, ,,




TARA Labs Air phono is another high-end phono cable that is available from TARA Labs, and is part of our legendary “Air” series audio cables collection. Its low price for a specialty cable make this an excellent choice for audiophiles who need a reference grade phono cable. It is suitable with all cartridge voltages. Sonically the cable is open and revealing, with excellent high frequency extension and detail. It is recommended for a wide variety of cartridges.
Conductor is: 99.999999% Oxygen-free, mono-crystal, rectangular solid core.Available termination: RCA, XLR, 5 pin DINHandcrafted in USA and lifetime guaranteedHigh-frequency extension & detailTight bass & midrangeVery revealing

Post by Musicman,     I also think that some of the cable and amplifier prices are over the top, but saying that, I did hear both Nordost and TARA Labs at CES, and both were great! I did feel that TARA Labs was better than Nordost when it came to overall sound. Let's face it, this is a very expensive industry to be involved in. MBL, Rockport, Magico are extremely expensive gear to own. But if you have the money, and want the best, then you'll buy MBL< or Rockport, or TARA Labs. No matter what industry, the best will always cost more

Making Sense of … Evolution Speaker Cables
Extreme Audio Systems and Extreme Performance Cables with Low Inductance
At TARA Labs, the major design goal for speaker cables is to reduce the inductance in the cable. However, there are some high-end amplifiers that need to 'see' some level of inductance (L) in the speaker cable. When the low damping factor of certain amplifiers is connected with (ultra-low inductance) TARA Labs speaker cables, the output of some high-end loudspeakers becomes audibly variable at different frequencies.
The phenomenon is readily apparent, heard as bass that is soft and low in amplitude, sometimes together with high frequencies that are too smooth or rolled-off. Basically, the resistance in the loudspeaker cable should be ultra-low, and the inductance (L) in the cable needs to be low but sufficient to provide a load to certain amplifiers. There is no ideal value for (L). It varies from system to system, just as impedance varies with frequency in most loudspeakers.
The loudspeaker cables carry much higher signal voltage and current into a non-linear impedance (the loudspeaker) ... so the reactive load of the loudspeaker can be difficult for some amplifiers to drive... and the all-important damping factor of the amplifier changes from amplifier to amplifier.
One of the great attributes of the OMEGA Evolution & Grandmaster Evolution Speaker Cables is their ultra-low inductance. The OMEGA Evolution & Grandmaster Evolution Speaker Cables are the 'state-of-the-art' in both technology and design from TARA Labs. Its performance level is absolutely spectacular when matched with the majority of high-end audio components available today. And as with an ever increasing introduction of new components into the marketplace, we have found over and over again that not every cable or component has the perfect symbiotic relationship with each other. In these particular instances, there are some amplifiers that need to 'see' some level of inductance (L) in the speaker cable. For certain loudspeakers and amplifiers, TARA Labs has produced another addition to the line-up with the Omega Evolution SP & Grandmaster Evolution SP speaker cables. These cables are designed to work exceptionally well with amplifiers with a low damping factor or loudspeakers with a very reactive load in the lower frequencies.
Another choice is the *OMEGA CX Evolution loudspeaker cable with its slightly higher inductance, used especially with wide-bandwidth amplifiers.
*The Omega Evolution CX model is a more affordable version of the Omega Evolution SP. Having similar characteristics as the “SP”, yet at a lower price. For the speaker cable that requires a higher inductance, or used with wide-bandwidth amplifiers, the Omega Evolution SP and the Grandmaster Evolution SP are the ultimate cable choices.

TARA Labs “SP” Speaker Cables: As the loudspeaker cables carry much higher signal voltage and current into a non-linear impedance (the loudspeaker) the reactive load of the loudspeaker can be difficult for some amplifiers to drive... and the all-important damping factor of the amplifier does change from amplifier to amplifier. The phenomenon is readily apparent, heard as bass that is soft and low in amplitude, sometimes together with high frequencies that are too smooth or rolled-off, in addition to a loss of musicality. However, when these amplifiers are connected with TARA Labs ‘SP’ speaker cable models, the output of some high-end loudspeakers instantly becomes audibly improved at variable frequencies. One of the great attributes of the TARA Labs ‘SP’ speaker cable models, are the 'state-of-the-art' technology and design that was created by TARA Labs. Their performance level is absolutely spectacular when matched with the majority of high-end audio components available today.
TARA Labs ‘SP’ cable models are now available in the Evolution series cables; Air Forte, Air Evolution, Omega Evolution and he Grand Master Evolution.

Taralab's  Air Reference AC




The RSC Air Reference AC  uses Air-tube™ technology that reduces dielectric distortion within cable; has an extremely low noise floor with unsurpassed picture clarity.  It is shielded and has 14 gauge conductor runs; SA-OF8N® copper; 24 RSC® Gen 2 conductors separated into live and neutral paths; live and neutral paths are in individual Teflon® air-tubes™ and separately shielded; ground path is provided by exterior shield; Anti-Corrosion coated SA-OF8N® copper braided shield.
Wattgate standard IEC plug, shielded14 gauge conductor runs.SA-OF8N® copper. 24 RSC® Gen 2 conductors separated into live and neutral paths.Live and neutral paths are in individual Teflon® air-tubes and separately shielded.Ground path is provided by exterior shield.Air-tube™ technology reduces dielectric distortion within cable.Extremely low noise floor.

“The game of these TARA Labs power cords is one of contrasts -- dynamic and especially between the signal and the noise below it -- as well as tonal richness"; there's "soundstage integrity, a wholeness of the sound produced" too.” – Marc Mickelson / Home Audio Equipment Review
 

Tara labs Zero Evolution Phono, this is the only zero Evolution cable that has the generation 3 conductors that is only in the Grandmaster Evolution analog interconnect, ,,




The Zero Evolution Phono-Cable is the epitome of high-end reference quality phono cables. The design and technology used in creating this exceptional cable, is a far cry above any other phono cables that are currently available in today’s marketplace. Extremely low Capacitance as well as exceptional high-frequency extension The Zero Evolution Phono-Cable works very well with all cartridges regardless of voltage.
The Zero Evolution also incorporates a “star-ground” system (SGS) with a variety of optional male/female mini-banana connections. This system is unrivalled in that it provides the option of floating or connecting different sections of The Zero GX Phono-Cable shielding system. There are subtle differences to be heard, some of which are caused by slight variations in the shield and grounding arrangements of the cartridge and the tonearm, and the turntable and the phono-preamp. As we all know, the shield/ground formats in the Phono interface are sometimes different enough to create a hum or buzz problem. Using The Zero Evolution Phono Cables’ superb proprietary shielding system, we are able to provide a method of optimizing the shield and ground system for the lowest possible noise floor in this critical component interface. As we all know, the shield/ground formats in the Phono interface are sometimes different enough to create a “hum or buzz” problem. With The Zero Evolution Phono Cables’ proprietary shielding system (SGS), we are able to provide a method of optimizing the shield and ground system for the lowest possible noise floor in this critical component interface.
“Master” Gen3 Conductor is: 99.999999% Oxygen-free, mono-crystal, rectangular solid core, hand-polished, frequency-tuned copper conductor.Available termination: RCA, XLR, 5 pin DINHandcrafted in USA and lifetime guaranteedExcellent high-frequency extension & exceptional detailTight bass & full midrangeExtremely revealingImpressive holographic soundstageNeutral & naturalUnparalleled musicality.

Making Sense of….Gen 3 Conductors
TARA Labs, Inc. has just announced the introduction of its Generation 3 Rectangular Solid Core® conductor, to be used exclusively in its state-of-the-art interconnect cables.
TARA Labs claims that the Gen 3 conductor has an increased bandwidth or high-frequency extension, that makes it unrivalled in important test measurements and listening tests.
TARA Labs’ Matthew Bond said that the new Gen 3 conductor has the same current-carrying capability of a 28 gauge conductor but has the high frequency linearity of a 40 gauge conductor.
Matthew Bond explains why this is possible. “In a conductor with a rectangular profile, there is a huge reduction of ‘flux-linkage’ or ‘coupling’ of electromagnetic lines of force. These lines of force are created as the signal (music) passes through any conductor.” Bond said further, “In a round conductor there is a large center that tends to roll-off or attenuate much more of the high frequency information … this does not happen in a Rectangular Solid Core® conductor”.
According to Matthew Bond, the new Gen 3 Rectangular Solid Core® conductor is smaller than the current Gen 2 conductor used in most of TARA Labs’ audio cables. The Gen 2 conductor measures approximately 25 thousands of an inch wide and 12 thousands of an inch in height. Bond says that the Gen 3 conductor is about 66% of the size of the Gen 2 conductor, and that it is Super-Annealed™ to increase its conductivity.
Both the Gen 2 conductor and the smaller Gen 3 conductor are said to be Eight-Nines™ pure copper, which is 99.999999% pure. TARA Labs’ trademarks for this technology are 8N™ and SA-OF8N®. SA-OF8N means Super Annealed – Oxygen Free 8 Nines copper. According to Bond, the term ‘annealing’ refers to the method whereby a conductor can be made softer and more conductive.

The Cobalt™ AC




The Cobalt AC power cable has 10 gauge conductor runs; 60 Rectangular Solid Core copper conductors helixed in and around Teflon® air-tubes™.  Each neutral run is dual shielded with anti-Corrosion coated SA-OF8N® copper braid.
Wattgate standard IEC plug.Additional upgrade Oyaide Plug
 
REVIEWS:
  “I took the Cobalt AC out of the package and right away I could hear the change in my system. Richly textured, more detail and soundstage. I admit that though I have always believed the difference that interconnects and speakers cables make, but was unsure if a power cable could do anything. Boy was I wrong!” – A.K.                        “...with the addition of a single length of The Cobalt power cable. From that point, as additional cable was swapped in, he stopped roaming and just grew in bulk and substance, grounded to earth as a person subject to the laws of gravity should be... Put aside concerns about weight and body—the Cobalt power cord introduces so much mass and muscle, well beyond the current... Confoundingly, the Cobalt PC also adds control, so it's not only richer and weighty—it has better timing and resolution.” – Marshall Nack / Positive Feedback
 

That’s because you accessorized the power cord on on the radio shack Optimus receiver you had on hand for your musical listening pleasure, and to further prioritize you’re experience, you likely used your rack system Sanyo tower speaker’s with 20 gauge zip cord speaker cable’s, ymmv.

Hi rsf507, have you listened to the new furutech NCF gtx-rhodium outlet's at Steven Klein's house yet? , or did you get you one of them from Steven? , if so what's your impression's? 

I got one from Steven a couple of weeks ago,  but have not done the installation yet,  likely going to send off to be pre-burnd-in for me by a very cool fellow audiogon member that has a cable cooker. 

RSC® iCon Cable - 1/8 Stereo > 1/8 Stereo




Natural, open sound with extended highs; increased clarity and transparency and is an exceptional upgrade for iPod or MP3 players.  The RSC® iCon cable is constructed of RSC® SA-OF8N® copper conductors; natural fiber spacers, Aero-PE® dielectric and Anti-corrosion coated SA-OF8N® copper braided shield.
Mini Stereo Plug to Mini Stereo PlugShieldedRSC® SA-OF8N® copper conductors.Natural fiber spacers.Aero-PE® dielectric.Anti-corrosion coated SA-OF8N® copper braided shield.

THE MUSE INTERFACE: (Release Date: March 2016) TARA Labs has been at the forefront of design & technology for thirty years. In that time, TARA Labs has been credited with numerous “first inventions” in the field of high-end audio cables; Rectangular Solid Core (RSC), vacuum dielectric technology (VDT), and now we are introducing the advent of a fantastic new product known as: The Muse Interface.
If you could improve the sound of your audio system, what would that be?
Would it be a more expansive soundstage, less glare or stridency, more musicality?
There are literally thousands of component models available in the audio marketplace. And many of these components when combined together, will not offer that symbiotic relationship and sound that audiophiles are looking for? TARA Labs has always been at the forefront of technological advances in this industry, and our high-end audio cables have brought many a system close to “perfection.”
In an effort to expand our product line to bring audiophiles closer to the “live-sound”, TARA Labs is now introducing The Muse Interface Sound Enhancement System. You can now add this incredible technology to your audio system and improve your sound like never before! And it works with any audio system or audio cables regardless of brand. The Muse Interface can be connected to any RCA or XLR cable termination, and what you’ll experience is a lower noise floor, wider sound-stage, more presence, mid-range warmth and richness, as well as enhanced musicality without sacrificing detail and high frequency extension. A sound that is more coherent and natural, bringing you closer to the “live-experience” like never before!
*The Muse Interface is especially recommended for systems that have wide-bandwidth electronics (with limited filtering*), or with systems that use loudspeakers that have a tonal balance that emphasizes the high frequencies, including systems that are slightly etched sounding or overly detailed, perhaps with a sense of glare or stridency. In addition, we have found that when used with high-end audio systems, the effects become more apparent. Meaning the better the audio system, the closer you’ll become with that “perfect live sound”
The Muse Interface is unlike traditional shielding methods or filter networks. Even complex shielding methods still remain in proximity to the conductors, thereby distorting the audio signal. Filter networks in boxes at the ends of the cables often contain low quality resistors, inductors and capacitors to perform the filtering. These reduce RFI/EMI in the cable itself by being soldered in series and parallel between the signal conductors. This alters the integrity of the signal, in particular, the higher order harmonic structure. Using The Muse Interface, RFI/EMI is dissipated and absorbed within the Muse technology. This function occurs in isolation from the signal conductors. The signal path is not cut and fitted with additional components. The Muse Interface is extremely effective in eliminating the noise of RFI/EMI without the attendant high-frequency anomalies of filter networks. This translates into a sound that is closer to live than ever before.

This is the new,  not yet on the taralab's website, generation 2 zero gold analog interconnect and generation 2 omega gold speaker cable's ,,             THE ZERO GOLD G2 (Gen2): One of the most successful audio cables of all time is the original ZERO Gold Interconnect from TARA Labs. The original ZERO Gold was praised for its breakthrough performance. In the Gen 2 design, technology has literally been borrowed from the famous and more expensive ZERO Evolution Interconnect. Available now is the ZERO Gold Generation 2 Interconnect at a lower price with complete flexibility and better performance than the original ZERO Gold. The breakthrough improvements include greater bandwidth and a completely new and proprietary air-dielectric construction. TARA Labs first introduced air dielectric interconnect cables in 1986; 30 years ago. And instead of using round conductors in air-tubes, TARA Labs uses Rectangular Solid Core® (RSC®) conductors which are 'seated' inside small air-tubes™. The new Zero Gold G2 makes full use of this technology.
The new Zero Gold G2 will offer the listener an audio cable that is absolutely fabulous! Extremely low in capacitance at 3 pF, with a sound that can be described as holographic. Exceptional high-frequency extension and detail, expansive soundstage with spatial cues with a bottom end that is rich and full of bloom, in addition to a substantial low noise floor. This interconnect is simply astounding for the price. And for audiophiles who remember the original Zero Gold, the flexibility of the new Zero Gold G2 will simply amaze them.

TARA Labs “SP” Speaker Cables: As the loudspeaker cables carry much higher signal voltage and current into a non-linear impedance (the loudspeaker) the reactive load of the loudspeaker can be difficult for some amplifiers to drive... and the all-important damping factor of the amplifier does change from amplifier to amplifier. The phenomenon is readily apparent, heard as bass that is soft and low in amplitude, sometimes together with high frequencies that are too smooth or rolled-off, in addition to a loss of musicality. However, when these amplifiers are connected with TARA Labs ‘SP’ speaker cable models, the output of some high-end loudspeakers instantly becomes audibly improved at variable frequencies. One of the great attributes of the TARA Labs ‘SP’ speaker cable models, are the 'state-of-the-art' technology and design that was created by TARA Labs. Their performance level is absolutely spectacular when matched with the majority of high-end audio components available today.
TARA Labs ‘SP’ cable models are now available in the Evolution series cables; Air Forte, Air Evolution, Omega Evolution and he Grand Master Evolution.

APOLLO SERIES: It’s 2016, and TARA Labs is very excited at presenting an introduction to our newest line of entry level high-end audio cables. In mythology, Apollo was one of the twelve mythological deity gods that were worshipped by the ancient Greeks and Romans. Apollo was the god of music, poetry, healing and light amongst other virtues he was endowed with. TARA Labs has taken that inspiration from this mythology as well as what Apollo represented, and named our new line of audio cables for those very qualities that made him a god to the ancients.
Apollo Series cables will represent a new era in entry level products for TARA Labs.
We developed this brand new concept for the Apollo, keeping in mind the relationship they will have with their counterpart components. In electronics, we sometimes refer to trickle-down technology. At TARA Labs, we make full use of this term by incorporating numerous technological advances and designs from our higher-end reference cables into the Apollo Series audio cables. Compared to the TL series, Apollo cables have a more coherent construction and design which translate to a substantial enhancement of soundstage, high frequency extension, spatial cues, improved noise floor, as well as enhanced musicality.
The Apollo speaker cables construction now includes our proprietary BSM termination (Banana/Spade modules). So instead of soldered on spades or bananas, you can now switch the termination at will with little effort on your part. This bodes well with the numerous components that require either or both terminations. The Apollo interconnects are also available with either RCA or XLR termination. In addition, the Apollo Series cables will offer an audiophile a musical experience that is easily comparable to cables costing many times more their price! We would venture to say “Get a $1000.00 upgrade to your audio system for around $200.00”
The Apollo Series cables will be replacing our current line of entry level cables, The TL Series.

Hi Denon1, come to think of it,  my omega jumper cable's are 10" long as well,  how many hours do you have on your new cable's? , btw, congratulations,  are you able to demo the cobalt Reference Power cord on your system? , also,  do you know of any one looking for the one 4ft speaker cable's? , I have some in mint condition. 

The Cobalt Reference AC



The Cobalt AC Reference Power Cable is a reference quality AC Power Cable having both High-Frequency conductors (Rectangular Solid Core) matched with specially adapted Low Frequency conductors. The Cobalt Reference AC has 18 high frequency conductors for the Live run, and 18 high frequency conductors for the Neutral run. The Ground path is comprised of shielding and 18 AWG solid core conductors that are fitted with Ceralex® capsules.

The Omega Evolution AC




More than twice the conductor mass is used in the Omega Evolution, the live run uses 18 rectangular conductors, the neutral run uses 18 rectangular conductors, and the ground run uses 18 conductors where as there is no ground run in the Cobalt. The Omega has more than twice the conductor mass.
Additionally, three low frequency conductors are used are used for each live, neutral and ground (earth) run. The Omega is fully shielded with each live neutral ground runs being separately shielded and then the shields runs are connected electrically. This is a much more powerful dynamic rich clean detailed combination of sound quality. 

I have been told alot of good things about the above mentioned omega Evolution power cord, I also have listened to this cable,  if you like a rich robust,  extremely detailed,  3 dimensional sound,  this is the one to get. 

I know where a 4ft pair of taralab's-model, The One speaker cable's for sale,  email me if interested. 

The Omega™ Evolution




The Omega Evolution has now become one of TARA Labs ultimate speaker cables. The Omega Evolution is just one step below the Grandmaster Evolution speaker cables. The RSC conductors are insulated with a fine layer of aerospace polyethylene, a very neutral material with almost no audible effect.
The Omega Evolution delivers lifelike, almost holographic sound, pin-point imaging and clear resolution of fine detail with extreme ease. What you will hear is an accurate harmonic structure extending upwards with the finest and most delicate of high frequencies. This will be contrasted with a vanishingly low noise floor. The reproduction of the recorded space can only be described as holographic. The qualities of a reverberation and ambient retrieval are simply astonishing. The Omega Evolution has a level of performance that is beyond comparison to any other speaker cable in the world with the obvious exception of the Grandmaster Evolution.
BSM (with 1/4'’ or 5/16’’ Spades or Bananas4+ gauge conductor runs per channelSAOF-8N copperEach channel comprised of 224 RSC Gen 2 conductors in Aero-PE GMI dielectricSeparate positive and negative conductor run for each channelHelixed Rectangular Solid-Core conductors and air-tube technologySpectacular power and clarity. Absolutely neutral and coherentSuperb resolution of micro-detail and ambient informationPowerful dynamic contrasts. Superbly defined and vivid images

All the reviews have been on the taralab's Evolution zero and Omega cable's,  no reviews on the flagship Grandmaster Evolution cable's,  taralab's has not yet sent the Grandmaster Evolution cable's to reviewers,  I will post such reviews as soon as they are available. 

The Grandmaster Evolution AC




The GrandMaster Evolution AC power cables is the absolute ultimate power cable design. It employs twenty four RSC conductors for each of the live, neutral and ground “earth” conductor paths. A total of nine low frequency conductor paths is used combined with the 72 RSC solid core high frequency conductors. The 72 RSC high frequency conductors are shielded in three separate groups for live, neutral and ground, and provide a phenomenal ground path together with RF/Emi rejection.

Hi jafant, I have added the taralab’s cobalt oyaida terminationed power cord, furutech gtx-rhodium NCF outlet’s, got rid of the jbl L 7 speaker’s to get north of $20,000.00 speaker’s only to return to buying the jbl L 7 speaker’s again out of new York city, lol! , I cannot justify buying over rated speaker’s when I’m very good at modifying speaker’s to surpass costlier speaker’s.

Hi jafant,  I  listened to Wilson audio,  Martin logan,  b&w, Focal,  carver,  golden ear, von schweikert, etc...., new and used.

THE MUSE INTERFACE: (Release Date: March 2016) TARA Labs has been at the forefront of design & technology for thirty years. In that time, TARA Labs has been credited with numerous “first inventions” in the field of high-end audio cables; Rectangular Solid Core (RSC), vacuum dielectric technology (VDT), and now we are introducing the advent of a fantastic new product known as: The Muse Interface.
If you could improve the sound of your audio system, what would that be?
Would it be a more expansive soundstage, less glare or stridency, more musicality?
There are literally thousands of component models available in the audio marketplace. And many of these components when combined together, will not offer that symbiotic relationship and sound that audiophiles are looking for? TARA Labs has always been at the forefront of technological advances in this industry, and our high-end audio cables have brought many a system close to “perfection.”
In an effort to expand our product line to bring audiophiles closer to the “live-sound”, TARA Labs is now introducing The Muse Interface Sound Enhancement System. You can now add this incredible technology to your audio system and improve your sound like never before! And it works with any audio system or audio cables regardless of brand. The Muse Interface can be connected to any RCA or XLR cable termination, and what you’ll experience is a lower noise floor, wider sound-stage, more presence, mid-range warmth and richness, as well as enhanced musicality without sacrificing detail and high frequency extension. A sound that is more coherent and natural, bringing you closer to the “live-experience” like never before!
*The Muse Interface is especially recommended for systems that have wide-bandwidth electronics (with limited filtering*), or with systems that use loudspeakers that have a tonal balance that emphasizes the high frequencies, including systems that are slightly etched sounding or overly detailed, perhaps with a sense of glare or stridency. In addition, we have found that when used with high-end audio systems, the effects become more apparent. Meaning the better the audio system, the closer you’ll become with that “perfect live sound”
The Muse Interface is unlike traditional shielding methods or filter networks. Even complex shielding methods still remain in proximity to the conductors, thereby distorting the audio signal. Filter networks in boxes at the ends of the cables often contain low quality resistors, inductors and capacitors to perform the filtering. These reduce RFI/EMI in the cable itself by being soldered in series and parallel between the signal conductors. This alters the integrity of the signal, in particular, the higher order harmonic structure. Using The Muse Interface, RFI/EMI is dissipated and absorbed within the Muse technology. This function occurs in isolation from the signal conductors. The signal path is not cut and fitted with additional components. The Muse Interface is extremely effective in eliminating the noise of RFI/EMI without the attendant high-frequency anomalies of filter networks. This translates into a sound that is closer to live than ever before.

THE ZERO GOLD G2 (Gen2): One of the most successful audio cables of all time is the original ZERO Gold Interconnect from TARA Labs. The original ZERO Gold was praised for its breakthrough performance. In the Gen 2 design, technology has literally been borrowed from the famous and more expensive ZERO Evolution Interconnect. Available now is the ZERO Gold Generation 2 Interconnect at a lower price with complete flexibility and better performance than the original ZERO Gold. The breakthrough improvements include greater bandwidth and a completely new and proprietary air-dielectric construction. TARA Labs first introduced air dielectric interconnect cables in 1986; 30 years ago. And instead of using round conductors in air-tubes, TARA Labs uses Rectangular Solid Core® (RSC®) conductors which are 'seated' inside small air-tubes™. The new Zero Gold G2 makes full use of this technology.
The new Zero Gold G2 will offer the listener an audio cable that is absolutely fabulous! Extremely low in capacitance at 3 pF, with a sound that can be described as holographic. Exceptional high-frequency extension and detail, expansive soundstage with spatial cues with a bottom end that is rich and full of bloom, in addition to a substantial low noise floor. This interconnect is simply astounding for the price. And for audiophiles who remember the original Zero Gold, the flexibility of the new Zero Gold G2 will simply amaze them.

Hi fritzspeaks, the dial on your cable's basically changes the impedance of the speaker cable's,  thus changes the sound,  back in the day,  your cable model was what the reviewer's  raved about in the audio publication's,  putting Taralab's on the map as the authentic "The Absolute Reference Audio " laboratory. 

The TARA Labs Grandmaster Evolution Digital Interconnect uses a pair of RSC® Gen 3 Rectangular Solid Core® conductors.
In the AES/EBU format, the conductors are critically spaced to ensure an exacting 110 Ohm characteristic impedance; this is the AES/EBU format used with XLR connectors.
The RSC Gen 3 conductors are smaller than the Gen 2 version, and this provides a more extended bandwidth for the digital signal.
The TARA Labs Grandmaster Evolution Interconnect uses a system of woven filaments constructed from small Teflon tubes, to expand and displace the shield further away from the signal carrying conductors.
In this way, the Grandmaster Evolution Digital Interconnect is able to reduce digital distortion, called ‘jitter’.
Jitter explains why Digital cables sound different from on to another.
The most significant reason for the different sound in digital recording and playback systems is the phenomenon of ‘errors’.
The most widely known error is called ‘jitter’. Jitter can be thought of as a timing error or a distortion of the digital bit-stream within the digital send and receive components and the digital interconnect cable.
The timing errors (digital jitter) can be reduced by using better quality cable with superior shielding to reject interference within the cable.

The Taralab's muse interface is a state of the art adapter,  this adapter will soon be reviewed in stereophile or the Absolute Sound magazines,  this adapter will work with any other high-end cable's,  no matter the brand,  this adapter has the same material that the HFX and Grandmaster grounding station's have,  this adapter will set the bar for performance for all others to follow 😎