Science that explains why we hear differences in cables?


Here are some excerpts from a review of the Silversmith Audio Fidelium speaker cables by Greg Weaver at Enjoy The Music.com. Jeff Smith is their designer. I have not heard these cables, so I don’t have any relevant opinion on their merit. What I find very interesting is the discussion of the scientific model widely used to design cables, and why it may not be adequate to explain what we hear. Yes it’s long, so, to cut to the chase, I pulled out the key paragraph at the top:


“He points out that the waveguide physics model explains very nicely why interconnect, loudspeaker, digital, and power cables do affect sound quality. And further, it can also be used to describe and understand other sonic cable mysteries, like why cables can sound distinctly different after they have been cryogenically treated, or when they are raised off the floor and carpet.”


“One of the first things that stand out in conversation with Jeff about his cables is that he eschews the standard inductance/capacitance/resistance/impedance dance and talks about wave propagation; his designs are based solely upon the physics model of electricity as electromagnetic wave energy instead of electron flow.


While Jeff modestly suggests that he is one of only "a few" cable designers to base his designs upon the physics model of electricity as electromagnetic wave energy instead of the movement, or "flow," of electrons, I can tell you that he is the only one I’ve spoken with in my over four decades exploring audio cables and their design to even mention, let alone champion, this philosophy.


Cable manufacturers tend to focus on what Jeff sees as the more simplified engineering concepts of electron flow, impedance matching, and optimizing inductance and capacitance. By manipulating their physical geometry to control LCR (inductance, capacitance, and resistance) values, they try to achieve what they believe to be the most ideal relationship between those parameters and, therefore, deliver an optimized electron flow. Jeff goes as far as to state that, within the realm of normal cable design, the LRC characteristics of cables will not have any effect on the frequency response.


As this is the very argument that all the cable flat-Earther’s out there use to support their contention that cables can’t possibly affect the sound, it seriously complicates things, almost to the point of impossibility, when trying to explain how and why interconnect, speaker, digital, and power cables have a demonstrably audible effect on a systems resultant sonic tapestry.


He points out that the waveguide physics model explains very nicely why interconnect, loudspeaker, digital, and power cables do affect sound quality. And further, it can also be used to describe and understand other sonic cable mysteries, like why cables can sound distinctly different after they have been cryogenically treated, or when they are raised off the floor and carpet.


As such, his design goal is to control the interaction between the electromagnetic wave and the conductor, effectively minimizing the phase errors caused by that interaction. Jeff states that physics says that the larger the conductor, the greater the phase error, and that error increases as both the number of conductors increase (assuming the same conductor size), and as the radial speed of the electromagnetic wave within the conductor decreases. Following this theory, the optimum cable would have the smallest or thinnest conductors possible, as a single, solid core conductor per polarity, and should be made of metal with the fastest waveform transmission speed possible.


Jeff stresses that it is not important to understand the math so much as it is to understand the concept of electrical energy flow that the math describes. The energy flow in cables is not electrons through the wire, regardless of the more common analogy of water coursing through a pipe. Instead, the energy is transmitted in the dielectric material (air, Teflon, etc.) between the positive and negative conductors as electromagnetic energy, with the wires acting as waveguides. The math shows that it is the dielectric material that determines the speed of that transmission, so the better the dielectric, the closer the transmission speed is to the speed of light.


Though electromagnetic energy also penetrates into and through the metal conductor material, the radial penetration speed is not a high percentage of the speed of light. Rather, it only ranges from about 3 to 60 meters per second over the frequency range of human hearing. That is exceptionally slow!


Jeff adds, "That secondary energy wave is now an error, or memory, wave. The thicker the conductor, the higher the error, as it takes longer for the energy to penetrate. We interpret (hear) the contribution of this error wave (now combined with the original signal) as more bloated and boomy bass, bright and harsh treble, with the loss of dynamics, poor imaging and soundstage, and a lack of transparency and detail.


Perhaps a useful analogy is a listening room with hard, reflective walls, ceilings, and floors and no acoustic treatment. While we hear the primary sound directly from the speakers, we also hear the reflected sound that bounces off all the hard room surfaces before it arrives at our ears. That second soundwave confuses our brains and degrades the overall sound quality, yielding harsh treble and boomy bass, especially if you’re near a wall.


That secondary or error signal produced by the cable (basically) has the same effect. Any thick metal in the chain, including transformers, most binding posts, RCA / XLR connectors, sockets, wire wound inductors, etc., will magnify these errors. However, as a conductor gets smaller, the penetration time decreases, as does the degree of phase error. The logic behind a ribbon or foil conductor is that it is so thin that the penetration time is greatly reduced, yet it also maintains a large enough overall gauge to keep resistance low.”


For those interested, here is more info from the Silversmith site, with links to a highly technical explanation of the waveguide model and it’s relevance to audio cables:


https://silversmithaudio.com/cable-theory/


tommylion
@kevn 

Thank you for the response.

I’ll try to clarify my point.

To the one making the early cave drawings, sure, they may have served the purpose of expression. What that expression was intended to do, could be wide ranging. I’m speaking more to the viewers of that image. Creative/artistic/historical narrative, whatever the reason behind it, they still exist as a record. Something was important enough to be recorded. There was a drawing at the end of it. This drawing, it is theorized, was not limited merely by technical ability, but also by limits of visual perception. 
We have lived with these produced images for a very, very long time.

And I would agree that visual and auditory abilities evolved in parallel to aid in survival.

However, we have lived with pictures a lot longer than we have lived with recorded sound. Our ability to see has had, over millennia, far more stimulus than our auditory abilities. 
Our evolution has been driven by external factors placing a demand on our biological abilities. The reproduction of recorded sound is now at a far greater resolution than our use of our ears have needed to be able to decipher. 
As we are an ever changing and dynamic creature, it would stand to reason that as greater stimulus is being presented to out senses, that our senses will continue to evolve in order to register these higher levels of sound. 
And as far as what this has to do with survival, I suspect that region between our reptilian and mid brains will only register a new external stimulus and try to “understand” it and if it is a threat or not. But in order to be able to do that, it needs to be able to decipher it. And in order to do that, our hearing needs to evolve.

Photography as we know it today, is also a very new medium. And it has changed how we in fact see the world. Even then Camera Obscura, which goes back much further, also changed how we view the world. (Only it doesn’t deal with time in the same way a traditional camera does).

I tend to believe that everything we do that takes something that resides in the very intangible inner world of humans, and makes that into something tangible to be shared with others, is as you stated, an expression. What is left, is a record of that expression. Time, will tend to shift the purpose of that object, and place some form of value to it.

Take the photographer Karl Blussfelt or example. Spent years documenting plants. He wished to shed light on the structure of plants and his photographs were used as teaching tools at first. Only later, were they “elevated” to the stature of “art”. Whatever they were, or are now, they are a record. Playback of sounds, which requires that they be recorded, where we have the ability to play the same thing over and over again ad nauseam has put a new kind of strain on our hearing. This has only been possible since the advent of recorded sound.

And no, I’m not suggesting super hearing, or “golden ears”, but rather a collective shift in how we hear as a global phenomenon.

And the ongoing “science says it isn’t possible”argument is tiresome. Science is not a static thing, it’s a massive structure with one bit being added to another as new information becomes possible to understand. Hence my reference to Maxwells equations above.  When the argument is presented that “science says it isn’t so”, it’s a very limited outlook. The phrase should be “our current scientific knowledge suggests that it shouldn’t be possible”.
When the argument is presented that “science says it isn’t so”, it’s a very limited outlook. The phrase should be “our current scientific knowledge suggests that it shouldn’t be possible”.


I'm not actually sure where “science says it isn’t so” is actually put forward in the context of this thread ( the title is "science that explains why we hear differences in cables").

In the meantime, my own hearing and perceptions will never catch up with the known science/technology that is currently available.  I have a long way to go before I am sated, or needing to engage in pursuing possible off-the-radar holy grail possibilities.

I have no qualms should that be considered a limited outlook.  The DC comic character Superman may find our humble scientific knowledge rather quaint, however I can't recall him ever even listening to music.  I reckon us humans have a few tricks to show those aliens.
Thanks for your clarification, perkri, as well as your relevant comments regarding the true nature of science and possibility : )

You have made a good case for the combined presence of expressed and intended visual recording being around much longer than the equivalent for sound, but in parting, I would like to add that the preponderance of the visual and graphic record has not necessary led to greater sophistication with the way the average human being uses and exploits it’s perception of sight, any more or less than it’s perception of sound, because in either case, our individual capabilities to truly see or listen still appears to be a deeply learned skill, rather than anything having to do with our collective genetic, social, or cultural codes. 
I wonder if my conclusion adds to your own beliefs regarding the same?

Again, in friendship ; ) - kevin
I would like to add that the preponderance of the visual and graphic record has not necessary led to greater sophistication with the way the average human being uses and exploits it’s perception of sight, any more or less than it’s perception of sound,
I think you underestimated the power of ideation and thinking which is inseparably associated with any perception...

The perspective revolution in art and science so deep it was, and it was one of the greatest revolution almost in times with the Copernician revolution changed completely the way the man "perceive" the sky and all phenomena around him...

When we see an object we must "recognize him" to see him properly... If not what we perceive dont correspond with all the necessary perspectives of what it is which may be perceived or not...

Then this perspectival revolution is one the greatest event in human history, which is something easy to verify in the litterature...

To see an object is not to " sense a presence in a way or in another " it is also and mostly to be able to consciously name it because we own the idea and the concept corresponding to it....




Anyway your own post illustrate that perfectly, because you say something which hide one of the greatest event in visual perception without even knowing that you are unconscious of the "meaning" of this event....Think about that... You use the word " perspective" without knowing what is its meaning in history... It is there that the "sophistication" you speak about are...The reason is that the "perspectival event in history is not terminated in his effect and working of the human mind and perception...There is another revolution now in this century but i cannot speak about this new "aperspectival" revolution in this post which manifest itself for example in the creation of a totally new geometry like fractal geometry.... Perspecxtive is associated in mathematic with the projective geometry deep revolution in our perception of space....


Seeing is not only "sensing something" BUT also giving meaning to visual appearence...

Then no, there is a great change, contrary to what you just said, in the way the average human being use "consciously" after the the 16th century and exploit consciouly his perception of space...But not for all people at the same times and instantaneously for sure...It is an ongoing evolutive process because all human being are not all at the same spiritual level of perception, they dont live in the same world so to speak . they dont live at the same time...

In one word we think like we are able to see, and we see like we are able to think...

We hear like we are able to imagine and we imagine after what we are able to hear...

Thinking is not only possible passive false fantasy but also ACTIVE imaginative creative power,...

Casssirer one time gives the example of an undulated line, like a wave, drawn on a sheet of paper being "a symbolic form", being potentially a sign for a hunter, a wave for a sailor, a script ffor a linguist, a beautiful form for a painter, a religious symbol for a priest,
an a line without special meaning for some people...

The line could also not even be perceived.... A nothing, as nothing special at all, an error, a stain on a white paper....

Then no, recording the artistic or spiritual expression of the soul in primeval times lead and announce a change in perception ....

Perspectival era in history is a "sign" reflecting not only the new way we see and perceive now and from that moment but the way we think...

Remember that we think with all our senses and our hands and legs and with our heart and with our body...

Thinking is literally like a walking body in an imagined new world....Nothing short....

Writers know that and creative genius like Geothe, Da Vinci or Copernic or Kepler...






For sure the direct record of graphic expression of visual "art" is not a DIRECT and merely unique  factor of change in the way we see, like you justly said, but it is a factor linked to many others for sure...

In the same way the tape recorder is not a direct factor modifying only by itself the way we hear, but it is an indirect factor which participate in an ongoing evolution of the ability to hear and in the way we are able to recognize new perspective so to speak in the "information" linked to what is heard...


Human are way more like animals in the superhuman abilities...They could consciously evolved and catch with animals in their own way...

A blind woman reading ink sign on a sheet of paper illustrate that our hand are also an "eye".... Think about that....


I'm not going to get into how this applies to low frequency audio work, but in going through the math, there are some errors in it.  So, that makes me suspect of the paper and conclusions.