The
Weakest Link Part 1:
F
requently we witness the emergence of yet another analogue audio interconnect, in some way, claiming to be unique in design and construction. Incorporating different types of conductor and insulation materials with different configurations and design theories, each is trying to achieve what we all seek; that 'Perfect Connection'.
I cannot over emphasise the inevitable misuse of interconnects as equalisers. This should be avoided at all costs.
I cannot over emphasise the inevitable misuse of interconnects as equalisers. This should be avoided at all costs.
Although as part of the ritual of putting together a 'working' system we carry out at least some kind of 'cable matching', it does make one wonder though why there should be the need to do so.
Is it because there are no universally matching cable systems?
Is it because the systems we put together have some fundamental flaw in their performance that requires 'correction' or in some instances 'masking'?
If the latter is the case, then shouldn't we just change the responsible component(s) to address the flaw?
If the former is the case, shouldn't we pursue the design of a more universally matching cable system which would then benefit all competently put together systems?
Or perhaps we are just trying to maximise the potential of the system.
After all whoever designed the system in the first place had done so using
some kind of interconnecting cables; and maybe we should just recreate
that system approach by following the designers' choice and utilise the
same cables used by them.
However more often than not, we don't. So is that because none of these
cables have managed to provide us with that consistent transparency, neutrality
and total lack of unwanted character so essential to suit all systems
and allow all equipment to perform at their best? Almost eliminating the
need for such inconsistent, controversial and so inaccurately empirical
cabling exercise?
These endless efforts to combine 'class acts' of Hi-Fi components to experience
the unsurpassed enjoyment of live music that we all quest at home and
don't quite find is only the proof that the 'perfect' system is yet to
come. Perhaps it will never come. By definition, it cannot even exist;
there is always a weak link. And once the weak link is identified and
improved, it merely opens the door for the next weak link to be dealt
with and so on.
And my purpose is to never give up this quest.
We need to ensure that the Hi-Fi system possesses the ability to let the music flow naturally, communicatively and with presence. The musicians should be heard in the scene of performance in such a way that we no longer concern ourselves with 'imaging' or 'colouration' or 'timing'. When the Hi-Fi system is capable of portraying the musical message, then all components complement the flow rather than imprint their own 'characteristic'. Then we have almost all our concerns with timing, imaging, colouration etc. addressed.
With some exceptionally well designed and produced components, we have the building blocks of highly capable systems at almost any price bracket. In reality however we find many of these systems not performing to their optimum. For the past two years, I have been examining numerous systems with as wide a range of components as I have been able to utilise. The results have been exceptionally similar; they all suffered from cable matching. Even using almost identical components, such as an integrated amplifier versus the pre/power combination of the same design could yield unexpected results. Systems setup with the same attention to detail, reiterated the fact that the interconnecting cables could be the defining component in their performance. The best ones sounding so good as if they could not be improved and the weak ones, well, quite a bit short of being a 'real' system. In many cases changing cables could be a make or break situation, constantly pointing me towards the same weakest link; the external connection. So I embarked on a little adventure of my own; to design and make the most universally matching cable system. Would, and indeed, could such a technology also address the very thing that we quest from interconnecting cables, 'to disappear'? Interconnects that not only suit all systems but improve them beyond expectation by merely allowing the main components to work correctly together?
With TMsystems Pulse, we get closer in providing the input of the receiving equipment with the conditions present at the output of the driving equipment. Ideally the output of one piece of audio equipment 'is' the input of the next piece of audio equipment. Only flexibility and logistics dictate these pieces of equipment to be separated physically thus requiring connecting cables. When seen in this light, it is quite clear that any interconnect is merely the media for the electromagnetic wave transmission between the two pieces of equipment. It is however critical that this 'conduit' does not affect the 'message' it is transmitting. Perhaps it is useful to point out at this point that like any other wave, it is the 'wave' that travels along this 'conduit'. Similar to a water wave, the water itself just moves up and down but it is the 'wave' that travels along.
The conductor's ability to propagate simultaneously ultra low level signal
as well as high level signal and low frequency signal as well as high
frequency signal without interference and noise is the defining factor
of how suitable it is for its required job. Each Pulse Interconnect is
designed for its specific function and the requirements to transmit the
signal considering: Signal bandwidth, level, dynamic range and phase etc.
Due to design and construction the Pulse Interconnect is an insignificant
barrier to the propagation of its designated analogue audio signal.
There are three main types of analogue interconnect in the Pulse range that correctly address the requirements of the audio signals originating from different sources:
>> Ultra low level equalised phono audio signal ......Tonearm Cable
>> Line level source variable audio signal ...... Line Level Cable
>> Pre-out source and user variable audio signal ...... Preamp Cable
Internal tonearm wiring is also possible but only for Roksan Artemiz
R7 series.