The strange thing to me is this ..... using an electron microscope we can just about see the crystal structure that forms a long continuous cable. The junctions between the crystal 'lands' are conceptually similar to those between the junctions at the working heart of every transistor. From the microphone's internal amplifier, the mixing desk, the laser pick-up in your CD player and all the transistors in your amplifier means the signal has passed through thousands - millions? -of transistor junctions before it is even delivered to your speaker cable at the outside of your power amplifier. The signal will then proceed along the cable to the speaker through billions upon billions more cystal boundries, then into the speaker, through more to the crossover, through the crossover and yet more cable to the drive units and finally billions more in the coppr wire of the drive unit's voice coils.
Originally Posted by ummaya
Why pick on the speaker cable as the villain of the piece? Why not pick on some other crystals somewhere along the line? As the signal must pass along the circuit from the mic, why pick the fatest cable with the least resistance as the culprit for degrading the sound quality? Surely the chain is only as strong as the weakest link? Why not identify one transistor somewhere in the mixing console as the culprit for limiting sound quality? Since the recording process has far more complexity and variable than the replay end at home, isn't it more likely that the sonic weak link lies far outside of our control in the studio? Isn't it rather bizarre that we can somehow ignore that inconvenient speculation and concentrate all of our thinking and anxiety on the last few metres of cable? Except, of course, it isn't the final link. A 5" driver's voice coil wire is about 10m long with a diameter less than 0.2mm - by far the thinnest, most fragile cable in the entire chain, and probably longer than the cables from your amp to speaker boxes!
Let's be realistic about this one please!
Alan A. Shaw
Harbeth Audio UK