The initial idea to do a good hi-fi cable
A particular post of OFHC copper permits the Crystal orientation, getting a natural "verse" by which the electron flow is facilitated. This identified the direction that the signal will take to its passage, increasing electrical performance, sound, and copper wire. The cable works of course also in the opposite direction, but with perceptibly performance. That's why our cables have an arrow embossed on the connector, which allows them to clearly identify as departure or arrival (instrument) (mixer/amplifier).
An important effect to consider is the skin effect: with increasing frequency, the signal passes through a conductor, copper tends to use the surface layers (skin) and not the central part, with the result that, as the frequency increases, the conductor becomes thinner and virtually always has a lower current carrying capacity. Albeit in a barely perceptible, the "sounds" less high frequencies, reducing them reproduced. A single cable does not allow to clearly perceive the problem, but how many leads we use in our set-up?
The solution to this question is to use cables with a reduced proportion of area and circumference. This means, in practice, use a cable with a much thinner than those used by other manufacturers, but has the disadvantage of taking little current. Since a thin conductor constitutes in itself a problem, we bypassed the obstacle, re- evaluating the thickness as a positive element because it disproportionately we got two very important requirements: flexibility and shielding. In fact the large number of conductors used together is due to one single big section but with a flexibility that would otherwise be impossible to obtain.
Moreover, the external cable sheath has a greater number of legs, with a very dense texture, so cable immunity to electromagnetic interference, Achilles ' heel of many commercially available cables will be considerably increased. Let's talk about electromagnetic interference because a cable crossed by an alternating current produces a magnetic field that "induces" in all other cables to it neighbors, audibly as humming and/or distortion. Generally, to reduce this problem using weave (twistare) the wires between them, resulting in a partial nullification of the total field produced by two conductors (being in phase opposition, the two magnetic fields cancel each other out).
The quality of external copper braid or shielding, will then to cancel even small remnants of electromagnetic field due to the geometry of the twistatura (step). So what do you think can be the loss of quality when in the studio or on stage, there are dozens of cables which run nearby or intertwine. In the laboratory we reproduced electromagnetic fields which under normal conditions is unlikely to occur; our cable behaved in an absolutely flawless.
Effective shielding also has the advantage of making our product particularly immune from the noise induced by handling. You know maybe someone who remains perfectly motionless during a live performance? Another important aspect relates to one of the electrical characteristics of cable capacity. In practice, the cable can be equated to a capacitor which, together with the source impedance, form a low-pass filter and limit the range of frequencies.
We measured many commercially available cables, experiencing levels of ability that attenuate even 3 or 4 dB high frequencies from 5 kHz, making the sound dark and gloomy. To ensure that differences in the drop phase and frequency response beyond 20 kHz remain within acceptable values, our cable has a bandwidth close to 100 kHz, uncommon quality.
And connections?
Are the crux for good signal transmission, since they physically touch metal parts that are touching; Whereas, moreover, the rough boundaries of single crystals and oxidation of surfaces, electrical conduction can be very low and generate distortions.
