Belden ICONOCLAST Interconnects and Speaker Cabling

Mike,

I “hear” you too. But…
Swept open-short impedance is different.
Inductance is different.
Capacitance is different.
Vp linearity is different.
Rs (DC vector component of impedance over frequency) is different.
BULK verses LOOP individually insulated wire DCR is different.

With all the differences in the cable’s reactive signature into reactive speaker loads we expect the analog signal to be the same? It can’t be, as reactance shift voltage and current in TIME and that changes the superimposed voltage and current amplitudes in time. That’s our final answer in AC signals. Any changes to a cable changes the signal in analog systems. It also changes the amplifier’s characteristics driving a reactive BULK load. The more reactive isn’t merrier.

We test amplifier’s into static eight-ohm loads BECAUSE we can’t define what they until we tie down the LOAD to a simple resistor. Music isn’t going to look like a resistive amplitude into a cable+speaker. And yes, the cable is part of the load. An amplifiers damping factor is it’s output impedance divided into the load impedance. So if we change the resistive part of the load, the damping factor changes, too. This alters the BASS properties of the total network; amp/cable/speaker. The higher the resistive load is, the higher the ability of an amplifier to control overshoot. Amplifier’s sounds better with LESS reactive back EMF as an amp can’t deal with that too well. POWER is ONLY expended into a resistance and when that power is expended is our AC signal, like it or not. L and C mess all that up.

We have a lot of CHANGING interactions between amps, cable and speaker for it to be separated out and said to be “the same”. It isn’t. Why? Because reactance is time based and so is the superposition theory. To get a signal down a cable we need ZERO L and C and that’s not possible when we try to balance cable impedance and a host of other things to even out the problems we face designing cable.

It is free to try the better electrical cables. They remain better no matter what and ICONOCLAST is a CHOICE to see what the fuss is about with properly made “better” cable. Sure, many don’t let you know how they work so we’ve grown to be suspicious of the claims. So am I, and why I designed cable with the aim to explain EVERYTHING I can about them so we know what’s changed.

Best,
Galen

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Hi Galen,

Since ASR tested just the XLR IC from the DAC to the ADC, the cable (probably) had what most would consider is a typical load to work into. I could see where a -115db null test might not be enough resolution to capture the differences produced under these circumstances. IC cables have it easier (according to you) then speaker cables because they work into a large resistive loads. Perhaps the perceived cable differences found in IC cables needed a higher resolution null test.

But surely if he would have tested a (your) speaker cable, with all the problems you cite above, there should be some obvious differences caught by the null test he did?!? I would encourage you to do the same null test on your speaker cables.

Also and in other words, a complex load exacerbates the perceived differences in how cables sound.

A null test is a pretty good standard and -115db is very good indeed.

Not to blame your cables for anything. I actually think you are on the right path. You explain everything and it makes sense. I’m an Engineer. I want to measure stuff and see differences that explain cause and effect I guess.

Thanks,
Mike

Hi Mike,
As a long time Belden / BAV / Iconoclast customer I would recommend you give the BAV and Iconoclast interconnects and speaker cables a try. They all have 30 day money back guarantee less shipping back. I am not an EE but I am a believer in science based systems. And everything they make is science based and proven out in the lab and field.

With your background you should be able to honestly test these in your system for yourself and see what the vibe is about. I think you will be instantly impressed if your system is resolving enough to be sensitive to these pieces. If you dont hear a difference then you have just saved a few bucks and also answered your questions

Even if you return everything you will have some fuel in brain for a future fit in your system.
The whole Belden / BAV / Iconoclast lines are really cost effective at every level.

I dont consider them boutique level cables but more science based solutions aimed at different use and price points. All are very high quality and made in the USA. It is nice to know that you can speak to the man behind the designs on a personal basis too.

Vern

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Mike,

Absolutely complex signals into reactive loads makes things very complicated. This is why analog is so frustrationg because we have to accept errors based on the balance the designer accepts as less important. Let’s just assume designers are aware of the trade-offs, and each have different approaches to understand and try.

The resolution of the tests are clearly under the requirement to show the significant differences in the measured and calculated differences in the cable. No one that is experienced in analog will tell you that time based reactive elements don’t alter the signal, they do. The math we’ve used for a hundred years says so.

We can use some common sense, using just simple DCR. An 18 AWG wire is enough on paper, the link is too short for DCR to matter is the argument. But use a heavier 12 AWG size and the bass becomes much better. Don’t even need a full 10 AWG to experience a shift in the bass control. The Numbers won’t scream this out…but your ears do.

The next problem with analog, is we listen to the whole monty as they say. We can’t really split out each element by itself since, like I’ve tried to show, LRC all loop around each other. You need to follow both ends of the analog audible spectrum to decide how to bend the rules of perfection and where. You WILL have to make decisions on “inaccurate” reactance loads. More cap or less? More inductance or less? Add DCR or take it away and how?

A cable is a complex component hung off your amplifier or pre amplifier. Both are changed by the load. There is no amplifier that is dead linear into a reactive or impedqance (impedance is DCR + reactance) changing load. It is impossible since to do that, we have to change the feedback properties and that then changes the amplifier’s pass band response. Amplifier’s have to make judgement calls too under dynamic reactance load conditions.

We provide a properly made cables as good as we can to calculated and measured properties to try. We are not the enemy to you but actually to ourselves as we also make and sell the “good enough” ASR crowd products. Why would we do this if no one will experience a better solution?

We will have a tech paper on HOW to use ICONOCLAST speaker cable in parallel to reach levels of LRC that are not possible otherwise. We will have calculated and measured data as to how it all works. This requires a lot of time, like 16 hours on the LRC meter and Xcel sheet, but we only work off of calculation and measurement with ICONOCLAST. You deserve that level of transparency.

The hobby wanted a more factual based line of cables and we are trying to bring that to this market. ASR is also in their own way trying to judge how good is good enough but user experiences comopared to the known tests (ours too) fail to put the true differences into a proper in-use experience.

We take the approach that better is better and the more we can eliminate cable level issue the better. They feel there is a hard line in the sand to cable performance we CAN measure. Strange but true. The line is mostly determined by PRICE to be honest because you’d be nuts not to use ICONOCLAST at the same price level. EVERY test shows the superior design in ICONOCLAST.

We have a VALUE issue to make better cable that is misplaced across markets. VALUE is related to the MARKET it is in. Compared to most all cable in the high-end market we try to control prices to a logical level to our other components. We have a hard limit, yes we do, on how much a cable would sell for. So we are like ASR in the VALUE proposition? Yes, but we place the value in our market, not theirs.

ICONOCLAST was designed with TPC copper to make a high level of electrical performance viable at very reasonable prices. Who else sells TPC copper in this market? But we USE the TPC copper and it sounds REALLY good (I use all TPC in my speaker system). Again, we do indeed pay attention to keeping the cost in reach of as many as we can.

Most on this site already know all this, and have put us to the test many, many times. The results of that challenge is that ICONOCLAST is staying around.

Best,
Galen

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Hi Galen and Baldy, et. al.,

Ok, I was hoping the subjective/objective debate could be settled using a null test with resolution approaching the limits of human hearing. Objectivists will claim it was settled.
Subjectivists, not so much.

As you say, the benefits of shifting from 18AWG wire to 12AWG on bass response is easily heard by our ears. Yet, this simple example (you brought up) shows that even a null test (at present resolution) isn’t good enough to show these differences in cables. All in our subjective heads? Well, it seems to be a widespread phenomena experienced by many an independent subjectivist.

Yet there is cause and effect. You’ve eloquently outlined your reasoning. The debate will continue until someone devises a test sensitive enough to detect what the human ear easily hears.

Thankyou for your science base views. They are enlightening. I hope someday
the last step can be made…in the meantime, I would like to try the cable(s).

Thanks,
Mike

Mike,

And this is why ICONOCLAST is here, to try them and listen to all the “specs” and determine if this tactic matters past ordinary cable.

Many wanted to know, so we made the test samples across the board. We know what the cables are, and how they are different. Does it matter?

Call Bob Howard and he can arrange an audition.

Best,
Galen

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Hi rob-c,

I’ve been intrigued by unshielded cable and have wanted to try the PBJ for a long time. So before I start looking at expensive cable, I tried them today. The PBJ sounded like a blanket was thrown over the speakers to me. Noticeably recessed highs. No bass slam, no air, no life, no energy. Especially noticeable on piano when the player strikes a key. Sounds dull and lifeless. Piano just didn’t sound like a piano.

I guess I’m moving up to the Iconoclast next.

Thanks,
Mike

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Hi Galen,

As I improve my system, one thing I hear is the slam of an individual instrument increases. Piano for instance, has better attack definition. This effect may be due to a sound taking less time to occur on an improved system than on a system that isn’t improved. A waveform produced by an instrument is stretched less on a better system.

Here’s a conjecture for you:

Maybe cables have time deltas or stretches in waveforms that are unmeasurable on an individual waveform basis. We are used to looking at an individual waveform edge on an oscilloscope. On a individual waveform basis, this isn’t measurable. However, the ear integrates sound over a long period of time. It forms an opinion on the sound using something like 1000s of individual waveforms in a row. Even though the individual deltas or stretches may be unmeasurable, integrated together, they contribute toward an overall character to the sound. This is what we perceive when we hear cable differences. The dielectric and L,C,R is slightly stretching each waveform. It is frequency dependent and the ear picks up on it by integrating the waveform over 1000s of periods.

Thoughts or Comments?

Thanks, Mike

Mike,

Yes, all the reactive things caused by just being a cable causes analog distortions over the time scale (dV/dT stuff). You have the same general principals I do, that the EM wave has to be changing and our ears hear this…there is no other explanation. It is much like our eyes see far more colors than we can measure. It is very hard to say an device is better at what it does than our senses because they senses are optimized to be the best they can be for us in the real world. Our senses are optimized compromises at play. We don’t measure signals weighted like that.

We have no real good dynamic load condition to use for the amp/cable/speaker and this is a reactive mess.

The cables were made to prove better can’t be heard, but using even what we can measure and calculate in the designs show improvements to compare and contrast. This is all pretty straight up on what we are doing, and what the comparison is.

Best,
Galen

BAV and REL Subwoofer Cable Comparisons and Impressions

I first read about the Iconoclast / Belden BAV Subwoofer cable concept on the PS Audio Forum. Then in Chicago at AXPONA I enjoyed long conversations with Jeff, Galen and Kurt from Blue Jeans Cable. As a confessed tweaker I have constantly wondered if there might be a better match for my system than the REL’s Baseline Blue subwoofer cables.

My system: PS Audio transport, DAC and Preamp, two PS Audio P15’s, Odyssey Kismet Monoblock Amps, Iconoclasts UPOCC interconnects, Series II TPC speaker cables, BAV power cables, custom built aluminum Van L. Speakerworks stand mount speakers of MTM design, 6 REL G1 subs, REL Bassline Blue Cables and jumpers, in an acoustically treated,
dedicated audio room, with 20amp outlets.

The REL G1 “Six Pack” is set up in 2 stacks of 3 subs in stereo configuration, placement was recommended by a REL. The set up requires a main sub cable from the amp to a G1, and jumper cables from the first to the 2nd sub, and from the 2nd to the 3rd sub. Despite their visual appearance the REL “six pack” does not draw audible attention unless it’s called on. I have always preferred to not overload the room with bass.

With the exception of one Sunfire Sub which I sold over 15 years ago, I have only owned REL subs. I now have a pair of T9X subs in a secondary system and at some point I may experiment with connecting the T9X’s to the G1’s. Why you may ask, because I am a tweaker
remember.

I own a pair of REL G2’s which are FOR SALE.

I have owned a pair of T7 subs which I sold.

The REL Baseline Blues have been in system since at 2015 and are well broken in. The Baseline’s offer greater bass definition, soundstage and realism over the stock REL cable. I have found increasing or raising the crossover frequency with the Baseline Blues
added bass and warmth, but also a graininess that I did not care for.

The Baseline’s were all that I saw available for some time until I became aware of
Audioquest and Analysis Plus REL cable. I confess I have never tried them.

Visually the BAV’S look substantial, well made and thicker than the Baseline’s. I understand this is in part due to BAV using 14 gauge/4 conductor cord and the Baseline’s using 18 gauge/3 conductor cord. However, I have to admit I like the blue cable, with white and
gold REL markers on the Baselines. I connected the BAV cables on 05/22/22 and feed a continuous low signal through them until gathering these impressions on 06/05/22. I initially did not change any of the settings on the REL subs in order to keep my listening comparisons as simple as possible. So the set up was optimized for the Baseline Blues. The speakon connectors made it easy to switch back and forth between the Baseline Blues and BAV’s, so audio memory was less of a factor. I have no accurate instruments or training to
measure changes heard so what follows are purely subjective impressions.

While making the cable comparisons I grew to appreciate that subwoofers, sub cable, and sub frequencies impact the realistic production of all vocals and nearly all instruments as they cover a wide frequency range.

With Baseline Blues:
-Easy to localize, place and track vocalist on the soundstage.
-Soundstage image width was narrower but acceptable
-Easier to hear frequencies and instruments above 500hz like piccolo, cymbals
-Slightly harder sounding, and thinner sounding in frequencies below I would guess 300HZ.

With BAV:
-Primary and background vocals were fuller and more pronounced along with instruments like
cello, guitar, brass and woodwinds
-Warmer, more 3 dimensional, forward, palpable bass
-Wider soundstage, but less soundstage depth
-Slightly softer and less leading edge to bass notes.
-No notice of any increased grain

I could not detect any noticeable differences in speed or increase in low deep bass notes between the two cables. I will say with the BAV’s there was definitely more bass energy in the room. Not only was the sound of the bass more pronounced, I also felt more vibration through the floor and my listening chair.

By the way, I never changed the volume settings on either the source components or REL subs during the initial listening sessions. Bass with either the BAV’s or Baseline’s was never what I would describe as muddy or wooly.

For kicks, and because they were handy, easy to swap, and now familiar sounding. I decided to experimentation with combining the BAV and Baseline cables. The best sound came from running the BAV main’s from the amps to one REL in each stack, then daisy chaining with the Baselines to the 2nd sub, and the BAV’s to the third sub in each stack. This was preferred over the Baseline main’s cable feeding the BAV jumper cables.

With BAV main’s cable and one Baseline Blue jumper per stack:
-Smooth, detailed, precise vocal and instrument placement
-Vocals and instruments were more distinguishable
-Greater presence, and balance of warmth without being overbearing, or grainy
-Deeper and still wide soundstage
-Better leading edge to bass, and whack with the strike of drums
-Slightly less but still impressive palpable 3d bass image.

This for kicks experiment allowed me to better understand what adjustments to make to the REL subs to run an optimal full BAV loom of cables. Before making changes, I noted my initial baseline settings for a reference point I could easily return to. I slowly made changes to the crossover, phase and volume using the REL remote. In making changes I was consciously trying not to replicate what I heard with the Baselines, but rather build and improve on what I heard this time only with the BAV’s.

Mission accomplished I found the sweet spot, the best of both cables and with all BAV cabling.

Funny story; I was home alone sitting in a darkened room listening to music. I had turned my head slightly down and away from the speakers distracted by my phone music controller which was sitting on the table beside me. When I was actually startled by Albert King’s voice talking to Stevie Ray Vaughan, on Vaughan’s “In Session” album from 1999. It was so realistic and present in the room, for a split second I thought someone had snuck up on me. For the record, I am not easily startled.

I like the BAV sub cable perhaps in part because;
-They are synergistic with the Iconoclast line according to the Iconoclast Cable designer,
engineer Galen Garies.
-My speakers are not full range. My main speakers use only TPC Series II speaker cable
which to my ear places greater emphasis on frequencies midrange and above, and less on
bass below 300hz.
-I’m now relying more on the subs and BAV cable to add what’s below 300hz.
-The BAV cable seems to do well covering a wider bass range than the Baseline Blues.

In summary:
-The BAV’s delivered more natural tone, fuller vocals and instruments, a noticeable and
pleasing bass bloom in 3 dimensions.
-I can’t remember music in my system ever sounding so real, true and expansive.
-Depending on the recording, Musicians were more convincingly present in the room, or I
was transported to the venue and ecstatic to be there.
-The BAV Cable confirmed there was a lot of information in the bass region that I was
missing.
-My conclusion with great subwoofers a must is great BAV and Iconoclast cabling. The BAV cables costs substantially less than REL cable without sacrificing performance.

Last night I strongly recommended BAV cables to a fellow REL G1 subwoofer owner and friend of 10 years.

Thanks for reading.

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Thanks for the great review! For everyone else who want to know- these cables are available for purchase now directly through our website, or by contacting Bob or me. I can’t do what Galen does but it’s very satisfying to be able to ‘design’ a superior product and bring it to market!

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Thanks for the fantastic and thoughtful review.

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Hi Jeff - Can you quickly/easily explain the difference between the “single three-wire cable (Speakon to spades)” and the “pair of two-wire cables (Speakons to spades)” configurations - besides the obvious difference of 1 vs 2 cables? Thanks!

Yes, so for a mono subwoofer setup REL says to use three wires on the amp end- left +, right +, and left -. For a stereo sub setup, they say to combine the two positive connections on each cable- so you are connecting one sub to the right channel plus and minus and the other sub to the left channel plus and minus. Since I am building these I figured I would just combine them into a single connector so less ‘connector stacking’ is required. So for my stereo cables I use two wires combined for the positive and two wires combined for the negative, preserving the star-quad configuration and decreasing the resistance. The 6 pack set is the same as the stereo pair plus four 38" jumpers

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Thanks for the quick reply. For a stereo REL sub setup, with each sub connected to a monoblock amp (say PSA M700s), which cables would you recommend, and what would the connections look like at the amp end?

IDK for your amps but I just ordered, based on call to Bob Howard, for connection to mono tube amps using 3 wires as currently done with the Basic Blue/REL. Expecting definite uptick in SQ per @DrPain and Bob Howard. BTW, I am pleasantly surprised by the relative low cost (in cable world speak) of these cables.

I would recommend the pair with two connectors on the amp ends. I can terminate with 9mm or 6.5mm spades, or bananas.

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Listed here…?

If you are using the PS Audio M700 amplifiers you will want the 3 connector variety.

I am assuming a separate REL for each amplifier per REL recommendation.

Those amplifiers are fully balanced and Class D, therefore the black (negative) output terminal is not a ground. You will hook up by connecting the 2 positive cable leads to the red (positive) terminals on the amp and then either floating the negative cable lead, or grounding to the amplifier chassis.

The larger spade lugs are a great fit for these amps.

I own a set of these leads (I think he first set Jeff made for a customer) and think they sound, and look, great.

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