Silversmith Audio Fidelium Cables

Hi Cindyment,

You would be happy to know that skin effect is rolled into addressing the other parameters, too. I explained all that to you. But, you insist that the list of what can be “improved” must pass your “ethics” (your new vison of all this, not mine).

Nothing here is done improperly. The insistence that “one” of MANY variables is somehow heard in relief over all the others is misleading. We both know that’s not the case in standard use of reactive products. Analog is addative.

To improve in key areas also allows tertiatry elements to be improved. I explained that, too, and this seem to infuriate you. We design to the data, and the “sound” has to be accpted in use as it will vary based on the reactance and amplifier’s properties.

Even with our “standard” products, users have a preference between part numbers for how they sound. The R, L and C are low enough to be immaterial…but they aren’t.

The cables address proper engineering, and making a cable better is not a violation of your weird concept of
a professional engineer’s ethics…who CAN NOT improve ANYTHING as they are held in strict guidance of the status quo. They don’t develop, a damn thing. And that is how it should be for a PE trying not to be sued. PE’s have ZERO ethical requirements as they are BOUND by the guidlines!! This is ALSO done on purpose as one man’s ethics is another’s nightmare. The BOOK is the “ethics”. It is the same for everyone.

Curiously, the NEC has MINIMUM guidelines and you can EXCEED those if you wish. The bar for safety has to be passed. After that you’re good to go.

Using ICONOCLAST that improves across many areas also maintains the “standard” fundamentals of analog designs, certainly. The tertiary properties are all tied to the choice of the fundamentals. They have to be. We have the market that allows pushing the related specs as far as we can…and there is a market for best of the best on EACH variable and this allows users to try the improvements. Making cable better is hardly unethical. Pointing out how other variables are impacted by R, L and C choices and HOW they are arrived at is hardly unethical. You seem cluless to that fact that L and C are complex reactances. Step dielectric (air tubes) act differently than homogeneous (foam) dielectrics. They have to, each is a different EM field material. HOW matters.

Get over it, boundary enhanced products aren’t important to you. You have YOUR market, others have theirs. We provide a unique product that IS transparent to how it works and why.

I’ve used 1313A and 1800F and ICONOCLAST RCA, XLR and speaker cables. Have you?

My T+A M40HV mono amps are Class A and AB at the flip of two switches with distortion, slew rate etc are all so low on paper it is immaterial which you use. Nothing can be “heard” other than if you clip the amps. Nope, A and AB are indeed different. They sell the specs but the SOUND has it’s own agenda and basic specs don’t capture that.

Best,
Galen

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@CinDyment, once again, I am asking you to please be respectful. You continue to insult other members and actively engage in trolling. You exhibit this precise same behavior in other forums as well, such as canuckaudiomart.com, while similarly arguing about Silversmith Fidelium cables.

Enough already. I have asked you publicly and privately to be polite and constructive.

Your views are welcome, but your approach is not.

Edited to include a direct link to the canuckaudiomart argument regarding Silversmith Audio Fidelium cables involving CinDyment.

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Elk he just thinks he ist the pope and likes to pontificate…

Best wishes

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Hey everyone, I sincerely and most humbly apologise for starting this thread. I hope my fellow forum members will see fit to forgive me. I’ll stick to the “What are you spinning now” thread where I find great enjoyment.

Hey@elk is there any way to stop getting emails when posts are made in this thread?

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As the OP you should be able to just shut it down.

Jim it is not your fault at all…just some folk have no couth
whatsoever…

You cannot blame yourself for the behavior of others…
and have no reason to apologise for starting this thread.

Jim you have been and are a great contributor and
participator…and are appreciated

Best wishes

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I actually learned from this thread. And even though there is a toxic element involved, I now have an even greater respect for those that spend time advancing our hobby. I do apologize that you’re now getting another email because of me, lol

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I do not know off hand how the email notifications work as I do not use them. I did some digging and have not figured out a way to stop the notifications.

Perhaps someone who uses the notifications can help.

I will let you know if I figure anything out. I am sorry I am not of help.

@aiki14 At the bottom of the entire topic you will see drop-down button, set that to Tracking.

If you have it on Tracking and are getting email, go to Normal.

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Thanks!

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To close the loop on my input on this thread, I found the issue that I was having with my audio interface and redid the cable test. Below is the graph showing the result of the impedance of the cable on the level output with the green line being at the amp and the orange at the speaker terminals.

The next graph is showing the frequency variation with the curves adjusted for level. Note that the greatest deviation is only 0.8db! I’ll let members draw their own conclusions about the audibility of the variation.

I am in the queue to compare with a set of Iconoclast cables so it will be Illuminating to evaluated the differing engineering approaches.

Please interpret the results for us*, if you will.

*Not everyone here is knowledgeable enough to take a glance at these graphic results and discern anything material from the results shown.

TIA.

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@scotte1, I posted these to counter the graph posted by CinDyment based upon a flawed test equivalence claiming that simply adding a non-inductive resistor in series with a complex impedance Kimber cable properly emulates a Fidelium cable. I am in agreement with Galen’s opinion that cables are a component and like all audio components, we have not come up with a complete set of measurements that dictate what we actually can hear.

Some out there feel that the only differences we can hear from identically measuring components are due to bias. They ignore the fact that we can learn to aurally discriminate just like with our senses of taste, touch, smell and sight. I have been involved in all aspects of the audio chain from recording to reproduction for over 50 years and it has taught me that discrimination can be vastly improved by learning through practice and that there is individual preference when it comes to everything from the instrument chosen through to the speaker that reproduces it. I even had this argument with Harry Pearson about his concept of “absolute sound” when he was reviewing one of my designs.

In the end I see measurements not as an end but as a means that informs. All designs are trade-offs and when I can sit and am compelled to listen to the music versus the equipment, the entire recording-reproduction chain is on the right track. in this, I have the privilege of listening to records and recordings that I have made of live performances. This makes it easier; however, it does not make my preferences more valid than anyone else’s.

To conclude, this long response, my comment about audibility was “tongue-in-cheek” as I don’t spend my time listening to sine waves nor trying to learn to detect sub-dB variations.

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@CinDyment ’s tone on Audiogon is rather scary. Very I’m the king of the jungle.

Could we leave it that @CinDyment doesn’t think cables make a difference and some of us think they do?

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Well, he’s arguing with Galen here… obviously one of the best and well-respected cable designers on one side and a complete unknown on the other

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Which makes perfect sense.

We experience/observe something first. Then we investigate/experiment/explain. The explaining step can involve a lot of work and a good deal of time.

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Well said; and I tend to agree with you.

Cheers.

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Here is a category changing cabling method. The subs are used with my CLX, not the T+A Solitaire CWT 1000-40 carbons.

The above is parallel wired series I on bass, and parallel wired series II on mid/treble.

This cuts inductance by four to 0.02 uH/foot but ups capacitance the same factor to about 230 pF/foot (100 + 130). Since ICONOCLAST is lower cap, this isn’t going to bother modern amps. The DCR drops to 20,000 CMA or about a 7 AWG.

DO NOT do this with ribbon flat cable with1500-3000 pF/foot capacitance! for ONE cable let alone two. Check with the vendor for a new ZOBEL network to offset the reactive load this will present.

Fo high DCR cable sound, this will go the WRONG way and LOWER DCR so ignore it.

Skin depth is the samethus current coherence is unchanged as the AWG in each cable is the same.

Proximity effect (pulling and poushing wires together or apart and impacting current coherence) is lower as the current is further divided and proximity effect is caused by more current.

Vp alignment will be changed as we have higher capacitance but the same loop DCR is the same seen through EACH insulated wire.

All this is in play and we can “make” a cable a machine cannot by doubling up the cable in parallel.

For those with SINGLE binding post speaker, use TWO series II in parallel for a “super cable”.
0.04 uH/foot
130 pF/foot
15,000 CMA or ~8 AWG

The ICONOCLAST tries to hit all “knowns” we can tweak in a single cable no matter how it is weighted. The bi-cable system above further leverages this in a way one cable can’t. If you want to experiment, and this works with all cables (use the same BRAND and series in parallel).

Best,
Galen

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How does it sound? Could you hear a difference between bi-wire and this new parallel config?

He’s now been banned on Audiogon twelve different times using twelve different user names including CinDyment. I haven’t checked today but based on the way things were going yesterday Tammie has probably banned him the thirteenth time by now. Same song and dance in all of the forums.