Right, thank you, that’s very understandable.
So then, to “slow” the higher frequencies to line up more linearly with lower freqs means we have to sufficiently increase the conductor’s impedance towards its surface? …Why then do we so often see the opposite being done, with a silver plating for example giving the high range an even faster highway and a larger differential of impedance compared to the core? I assume skin effect here is negligible since we are talking about audio range.
Slowing the high range, boosting the lower range, I guess this is all to be understood relatively, we want a smoothly leveled curve and I wager having this is more important for sound quality than at what impedance we have this at?
There are pure carbon conductor completely metal-free cables and they obviously “slow” the signal compared to metal, but apparently they have merits in conjunction with synergy. They might have a more level curve? Something about them is obviously unique to make them excel in high end systems!
To speculate more on the notion of their possibly uniquely leveled curve, there is talk of them being liquidy and smooth sounding, what if that’s actually the more natural (heh) presentation for the ears? Such adjectives do lead me to think they might slow the high range.
A.J.Van den Hul knows their secrets but he might be reluctant to reveal them in the form of a paper on them. (Though he’s explicitly not after money…)
For example if we have each individual sufficiently thin strand of a whole conduit insulated and we have a number of copper and silver strands in a proportion, will they sum to slow/boost the spectrum according to proportion, as in, a curve that’s such easily optimizable? Should we need a variable for the gauges of the strands also? Will these variables help, if optimized?
(I see these adverts of such “varistrand” conductors and as is seen with the Stealth cabling, sometimes a certain proportion of copper and silver strands is used. Here, even specific “component conduits” with differing structure from the main conductor assembly are used, the silver helixes… These cables are obviously designed heavily with ear so they must have thought to have a number of these helixes added for a sought sonical change. Here we’re led to the idea of the sound signature of a singular silver helix, interesting. I call it a component conduit because this cable is comprised of quite the lot of components really, we’ve steered far from the concept of just a wire.