Does the type and make of speaker cable make a difference..?

Speakers and Cabinets, types, manufacturers , what ohm ? questions, DIY speakers ...

Moderators: jim renolds, jimsreynolds, Jackie, Andy

Casey_Butt
World Tour
Posts: 1526
Joined: Mon Nov 02, 2009 7:09 pm
Location: Newfoundland

Re: Does the type and make of speaker cable make a difference..?

Post by Casey_Butt » Sun Nov 18, 2018 2:21 am

avspecialist wrote:
Sun Nov 19, 2017 4:49 pm
I remember back in the day around 1977 or 1978, one of my factory reps came in with some Discwasher brand braided speaker wire. this was about a year before the Monster cable phase. I was very surprised it was a bigger and fuller sound and the high end came off as smoother. My uncle Gordon, the President of McIntosh said it was wishful thinking on my part and scientifically the proper gage wire for a given length in the 20 Hz to 20K band would be a minuscule amount of series resistance, capitance and inductive loading for the wire. Obviously he as a a real engineer and inventor of many amplifier technologies knows a lot more technically than me.
Well, I guess you could say I'm a real engineer, and I'll be the first to admit that sometimes we're just plain wrong. [smilie=icon_mrgreen.gif] Engineers tend to make assumptions... like all copper being created equal, as I was talking about in my previous post. What's on paper and what you actually have in your hand are often (almost always) two different things. From an engineering perspective, "the proper gage wire for a given length in the 20 Hz to 20K band would be a minuscule amount of series resistance, capitance and inductive loading for the wire"... and there's no denying that is true. But some Chinese dude could have taken a shit in the batch of copper that wire was made of. Sometimes engineering can be part science, part art, and part detective work.
_ JVM410H: "Blackface" Clean channel, "Plexi" Crunch channel, "Dual Rec" OD2 channel, 3rd stage bias pot with switchable 100nF bypass cap, switchable 470k/470pF "treble peaker", OD1/2 Orange and Red extra gain pot, signal boost into power amp, PI voltage set to 2203 levels, 5H choke w/ 50uF on screens, -ve feedback pot.
_ Marshall 2203/1959 clone - switchable (with FX loop, resonance control and -ve fb pot) built from a Peavey Windsor 'donor' head
_ Fender Deluxe Reverb clone head
_ ADA MP-1, ART Power Plant, Tech 21 PSA-1
_ 1960A cab w/ Celestion G12-65s and G12-75Ts in X-pattern, Peavey JSX cab with Celestion G12M's (UK 6402 cones)
_ Fender Pro 185 (rebuilt) - open back 2x12" with Jensen C12Ks

avspecialist
Private Parties
Posts: 108
Joined: Thu Mar 10, 2011 1:40 am
Location: Avon, Ct
Contact:

Re: Does the type and make of speaker cable make a difference..?

Post by avspecialist » Wed Jul 08, 2020 1:37 am

Jumping around the forum, I came across this speaker wire post, where a few of us commented on. I really like everyone’s reply’s. The achieved results are pretty varied from sounds great to bullshit :>). I would say after all my experimenting I figured out just short 16 gave wire, I like it twisted, and along with proper capacitance patch cables for your guitar/instrument are all you really need.

As I mentioned in my 2018 post, we are making sounds, not playing them back. Probably from my years of high end audio, I decided to try hooking up my guitars and speaker cabinets, using from average to fairly expensive silver cables to here if there was any difference .To me the high end cables sterilized the sound, quite the opposite of what I expected. So I proved to my self that regular materials assembled properly and used properly works best and all you need for guitar.

But, I have to say without a doubt very high end systems do sound much better with the proper expensive cables, the difference is immediately noticeable. These are very expensive electronics, like 40K and up. I have debated my uncle Joe quite a few times on this subject. He is the president and founder of Tributaries Cables. We have debated from different points of view about cables and speaker wire and what make them system sound better. He would tell me as long as the cable meets or exceeds the circuits requirements, that’s all it is. He said the main reason a lot of cables sound or look poorer is that they are not manufactured correctly. For example when we were talking about video cabling, he said if the circuit requires 75 ohms, the cable that was used by a lot of manufacturers is 75 ohms, but most those manufactures often used 50 ohm connectors and therefore a mismatch. He said the reason his brand of cables was better, was because they were true 75 ohms meeting the video spec for both the wire and the connector and therefore the proper impedance/capacitance match is made. He said, that’s all no magic.

So go figure, who’s right?
2007 JVM 410H, Negative Feedback Mod 1 Meg/Stock resistor, 1uf/R97 Mod, 100K on R128 Mod. 4X12 2 Eminence RWB/2 JBL MI12 A 2 Weber 10" 80 watt California's at 16 Ohms. My own 2X12 Baltic Birch with Weber Ceramic Blue Dog and Eminence Tonker.

1972 Fender Twin, 1976 Fender Twin, 1994 Fender Twin Amp,Fender Bassman 50 with master volume, 1967 Fender Super Reverb (stock), 1965 Univox U45B, Deluxe Style 18 watt Tony Bruno Amp, Music Man 210/65. 69 Gibson SG Custom, 79 Gibson Les Paul Custom, Rickenbacker 360 12 string, Brian Moore custom guitar with Roland GRX system, 1937 National, Fender Squire Strat,Ovation Custom Legend 12 string, Ovation 30th Anniversary 6 string.

Casey_Butt
World Tour
Posts: 1526
Joined: Mon Nov 02, 2009 7:09 pm
Location: Newfoundland

Re: Does the type and make of speaker cable make a difference..?

Post by Casey_Butt » Wed Jul 08, 2020 12:12 pm

I ended up speaking to a knowledgeable person about the copper industry awhile back. He said that sometime in the late '70s to early '80s they started adding tin and other cheaper additives to commercially available copper to get the prices down and production volume up as the electronics industry exploded and other competing materials started catching on in other industries. He considered modern copper little more than impure garbage. So, it is possible that the more expensive cable brands could be getting higher quality copper for their products than the bargain brands. On the other hand, it doesn't have to be a mystery because a simple LCR meter could compare what you need to know.

Much of what's spread around the music industry is simply bullshit from people who don't understand what's going on electronically or engineers who tend to oversimplify things and then proclaim those other people don't know what they're talking about. I've found very often where there's smoke there's fire but also usually someone mistaking the cause. "Laymen" tend to overblow irrelevant factors and engineer's tend to dismiss anything they can't make enough assumptions about to explain with Ohm's Law. ;)
_ JVM410H: "Blackface" Clean channel, "Plexi" Crunch channel, "Dual Rec" OD2 channel, 3rd stage bias pot with switchable 100nF bypass cap, switchable 470k/470pF "treble peaker", OD1/2 Orange and Red extra gain pot, signal boost into power amp, PI voltage set to 2203 levels, 5H choke w/ 50uF on screens, -ve feedback pot.
_ Marshall 2203/1959 clone - switchable (with FX loop, resonance control and -ve fb pot) built from a Peavey Windsor 'donor' head
_ Fender Deluxe Reverb clone head
_ ADA MP-1, ART Power Plant, Tech 21 PSA-1
_ 1960A cab w/ Celestion G12-65s and G12-75Ts in X-pattern, Peavey JSX cab with Celestion G12M's (UK 6402 cones)
_ Fender Pro 185 (rebuilt) - open back 2x12" with Jensen C12Ks

Post Reply