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After testing 16 interconnects, Jonson Lee concludes that cables over $100 can offer real gains, price doesn’t predict performance, cleaning contacts boosts clarity, and a cable’s sonic character stays consistent across gear.
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Three high-end speaker cables—Audience Studio ONE, AudioQuest Robin Hood ZERO, and Kimber Kable Monocle XL—showcase different flavors of excellence: the Studio ONE’s lush warmth, Robin Hood’s soundstage depth, and Monocle XL’s bold, detailed realism.
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In his latest interconnect roundup, the Guru pits Audience, Kimber Kable, and AudioQuest against each other—finding all three excellent, but each with a unique sonic flavor and value proposition worth testing in your own system.
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Three SPDIF cables from AudioQuest, Kimber, and Audience face off—each delivering distinct sonic strengths—while the old-school Auric Illuminator CD treatment surprisingly proves its worth, boosting clarity, ambiance, and realism across multiple discs.
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In Part 4 of this series, Gilles Laferrière defends high-end audio cabling against skeptics, citing top studios and engineers—like Bob Ludwig and Kevin Gray—who rely on premium cables to achieve superior sound quality.
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In this second “Cable Guru” entry, the Guru explores mid-priced hi-fi cables from major manufacturers, emphasizing sound character over specs, system synergy, and the artful subjectivity that makes cable evaluation a unique audiophile pursuit.
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In this revealing article, Jonson Lee explores how volume controls—digital or analog—inevitably compromise sound quality, ultimately concluding that even the best among them can’t compete with the clarity of having none at all.
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With vinyl booming and CD sales rising for the first time in nearly two decades, the music industry is seeing physical formats claw back relevance—though whether it’s a blip or rebirth remains hotly debated.
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In Part 3, Gilles challenges cable skeptics by arguing that blind tests favor short-term memory and ignore the nuanced, experience-driven perception stored in our long-term auditory memory—where true cable differences reveal themselves.
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Rob Schryer’s new column “The Cable Guru” kicks off with a spirited manifesto from its self-appointed guru, championing the subjective truths of hi-fi cabling, cable break-in, and the sacred art of system synergy.
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To showcase how today’s classical recordings can unlock a system’s full potential, Jonson Lee surveys the sonic evolution from flawed late analog to early digital’s brightness, arriving finally at today’s breathtaking 24-bit digital gems.
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After years of AB tests and blind comparisons, Jonson Lee finds that while 24-bit playback offers little audible advantage over 16-bit, high-res still matters—mainly due to improved recording techniques and mastering quality.
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Part 2 of this series dives into classical recording eras, revealing how early mono (’30s–’50s) captures legendary performances despite technical limits, while late ’50s–early ’60s stereo offers warm, rich, and cohesive orchestra sound—especially from RCA, Decca, EMI, and Philips.
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For many audiophiles, pop songs are fun but often fall short in sound quality. Classical recordings, with strict rules and faithful production, offer breathtaking realism and absolute standards—making them the ultimate test for serious audio systems.
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After dismissing high-end audio cables as snake oil, a $900 silver phono cable blew Gilles Laferrière away—revealing clearer detail, richer timbres, and vast soundstage. Key factors? Room acoustics, speaker placement, and clean power made the difference.