Hey guys, I just posted my CanJam SG 2018 article on TheHeadphoneList.com, which you can check out
HERE. Below are excerpts from the article detailing PWAudio's latest series of cables, including their co-flagship 1950s. I also wrote impressions of Effect Audio's two Janus cables, which you can check out on their official thread soon. Cheers!
PWAudio
PWAudio – in a sort of roundabout way – takes us back to Music Sanctuary’s humble six-booth-and-eight-table-wide abode, where Peter Wong himself unveiled an entirely new line-up of cables to complement his already-impressive repertoire. Along with the default 4-wire Saladin, Loki and Xerxes were 8-wire variants denoted by a “+” at the end of their respective names. I only auditioned the Saladin+, but I assume the differences between it and the Saladin can be loosely applied to the two other cables as well. Finally, I also got to audition Peter’s new co-flagship cable – the 1950s. Although the ergonomics and aesthetics of the insulation were yet to be finalised, the sonics were
definitely production standard. Only available in its 4-wire (8-core) variant and priced
just a hair above the 4-wire 1960s, the 1950s is a luxury item through and through.
The Saladin is what looks like a copper-silver hybrid within cable’s individual cores. Sonically though, it assumes the spiritual successor to Peter Wong’s highly-acclaimed No. 5 cable. Like the No. 5, the Saladin excels at organicity because of its natural timbre. The Saladin’s richness stems from its elevated low-end. Although its impact is more natural than it is
basshead-inclined, the Saladin’s bass is warm, bloomy and buttery in texture. A calmed treble response allows this richness to fill the stage, infusing midrange notes with proper body as well as an exquisite tone. The Saladin presents vocals and instruments alike with great intimacy and forwardness.
Due to an accentuated lower-midrange, the Saladin is chestier than it is articulative or sparkly. But, energy in the lower-treble aids clarity, imbuing the Saladin with proper technical performance beyond just sheer musicality. Top-end extension is where the Saladin falters a tad. Although its upper-treble roll-off is crucial in determining its tone, I can’t help but hear a lack of finesse in separation and organisation. The Saladin’s presentation isn’t the neatest, but it wins
bigin naturalness, engagement and tone. It’s an incredibly admirable effort as far as entry-level cables are concerned, and its signature alone will find tons of admiration across the globe.
PWAudio Saladin+: Where the Saladin wavers, the Saladin+ absolutely shines. The 8-wire variant of the cable retains its inherent signature: Warm, rich and tonally accurate with a mid-bass bias. But, where the Saladin+ truly improves is – crucially – treble extension. Generously infusing the stage with headroom, the Saladin+ performs excellently in stage stability, openness and left-right separation whilst maintaining a gorgeous, warm timbre. Mid-bass jabs are now paired with airy and spacious undertones – serving up a baby version of the clear and layered low-end response present in the flagship 1950s. Midrange notes no longer feel
too full, as the stage around them expands decently in all directions. Fortunately, vocals and instruments alike still maintain the same sense of density and richness. The treble – again – gains in extension to produce more articulate, refined and transparent notes. Linearity is maintained as to not mess with timbre – concluding the Saladin+ as an admirable performer in both timbre and technicality.
Externally, the Loki looks like a pure silver cable. But, the documentation I was shown suggests some amount of copper in there as well. Some form of miscommunication might have occurred, but nevertheless, the Loki is a definite sonic departure from Peter Wong’s single-crystal silver cable. While the latter was particularly renowned for its mellowness and warmth, the Loki’s sonic palate resembles the more stereotypical
silver sound: Bright, fast and clear. But, that
doesn’t mean it’s not a signature done well. The Loki is a stellar choice for listeners looking for vocal clarity.
A lift in the presence region and the upper-treble boosts clarity, articulation, openness and air. The Loki is the brightest in tone out of all four PWAudio cables, but a skilfully controlled lower-treble prevents any form of sibilance whatsoever. The Loki’s low-end is controlled – especially in the mid-bass and sub-bass. A decent amount of warmth present in the upper-bass is crucial in making sure the signature never comes across as
sterile or
clinical. Low-end extension is decent, but the Loki certainly relies on heavier-and-denser-sounding transducers to truly shine. Nevertheless, it’s another brilliant effort from Peter Wong that
finally gives PWAudio a winning entry in the speedy, clarity-focused space.
PWAudio Xerxes: The Xerxes is a triple-metal hybrid consisting of silver, copper and gold in varying quantities. But, sonically, it’s a bit of a chimera in performance as well. Although it has its own set flavour, the Xerxes is a cable that juggles multiple elements in the hopes of executing them all with minimal compromise. The first of which is vocal density and clarity. By attenuating the warmth of the bass and accentuating lower-midrange body, the Xerxes boosts vocal presence whilst instilling a brighter tone. But, richness and body – its second aspect – are maintained through excellent top-end control. Linear and well-extended, the Xerxes adds just enough sparkle for clarity’s sake, but remains smooth at all times. Finally, stage transparency benefits from the leaner presentation. At the end of the day, the Xerxes is a cable you won’t necessarily enjoy if you’re looking for a full and thump-y low-end. But, if you’re looking for a balance between butteriness, finesse and headroom, then the Xerxes will serve you well.
The 1950s was – without a doubt – Peter Wong’s showstopper. Designed in an effort to star with the 1960s as the brand’s co-flagship, it represents PWAudio’s alternative approach towards transparency. While the previous singular flagship was defined by a well-extended-and-accentuated top-end, growly, well-textured lows and a spacious, voluminous stage, the 1950s offers a natural signature more colourless – or
neutral – in tone. Let’s start with what I consider to be the 1950s’ strongest element: Bass response. The 1950s presents its low-end with an unprecedented balance between resolution, air and tone. Low-end slams are physical, visceral and organically warm, but excellent treble extension surrounds each punch with an open layer of air. As a result, every time the bass hits, powerful impact comes equipped with strong definition and smooth clarity; a dynamic-yet-mature presentation in every respect.
Like the 1960s, the 1950s has a lower-midrange-focused instrumental response. Vocals gain bodily texture as a result, along with richness stemming from the upper-bass. Though, the 1950s’ lower-midrange emphasis isn’t as strong as the one found on the 1960s, resulting in instruments that sound complete and well-resolved without the risk of sounding nasal-y on specific tracks. A light rise in the lower-treble aids articulation and clarity, but again, this aberration isn’t as apparent as the one on the 1960s. As I said previously, a neutral-natural response with minimal colour is the goal here. The treble region is as technically impressive as it is engagingly smooth. Fantastic extension and admirable linearity reprise the 1960s’
surround stage. The former PWAudio flagship sounds airier because of an upper-treble lift, while the 1950s maintains a blacker background and a more engaging soundscape. Headroom is as plentiful as always to allow for smooth and easy listening, whilst simultaneously allowing the low-end to perform as beautifully as it does.
