Hirsch
Why is there a chaplain standing over his wallet?
- Joined
- Aug 12, 2001
- Posts
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This question has been plaguing me recently.
It started with the Grado HPA-1 amp. When I first got it, it seemed dark and congested. However, the manual indicated it was cable sensititive. Not sure what cable to use, I removed my Silver Lace and used Esoteric Audio Air Litz 3, a copper litz cable from the same time era as the HPA-1. The cable also sounded dark and congested with most of my other components. Put it together with the HPA-1, and both open up. The HPA-1 is finally showing what it can do, and is holding up its end in a head to head comparison with a Maxed Out Home (on loan from Headroom). The MOH has a slight edge, but these are two amps performing at the pretty much the same level.
However, the question became more pressing to me when I pressed my Melos back into duty. I have always felt the CD3000 was a poor match for the Melos, while the Grado HP-1 was the ideal for that amp. However, I'm listening to the CD3000 with the Melos now, and there's no hint of the objectionable brightness that had bothered me previously. The difference? Outlaw PCA interconnects instead of Silver Lace. It's not that the Outlaws are better sonically than the Silver Lace, which I love a lot most of the time. However, the Silver Lace seems to be influencing some downstream components in adverse and unexpected ways. Why an interconnect between source and amp would alter the complete sonic signature of a headphone is beyond me. I simply don't know why this would be so. But it is. The Outlaw PCA is allowing me to use headphone/amp combinations that simply couldn't be attempted with the Silver Lace.
It's not that the Melos sounded bad with the Silver Lace. As I said, it was my favorite HP-1 amp using that cable. However, using the modestly priced Outlaw PCA is not costing me any sonic deterioration that I can hear, and is allowing me a wider range of compatible headphones.
Strange. I thought I'd toss this out as food for thought.
It started with the Grado HPA-1 amp. When I first got it, it seemed dark and congested. However, the manual indicated it was cable sensititive. Not sure what cable to use, I removed my Silver Lace and used Esoteric Audio Air Litz 3, a copper litz cable from the same time era as the HPA-1. The cable also sounded dark and congested with most of my other components. Put it together with the HPA-1, and both open up. The HPA-1 is finally showing what it can do, and is holding up its end in a head to head comparison with a Maxed Out Home (on loan from Headroom). The MOH has a slight edge, but these are two amps performing at the pretty much the same level.
However, the question became more pressing to me when I pressed my Melos back into duty. I have always felt the CD3000 was a poor match for the Melos, while the Grado HP-1 was the ideal for that amp. However, I'm listening to the CD3000 with the Melos now, and there's no hint of the objectionable brightness that had bothered me previously. The difference? Outlaw PCA interconnects instead of Silver Lace. It's not that the Outlaws are better sonically than the Silver Lace, which I love a lot most of the time. However, the Silver Lace seems to be influencing some downstream components in adverse and unexpected ways. Why an interconnect between source and amp would alter the complete sonic signature of a headphone is beyond me. I simply don't know why this would be so. But it is. The Outlaw PCA is allowing me to use headphone/amp combinations that simply couldn't be attempted with the Silver Lace.
It's not that the Melos sounded bad with the Silver Lace. As I said, it was my favorite HP-1 amp using that cable. However, using the modestly priced Outlaw PCA is not costing me any sonic deterioration that I can hear, and is allowing me a wider range of compatible headphones.
Strange. I thought I'd toss this out as food for thought.