JaZZ
Headphoneus Supremus
Well, I've come to a definitive conclusion -- although it can also be seen as provisional in view of one decisive issue: The Equinox has a length of 2.5 m, which is more than twice the length of the other cables. That doesn't allow a fair comparison. If the Equinox reacts the same to shortening as the stock cable, there's a considerable sonic potential in a shorter length (such as 1.2 m) -- in the form of increased smoothness and clarity as well as higher brilliance.
The main configuration for audition consisted of the McCormack UDP-1, a homemade IC of copper and silver magnet wires and the Aria prototype. Alternatively I used the Bel Canto DAC2 (fed by digital signals from the UDP-1) as source, moreover the EMP as headphone amp, although I soon renounced the latter since it didn't show a much different behavior with respect to cable characteristics, and the Aria was the superior amp when it comes to accuracy and transparency. I also tried the direct connection to both the DAC2 and the UDP-1 to exclude the influence of the headphone amp. The main reference recording for the comparison was a DVD-A, Schumann's piano concerto on MDG -- one of the best recordings within my collection (in 24 bit/96 kHz) --, beside a few other classical and jazz recordings.
The most obvious difference between the Equinox and the other aftermarket cables was its higher definition and texturing and the more three-dimensional presentation. It's definitely drier, less liquid and less brilliant than the latter and in this regard in line with the stock cable. It has indeed great similarity to it, but clearly surpasses it in terms of detail and accuracy. And the higher detail actually also carries higher brilliance when listened more closely for. But also a tendency towards coarseness or graininess -- that's why the stock cable's lesser detail occasionally results in a smoother presentation, depending on the recording or the passage. The Equinox's superior spatial presentation and air between the notes remain obvious, though.
But what they have in common is a certain perceived treble roll-off, a lack of treble sparkle, which makes cymbals sound a bit lackluster and piano notes slightly too matte and soft. However, I was impressed by the high level of definition and accuracy, which I felt to be responsible for the large soundstage and good instrument separation, thanks to accurate reproduction of spatial information I suppose. The other high-end cables -- Silver Dragon, Zu Mobius and BlackSilver -- seemed to coat everything with a mellow sheen which took some of the three-dimensionality away. In turn the resulting liquidity makes for a better coherence between the notes, and they also seem to offer the finer grain -- it's not even wrong to speak of the finer detail and an overall greater refinement, at least in the case of Zu and Silver Dragon. So higher detail (Equinox) stands against finer detail (Zu and SD). I hope it makes sense anyhow...
So despite the high detail the Equinox lacks the clarity, liquidity and brilliance I'm used to, particularly from the Silver Dragon, and which I consider essential for the musical flow. The Equinox's overtexturing -- as I'd call it -- catches too much of my attention and detracts me from the music. So the two smoother or «sleeker» sounding silver cables are more «musical» in this respect and less fatiguing. Although the Zu Mobius' sharp-edged treble can achieve a minor degree of fatiguingness as well, whereas the Silver Dragon at best may sound slightly coolish and artificial; OTOH it offers the highest degree of coherence in my setup and never sounds harsh. In exchange its bass is a bit lean and its treble rounder and less focussed than the Zu's (not to speak of the Equinox, although there combined with the mentioned matteness).
As to the Headphile BlackSilver: it sounds rather unspectacular, but nevertheless liquid-smooth and brilliant. It's not the last word in terms of definition and expression, though, and may sound a bit noncommittal. This may be a good thing if you don't want to be distracted from the mere musical information, but it's certainly not the most audiophile sound for a sound gourmet. One thing has to be considered, though: The cable is slightly shortened, and the small piece of Sennheiser stock cable at the connector's end has been removed, and instead the silver wires are soldered directly to the pins. This has resulted in a clearer and sleeker characteristic of which I'm not sure if it's really an improvement compared to the originally less transparent, but more textured sound.
As hinted above, I strongly suspect that a shorter length and maybe soldering the wires directly to the pins would result in a clearly more favorable rating of the Equinox. Maybe it would even reach the top position. However, it will be difficult for the HD 650 to displace the K 701 from there, which I would describe as close to a synthesis of the best HD-650 cable characteristics. (Disclaimer: all ratings to my ears and IMO.)
Thanks again, Voltron, for letting us audition your Equinox. It's now going back to Tao who would like to try it again -- this time on its HeadCode, which is expected to come back from repair this week.
.
The main configuration for audition consisted of the McCormack UDP-1, a homemade IC of copper and silver magnet wires and the Aria prototype. Alternatively I used the Bel Canto DAC2 (fed by digital signals from the UDP-1) as source, moreover the EMP as headphone amp, although I soon renounced the latter since it didn't show a much different behavior with respect to cable characteristics, and the Aria was the superior amp when it comes to accuracy and transparency. I also tried the direct connection to both the DAC2 and the UDP-1 to exclude the influence of the headphone amp. The main reference recording for the comparison was a DVD-A, Schumann's piano concerto on MDG -- one of the best recordings within my collection (in 24 bit/96 kHz) --, beside a few other classical and jazz recordings.
The most obvious difference between the Equinox and the other aftermarket cables was its higher definition and texturing and the more three-dimensional presentation. It's definitely drier, less liquid and less brilliant than the latter and in this regard in line with the stock cable. It has indeed great similarity to it, but clearly surpasses it in terms of detail and accuracy. And the higher detail actually also carries higher brilliance when listened more closely for. But also a tendency towards coarseness or graininess -- that's why the stock cable's lesser detail occasionally results in a smoother presentation, depending on the recording or the passage. The Equinox's superior spatial presentation and air between the notes remain obvious, though.
But what they have in common is a certain perceived treble roll-off, a lack of treble sparkle, which makes cymbals sound a bit lackluster and piano notes slightly too matte and soft. However, I was impressed by the high level of definition and accuracy, which I felt to be responsible for the large soundstage and good instrument separation, thanks to accurate reproduction of spatial information I suppose. The other high-end cables -- Silver Dragon, Zu Mobius and BlackSilver -- seemed to coat everything with a mellow sheen which took some of the three-dimensionality away. In turn the resulting liquidity makes for a better coherence between the notes, and they also seem to offer the finer grain -- it's not even wrong to speak of the finer detail and an overall greater refinement, at least in the case of Zu and Silver Dragon. So higher detail (Equinox) stands against finer detail (Zu and SD). I hope it makes sense anyhow...
So despite the high detail the Equinox lacks the clarity, liquidity and brilliance I'm used to, particularly from the Silver Dragon, and which I consider essential for the musical flow. The Equinox's overtexturing -- as I'd call it -- catches too much of my attention and detracts me from the music. So the two smoother or «sleeker» sounding silver cables are more «musical» in this respect and less fatiguing. Although the Zu Mobius' sharp-edged treble can achieve a minor degree of fatiguingness as well, whereas the Silver Dragon at best may sound slightly coolish and artificial; OTOH it offers the highest degree of coherence in my setup and never sounds harsh. In exchange its bass is a bit lean and its treble rounder and less focussed than the Zu's (not to speak of the Equinox, although there combined with the mentioned matteness).
As to the Headphile BlackSilver: it sounds rather unspectacular, but nevertheless liquid-smooth and brilliant. It's not the last word in terms of definition and expression, though, and may sound a bit noncommittal. This may be a good thing if you don't want to be distracted from the mere musical information, but it's certainly not the most audiophile sound for a sound gourmet. One thing has to be considered, though: The cable is slightly shortened, and the small piece of Sennheiser stock cable at the connector's end has been removed, and instead the silver wires are soldered directly to the pins. This has resulted in a clearer and sleeker characteristic of which I'm not sure if it's really an improvement compared to the originally less transparent, but more textured sound.
As hinted above, I strongly suspect that a shorter length and maybe soldering the wires directly to the pins would result in a clearly more favorable rating of the Equinox. Maybe it would even reach the top position. However, it will be difficult for the HD 650 to displace the K 701 from there, which I would describe as close to a synthesis of the best HD-650 cable characteristics. (Disclaimer: all ratings to my ears and IMO.)
Thanks again, Voltron, for letting us audition your Equinox. It's now going back to Tao who would like to try it again -- this time on its HeadCode, which is expected to come back from repair this week.
.
