PW cables and expensive cables are way overrated. Have tried both their 1960 and 1950 on Fourte, and can’t say I love them for the asking price. They are good in some ways but not universally better than the cheaper 64a cables on the Fourte. Especially the 1950, i don’t really enjoyed it on the Fourte for my preference (too forward sound presentation, narrower/congested soundstage).
FWIW the 1950s is not said to have good synergy with the Fourte (it pairs better with fuller IEMs like LX). The 1960s 2w is supposedly the best of that series for the Fourte. I'll have one soon and will give full feedback. Personally, if a $1000 cable can take your $3500 IEM to its sonic limit and improve it in ways that fit your preference, that's a very solid investment over, say, a $4500 IEM that still needs tweaking. Cables are, after all, a tweak, but at this level, the smallest tweak is both very expensive and very valuable.
I’ve never been a huge fan of PW Audio big money cables. Stormbreaker is the only one I have ever preferred over others in a pairing (Odin). EE did the leg work to figure that out anyways.
Aren’t PW cables cardas coax wire?
Yes indeed. 1950s uses the more expensive Cardas Clear cable, and 1960s Cardas Clear Light. The only IEM cables in the world, afaik, that are made from Cardas. These are very expensive cables to procure in raw form and quite difficult to work into IEM cables, which is why even masters like
@doctorjuggles tend to make very few of them. Peter Wong makes every 1960s and 1950s cable personally, to order.
To me they're like rare wines. Exorbitant pricing, but at the same time rare, unique and highly valued by those that have and use them. And, just like wine, not to everyone's taste. You can add them to the love/hate column. I still don't quite get why collectors with tens of thousands of dollars in audio gear scoff at the idea of cables that cost a small percentage of it all, but cables (and cable pricing) do tend to be the most polarising part of the chain.
