One assumes all tone arm wires are marked for directionality.
Listening impressions of two tonearm wires
It's not easy to have the opportunity to audition internal tonearm wire. Thanks to a friend who was kind enough to lend me two tonearm wire harnesses--Cardas and Discovery--I was able to get an idea how each might sound in the crucial front end of my system. The usual caveat of system dependancy is issued here. Both harnesses involve running the wires externally, from the cartridge pins to the phono preamp inputs. They are outfitted with the same clips and RCA plugs on each end, have had similar burn in time and are approximately the same length(3 to 4 feet). They had to be arranged securely and flexibly enough to avoid any difficulties relating to free tonearm movement. Necessary adjustments to tracking force and VTA were also made for optimal sound reproduction using my tools in my system.(No, I don't own a Mint Best Tractor, only the alignment gauge that came with my SME tonearm.)I used the following equipment: SME IV.Vi tonearm, Dynavector XV-1S cartridge, VPI HW-19 Mk 3 turntable with specially made brass/aluminum tonearm board, EAR 88PB phono premp, Air Tight ATM-3 monoblock amps and Dunlavy SC4 speakers. Cables include Silkworm+ interconnect with Eichmann Copper Bullet plugs, JPS Superconductor 3 speaker cable, Wegrzyn Copper Slam power cord on the preamp and original Synergistic Research Master Couplers on the amps.
Here were my impressions: Not unsurprisingly, the Cardas wire exhibited a relatively warmer/darker sound in contrast to the Discovery, whose balance tended more toward neutral, revealing a characteristically lighter/brighter presentation in the treble range in particular. Simultaneously, I found the Discovery's treble presentation less forgiving of the sounds of some orchestral instruments, notably trumpets, high strings, piccolos, and bell like percussion. At times, this less forgiving nature tended to produce sounds I found slightly irritating. Perhaps this meant those sounds revealed more truthfully what was on the record. Here, the issue sometimes surfaces as to whether one prefers greater accuracy or greater listenability. Midrange reproduction was very, very good with both wires. The perspective offered by Cardas on vocals and orchestras was closer than that of the Discovery. The size of both voices and instruments was also fuller, bigger, more rounded and softer edged compared with the Discovery. Those favoring tighter or sharper edged outlines would prefer the latter wire. Additionally, the Discovery's relatively more laid back images might also appeal to those seeking more depth. I would not say the Cardas lacks depth. It reveals a very satisfying sense of three dimensionality. In fact, I found its overall soundstage billowing and very impressive. Often, real excitement was generated as the orchestra projected a sweeping sense of large scale dynamics. In this regard, the Discovery seemed a bit less imposing though its mid to up front presentation was a bit cleaner than the Cardas'.
At this point, I want to mention something I found both interesting and somewhat puzzling while comparing the two wires. When I focused on the instruments at the back of the orchestral stage, the Discovery's relatively laid back style slightly shortchanged their sense of presence. I felt I was missing something that should have been there. With the Cardas I experienced a more complete realization of what those instruments were saying. Now here's the strange part: Despite the more distant or, at times, reticent rear field sound with the Discovery, I experienced moments when some of the instruments in its near or front field presentation sounded stuck on the speakers' drivers. Even with the closer perspective of the Cardas, I never had that impression, and because of this, the sense of imaging and instrumental placement was more convincing and satisfying.
On overall impression, and to my ears, the Cardas provided a more organically whole sound. Each instrument tended to radiate its own air and ambience in all directions, while the Discovery presented a more sharply defined and localized picture. In the lower midrange and upper bass, the Cardas often provided a feeling of richness and power. Trombones had an impressive weight, and double basses growled convincingly. There was a feeling I was hearing more of each instrument. Clashing cymbals sounded more realistic, more complete, with a longer expression of decay. Those rich sounding instruments dispalyed subtle and yet revealing inner details. Intonation and sense of timing of instrumentalists was most fulfilling. Simply put, there was an atmosphere of rightness. Though essentially quite musical in its way, I found the Discovery didn't quite give me the sense of satisfaction experienced with the Cardas. There were moments, however, when the Discovery's greater sense of neutrality fairly well contributed to that you are there feeling. It just didn't impact me the way the Cardas did. So, once more, we come down to what sort of sound most pushes one's buttons. There's obviously something out there for everyone's tastes.
Here were my impressions: Not unsurprisingly, the Cardas wire exhibited a relatively warmer/darker sound in contrast to the Discovery, whose balance tended more toward neutral, revealing a characteristically lighter/brighter presentation in the treble range in particular. Simultaneously, I found the Discovery's treble presentation less forgiving of the sounds of some orchestral instruments, notably trumpets, high strings, piccolos, and bell like percussion. At times, this less forgiving nature tended to produce sounds I found slightly irritating. Perhaps this meant those sounds revealed more truthfully what was on the record. Here, the issue sometimes surfaces as to whether one prefers greater accuracy or greater listenability. Midrange reproduction was very, very good with both wires. The perspective offered by Cardas on vocals and orchestras was closer than that of the Discovery. The size of both voices and instruments was also fuller, bigger, more rounded and softer edged compared with the Discovery. Those favoring tighter or sharper edged outlines would prefer the latter wire. Additionally, the Discovery's relatively more laid back images might also appeal to those seeking more depth. I would not say the Cardas lacks depth. It reveals a very satisfying sense of three dimensionality. In fact, I found its overall soundstage billowing and very impressive. Often, real excitement was generated as the orchestra projected a sweeping sense of large scale dynamics. In this regard, the Discovery seemed a bit less imposing though its mid to up front presentation was a bit cleaner than the Cardas'.
At this point, I want to mention something I found both interesting and somewhat puzzling while comparing the two wires. When I focused on the instruments at the back of the orchestral stage, the Discovery's relatively laid back style slightly shortchanged their sense of presence. I felt I was missing something that should have been there. With the Cardas I experienced a more complete realization of what those instruments were saying. Now here's the strange part: Despite the more distant or, at times, reticent rear field sound with the Discovery, I experienced moments when some of the instruments in its near or front field presentation sounded stuck on the speakers' drivers. Even with the closer perspective of the Cardas, I never had that impression, and because of this, the sense of imaging and instrumental placement was more convincing and satisfying.
On overall impression, and to my ears, the Cardas provided a more organically whole sound. Each instrument tended to radiate its own air and ambience in all directions, while the Discovery presented a more sharply defined and localized picture. In the lower midrange and upper bass, the Cardas often provided a feeling of richness and power. Trombones had an impressive weight, and double basses growled convincingly. There was a feeling I was hearing more of each instrument. Clashing cymbals sounded more realistic, more complete, with a longer expression of decay. Those rich sounding instruments dispalyed subtle and yet revealing inner details. Intonation and sense of timing of instrumentalists was most fulfilling. Simply put, there was an atmosphere of rightness. Though essentially quite musical in its way, I found the Discovery didn't quite give me the sense of satisfaction experienced with the Cardas. There were moments, however, when the Discovery's greater sense of neutrality fairly well contributed to that you are there feeling. It just didn't impact me the way the Cardas did. So, once more, we come down to what sort of sound most pushes one's buttons. There's obviously something out there for everyone's tastes.