@audphile1 Thanks for your response. Yeah, I’m not the do-it-yourself kind of person unfortunately. I’m not sure what else could be the problem besides the gauge of the wire delivering more energy than the PS is designed to work with (or something). Could it be that most audiophile music systems are just not run for such long stretches for this normally to be an issue? This is all top of the line pro gear I’m working with, not cheap stuff, so if it’s an issue with design, I’m not sure what to do about it. Unfortunately, in the music production world, audiophile products are pretty much seen as "ridiculous" by most, but I’ve done very extensive tests for years and have no doubt in my mind they can make a difference, for better or worse. The Triode Wire Labs Digital American cables absolutely transformed my monitoring system and enhanced the quality of my ADC’s recording performance, and I’ve had no issues with stability or the sound changing when the system is left on for many hours. I think it’s ironic that it’s only the non-digital components that have an issue. The digital components are all from different companies, too. ADC - Mytek, DAC - Lavry, and then the computer is a custom built PC with an RME AES card.
With the other components, the only variable I’ve been able to isolate seems to be the gauge of the power cord. I’ve tried several cables over the years from respected brands, and the 18awg cables, whether the stock cables or slightly upgraded hospital grade cables, are the only ones that don’t give me issues on the analogue components, but then I notice the sibilants are a little harsher and higher frequencies not as smooth, which I’d love to fix. I really don’t know what else to say about it nor do I pretend to understand why, but it’s only after the system has been running for many hours, 8-12, something like that. I’ve done extensive tests where I ran everything on stock with 1 component on an audiophile cable/thicker gauge that’s already been burned-in, let it run for a week to settle (turning off at night), and then listened for a day to assess. It’s been some serious work, lol.
@dodgealum Thanks for the response, I will check it out, thank you.
It seems like the consensus on here is that I’m an idiot for thinking cable gauge is a factor, but I don’t know what else it could be, as that’s the only variable I’ve been able to isolate. And then I think, ok, well current delivery from 18awg is what the gear is designed to work with, but I don’t understand the technology enough to really know what difference massive current delivery would make, I’m just speculating. I do however undoubtedly have the ears to know what I’m hearing. The change is subtle but distinct, and not something I can have happening in a production system for recording and making critical mixing decisions.
Any other ideas are welcome and appreciated. I’ll do custom cables if necessary but if you guys really don’t think it’s the cable gauge, I don’t want to spend a bunch of money on it. Most of this gear is using around an amp of power, so even an 18awg cable is delivering more than it needs. I think the real benefit is more related to keeping the power clear of RFI between the power conditioner (Transparent Power Isolator) and the gear, also it seems high quality connectors make a difference, hence the notable difference with the hospital grade cables. I’ve never really understood the proposed value of flooding the gear with a ton of extra current it’s not needing to operate. Anyway, I’m open to other ideas, if we can refrain from the "you’re clearly an idiot" insinuations. ;) Thank you.