XLR cables for a reasonable price?


I've seen lots of threads where it is stated that balanced components are "insensitive" to cables.  Does this mean that spending a lot of money on XLR cables is probably unnecessary, as it offers no sonic benefit over cheaper XLR cables?

I would like some recommendations on reasonably priced XLR cables that give excellent sonic performance.  Thanks for your replies.

hifinut51

I saw this thread a couple of days ago and didn't have anything to add since I make most of my own cables.  

I just bought a streamer that needed an AES/EBU cable.  I wanted silver plated for digital and so I ordered cable and connectors from DH labs.  made the cable up and was very impressed, not just with the quality of the cable as I assembled it but also with the obvious improvement in sound quality.

I decided to search the forum here for DH Labs and found page after page of positive comments, going all the way back to 2000.  I don't know when Audiogon started but probably not much before then.  Very solid and consistent praise.  

I will also add that the people at DH Labs were great to deal with.

Looks like the Silver Pulse cable is a bit more than $100 a pair ($180) but think they will compete favorably with cables much more expensive.  

Jerry

And then there's the fourth way, which I think may be the most common: use an operational amplifier. ("Op-amp.") They can be fully discrete, and seem to be the approach used by many, such as ARC, for example.

@cleeds  Opamps can generate a balanced output easily enough, but not one that is floating. The output of any opamp is single-ended, so to hear it, the other connection is ground. So to do a balanced output, you'd need at least 2 opamps, each generating a single-ended output, one out of phase with the other. Each referencing ground, so no, this won't support the standard. But it is balanced. An output transformer or our direct-coupled output section both produce an output that is floating.

To use a chip based solution, you need something like this, a balanced line driver IC, which is also floating.

I agree with you that internal components are critical but I posit that the external components, such as cables are also important.  

I recall a discussion in the 90s about speaker cables.  The question was most speakers used cheap, thin wire internally to the drivers as well as fairly inexpensive components in the crossovers.  So what was the point of buying expensive speaker cables?

To be clear, I've never stated that speaker cables are not important. They are, IMO, IME. Because they can be critical (especially if you are running lower impedance loads, like 4 Ohms) its best to keep them as short as possible. To this end I keep my amps right by the speakers and run long interconnects. That way I can have the equipment stand for the front end of the system where I want it rather than forced to sit between the speakers. Since RCA cables can and do impose a sound of their own (which is bad) to minimize colorations due to cables, having long balanced interconnects and short speaker cables makes a lot of sense, especially if the associated equipment supports the balanced standard.

Opamps can generate a balanced output easily enough, but not one that is floating.

Correct. And I know you are really focused on the AES48 balanced standard, because you keep mentioning it. But you’ll just have to accept that many manufacturers use balanced, differential circuits in other ways, and they do so successfully.

@soix @marco1 @j-wall 

I'm also enjoying an Atma-Sphere MP3.3 with Class D's. I wasn't certain about this balanced/ XLR deal coming from RCA's my whole life, but all I can say is that I'm done with RCA's. I hope I never have to deal with them again!

I am happily with my Morrow MA4s and MA5s in XLR. I also used Kimber Select KS 1116s and they are great—much higher price point than the Morrows. They were a little better than the Morrows but a lot more expensive. In my system at least, balanced cables always sound better RCAs, no contest.