Anticables Reference Level Cables Review

Anticables Level 6.2 RCA

It pays to have a sense of the nature of the system’s overall sonic character, whether laid back or forward/aggressive, tending toward an emphasis on tone or an emphasis on detail. Some owners do not wish for a high degree of definition and prefer a more warm, less delineated performance, while others want a very forward and exceptionally defined performance. If you cannot stand a high degree of definition, use the interconnects singly, but consider doubling them up if you want higher definition and richer tonality. In order to double them up you will need hard splitters or Y cables.

In order to try the Schroeder Method, to source hard RCA splitters I suggest Audioquest’s Hard Y Adapter 1 male to 2 female RCA’s M22FHRD, or as a lower end Y cable Audioquest’s FLX-X RCA Splitters (male to 2 female). At the time of this article Audioquest’s website does not show XLR Y cables, but can make them at a customer’s request. At an earlier time, when I was using them for the more routine task of splitting a preamp signal, Audioquest made me XLR Y cables (female to 2 male) to split the signal into two in order to double the amp channels. To date I have not sourced the “reducing” Y cable for XLR (2 female to 1 male), but I suspect the company might make them upon request. Otherwise you may have success in finding such a Y cable at a pro audio store.

A superior solution in terms of sound quality, as the materials and build of the splitter or Y cable is critical, is to source these from Audio Sensibility. I am currently writing up an article on the splendid RCA and XLR Y cables built specifically for this purpose by Steven Huang of Audio Sensibility. These are ruggedly built and have superb sonic characteristics. The inexpensive Audioquest products shown on their website are not nearly as capable in terms of performance, as I have compared them directly. The cost is significantly higher sourcing these cables from Audio Sensibility, but the result is much more pleasing. The sonic nature of designer Y cables for the Schroeder Method is subject to wide variance; the hobbyist is encouraged to research their choice thoroughly. Note also that Audio Sensibility (RCA and XLR) and TEO Audio (RCA only in Schroeder Method format) now offer manufactured double interconnects.

The ‘Acelectrum’ conductor speaker cables arrive

The chief differences between the previously discussed Level2 2.1 and 3.1 Reference Series Speaker Wires and the Level 5 Signature Speaker Wires are that the former use RDD (Reduced Dislocation Density) copper and are 9 AWG, while the Level 5 use ACElectrum Silver/Gold alloy conductors with 8 AWG. What percentage or geometry of the gold to silver ratio was not divulged, as Paul said he wished to keep that information proprietary. These also employed the copper spades on one pair and BFA Banana connectors on the other pair. Thus, the only variance was the conductors used, an ideal situation to compare two models of speaker cable from a manufacturer.

By the time that the Level 5 speaker cables had arrived I was finished with the review of the VanL Speakerworks Silhouette and was working on a stunning flagship speaker system that will not be revealed at this time. This posed no difficulty, as I could conduct comparisons between the three speaker offerings with this super-speaker.

The native sound of the lesser speaker cables has already been discussed above, so this segment will focus on the differences between them and the Level 5. The introduction of a gold/silver alloy is most appealing to me, as it is less common in speaker cable conductors. I have a curious story to tell in regard to another quite affordable speaker cable with a mixed silver/copper conductor. It pertains to the PureAudioProject Trio15 Horn 1 Speaker and its open architecture, allowing for exchanging the internal speaker wiring. I had tried a few options and recalled that when a local Radio Shack was going out of business several years earlier I had purchased a spool of speaker wire that used exceptionally thin braided conductors of silver and copper massed to make 12 AWG. Given that my preference is for beefier conductors I was not expecting much, but to my surprise the silver/copper mix was exceptionally fine sounding. I still have not removed those wires, as they are so capable!

It should not be surprising, then, that the silver/gold ACElectrum conductor was substantially superior to the cooper conductors of the others. A reduction of 1 AWG also did not hurt. It cannot be said definitively that the sound quality jump was due to the conductor alone, but I would attribute some benefit to the lowered AWG. The most beneficial improvement with the Level 5 cable was an enriching of the timbre, a deepening of tone across the board. It also had greater information retrieval that resulted in a greater sense of intimacy on recordings of small groups or individual instrumentals or vocals, and an expanded sense of scale with live recordings of bands or choirs. An added helping of warmth was much appreciated when playing vocals by artists whose voice tends to irritate due to a naturally cooler or edgier character.

I had spent a fair bit of time comparing the low Damping Factor versus high Damping Factor operation of the recently reviewed Gold Note PA-1175 Amplifier. Swapping the cables between the Level 3.1 and the Level 5 is a close parallel to the alternative operation of the Gold Note amp that can alternate between one mode that sounds like a tube amp and the other that sounds like a solid-state amp. While not as dramatic as alternating between the PA-1175’s low Damping Factor (like a tube amp) and the high Damping Factor (like a solid-state amp) the speaker cables were evidently distinct in terms of warmth. The Level 3.1 exhibited a cooler nature, with lower resolution, while the Level 5 was warmer and more defined.

The question fans of Anticables may ask is if by doubling the 2.1 or 3.1 will product an equal experience to purchasing the Level 5 Speaker Cables. No, a person cannot simply replicate the Level 5 by doubling the lower models because of the different conductors used. The presence of ACElectric’s silver/gold conductors changes the sonic character of the cable. Some of the information retrieval can be gained through doubling, especially with the 3.1, but tonally these cables are distinct and do not converge in terms of overall performance.

As might be expected I doubled up the Level 5 speaker cables and found a commonality in these being bumped up in overall performance similar to the Level 3.1 speaker cables when doubled. Doubling the Level 5 speaker wires conferred the most profoundly beautiful results of all the speaker cables offered by Anticables. It was consistent with my experiences from decades of building systems, and with Paul’s assessment of the role of free electrons. The results were clear to me; AWG is determinant when it comes to Anticables speaker wiring regardless of the Level chosen. I concluded the price variance for the difference in quality was justifiable; moving from the Level 3.1 to the Level 5 is worth it. The question not so easily answered is whether doubling a Level 5 speaker cable is worth it relative to other speaker cables on the market. At that point one crosses over into the price range of some strong competition.

Results relative to other products

Speaker cables were arguably the weakest performers relative to the three categories of products from Anticables tested, and the power cords by far the strongest. To overcome the perceived shortcomings of a higher AWG cable I had to keep upping the number of conductors. Basically, were I to use the company’s Level 5 product longer term, I would have to double it up to achieve an acceptable performance level. However, it must be kept in mind that I build systems at a price point often multiples higher than the average audiophile and have access to a wide range of products. I estimate that in the last 12 years I have handled no less than two-dozen brands of cables, so I have been able to find ones that suit my tastes very closely. At the point of doubling the Level 5 the question of whether it would be considered superior to these others becomes a matter of preference and perspective. I did not find the speaker cable products to trounce the competition. I do not agree with reviewers who claim the Anticables speaker cable products as made and without doubling them up are suitable for systems regardless of cost of the system. In my analysis they compete well with products in their own price range and perhaps slightly above their price range. But, as I said, this is the weakest of the three products in terms of performance.

Paul may not be thrilled with that conclusion, however it is not a damning of the product. I have used a couple of cable brands/products, as well as cable technologies, that I would recommend to no one. In particular I been vocal about my displeasure with passively networked cables; the more I handled them the more disillusioned I became. In tandem with the other Anticables offerings the speaker cables’ performance can be assisted substantially such that an entire loom of product is a much better result than simply opting for the speaker cables alone. I am sure that Anticables fans will be perturbed for such an assessment; feel free to blame it on my particular idiosyncrasy mentioned at the onset regarding bare bones speaker cables. I do suggest that if you are buying their speaker cables you also should add at least a couple of the power cords. In that way the exceptionally exacting power cords will elevate the comparatively more reserved sonic character of the speaker cables.

I recommend that persons using passively networked cabling give the Anticables speaker cables a try. Networked cables were a zero sum game, where I found no way to obtain a win/win; there was always a diminishment of fine detail and extension of the soundstage. It is very possible that the Level 5 Anticables might outperform expensive passively networked speaker cables. Even doubled level 3.1 speaker cables may do so. I can envision a scenario where an owner of extravagantly priced passively networked cables could switch to Anticables, sell the others and pocket some money.

The interconnects were more in keeping with the expectations of excellence at an affordable price point. I did not have to work to find cause to implement the interconnects, especially with the XLR featuring the Xhadow plugs. Run these interconnects with the Schroeder Method (you are admonished to conduct due diligence on systems that are appropriate) and you will outclass some expensive single interconnects, and I am talking in the range of mid-to-high four figures MSRP.

There is no other way to praise the Power Cords than to conclude they were outstanding and a bargain. For good reasons the Level 3 Power Cord is Anticables’ best selling product – it’s superb as a means to liven up a system. I recommend it without reservation. If it is good enough to plug into a top line speaker well north of $50K, then it’s good enough for most systems. It outperforms in perceptual assessment the speaker cables fundamentally and it is still a healthy climb above the interconnects. The speaker cables would have to be carefully matched with components, but the interconnects I could make work with most rigs. The power cords I would not wish to be without. They are judged to be system enhancers as long as my discussion of managing the intensity, as discussed above, is followed.

Inverse order of results from most speaker cable products

In my systems I found an unexpected inverse relationship between the Anticables products and audio systems I set up. Most often the costliest and most profoundly beneficial change with a brand of cables comes from the speaker cable, followed by interconnects, and finally power cords – if power cords are even offered. In this review the order of importance was reversed, speaker cables being the least potent, interconnects being more potent, and the power cords closer to omnipotent.

The argument might be raised that this has to do with the power cords spending the most time with me during the review versus interconnects being introduced at a later point, and speaker cables last. Were I to build another five or six systems I might elevate the efficacy of these others to the same level as the power cords. But I don’t think so. Over the course of the years my impressions after one or two systems have not typically changed in regard to the innate capacity of a cable. In this particular review I had access to even higher end systems than typical, so I was able to explore the edges of Anticables performance.

The speaker cables in my mind remain largely updated versions of the old magnet wire concept.  Anticables has prodded and poked around in development until they now carry respectable sound. The fact that I could build listenable systems with them, though I have not enjoyed such cables in the past, is a major win for them. I can understand why they are popular among budget and sensibly oriented audiophiles.

The interconnects are good performers and pragmatic. They are not the last word in any particular attributes of sound quality, but they are good enough in all attributes that they are worthy of consideration in systems up to $25K. When doubled, as per the Schroeder Method, they become something altogether different, conferring a decidedly upper end character to the system. Consider also that these doubled interconnects have been in use with upper end speaker systems for some time as I review it. If it’s good enough for those upper end rigs it’s good enough for you. In that configuration no other Anticables product touches their level of performance, not even the power cords. The few who elect to pursue that option will be very richly rewarded, and will hear Anticables as never before.

In regards to standard use, the stars of the show clearly were the Reference Level 3 Power Cords. I reserve my strongest recommendation for them. They brought me one of the biggest surprises from a power cable over the course of my reviewing career. When you visit the  website with your credit card ready, make the Reference Level 3 Power Cords your first selection. They are in use here constantly, and I encourage those owning active speakers to give them a trial.

Overall, the time with Anticables was well spent. With proper utilization they are a budget conscious product that has potential to be much more than a cheap alternative. Paul Speltz has refreshed the old Bell Wire concept and brought some exciting potential to affordable audio systems. I recommend enthusiasts on a budget consider not only what can be purchased from Anticables but how best to utilize them in order to attain unusually effective system improvement.

Copy editor: Dan Rubin

Associated Components:

Source: Small Green Computer sonicTransporter AP I7 4T and SONORE Signature Rendu SE; Salk Audio StreamPlayer Generation III with Roon interface
Streaming Music Service: Tidal premium
DAC:  COS D1 DAC + Pre; Benchmark DAC3 DX; Exogal Comet DAC and Plus upgrade power supply; Eastern Electric Minimax DSD DAC Supreme with Burson, Dexa NewClassD and Sparkos Labs Discrete Opamp Upgrade Exogal Comet DAC and Plus upgrade power supply
Preamp: TEO Audio Liquid Preamplifier; Cambridge Audio 840E
Amps: First Watt J2 (two); Exogal Ion (PowerDAC); Benchmark Media AHB2 (two); Belles ARIA Mono Blocks; Gold Note PA-1175 (two)
Integrated: Redgum Audio Articulata
Speakers:  Kings Audio Kingsound King III; Legacy Audio DSW Clarity Edition; Kings Audio King Tower omnidirectional; Vapor Audio Joule White 3; PureAudioProject Trio15 (Voxativ and Horn 1 versions)
Subwoofers: Legacy Audio XTREME HD (2)
IC’s: TEO Liquid Splash-Rs and Splash-Rc; TEO Liquid Standard MkII; Clarity Cable Organic RCA/XLR; Snake River Audio Signature Series Interconnects; Silent Source “The Music Reference”
Speaker Cables: TEO Cable Standard Speaker; Clarity Cable Organic Speaker; Snake River Audio Signature Series Speaker Cables;
Digital Cables: Clarity Cable Organic Digital; Snake River Audio Boomslang; Silent Source “The Music Reference”
USB: Verastarr Nemesis; Clarity Organic
Power Cables: Clarity Cable Vortex; MIT Oracle ZIII; Snake River Audio Signature Series; Anticables Level 3 Reference Series
Power Conditioning: Wireworld Matrix Power Cord Extender; Tice Audio Solo

Manufacturer’s Comment:

First off, I’d like to directly thank Mr. Schroeder’s for his patience in getting product from me. As he may remember me saying, my customers’ order come first, which means reviewers don’t get product until paying customer orders have been fulfilled.

I do have to admit that I was a bit set back when I first saw that Mr. Schroeder was using this Anticables review as a platform to promote his “Schroeder Method” of doubling-up cabling. But when I read he outright admitted in the review that part of it was for “an additional self-serving reason”, I lightened up my defensive reaction. Simmering down on it more, I came to realize and appreciate that we all have the same goal of enhancing our music playback experience. Sharing our knowledge and experiences helps us all work towards that common goal, so I am happy to be a part of Mr. Schroeder’s experiments.

As for Speaker Wires:

Agreeing with Mr. Schroeder, I have known for many years that doubling the wire used for speaker runs is beneficial and is why a doubled-up build is available as a higher level product for both our Copper and ACElectrum™ offerings. Yes, it is true that a doubled-up build of our ACElectrum™ speaker wires (Level 6) does get quite expensive, which is why I commonly recommend to customers (and use at trade shows), this less expensive alternative. If the speakers are bi-wire’able, use a doubled up build of our Copper wire for the lower frequencies, and our Level 5 ACElectrum™ wire for the highs.

I also strongly agree with Mr. Schroeder that if you are currently using speaker cables with built-in passive networks, it is worth trying even our less expensive Copper wire offerings in place of them. My best example of this is when a customer reported getting better sound with $80 of our speaker wire over the $8,000 pair of built-in passive network speaker cables he was using. I had to promise not to share this fact with anyone, until he had them sold on Audiogon.

Probably the most profound statement Mr. Schroeder said about our Speaker Wires is, “There seems to be little editorializing with these cables.” Thank you! That is exactly what they were designed to be. They allow you to better hear what your components actually sound like, and because of that, we get a wide variety of of sonic descriptions from customers. Which are possibly better thought of as descriptions of their components’ sonic attributes, more so than our speaker wires.

Interconnects:

I am happy Mr. Schroeder was able to experience the sonic benefits of our RCA and XLR analog interconnects and it was good to see that Mr. Schroeder used cables that were 2 to 6 times more expensive for comparison.  When implementing his Schroeder Method of doubling up the interconnects he has them “out classing” mid-to-high four figures. In other words, out performing interconnects approaching $10,000. Not bad for a couple of interconnects priced in the hundreds of dollars.

My problems with the interconnect “Game Changer”:

The fundamental problem I have with implementing the Schroeder Method with interconnects is the introduction of a second variable, the four “Y” splitters. Mr. Schroeder even mentioned in this review how Clayton Shaw of Spatial Audio and I once shut down our demo room at RMAF for a few hours on opening day, because of a pair of 1 inch long RCA to XLR adapters that were needed to connect to the XLR only amplifier. That is how much damage a little piece of gold plated brass can do to the sound.

It is cleaner doubling up speaker wires since it can be done without the introduction of a second variable. With interconnects, sonically what is heard is the summation of doubling the interconnect signal wires, and the coloration & distortions of the “Y” splitters used.

A month or two ago when a customer mentioned to me the Schroeder Method of doubling interconnects, and knowing I had a review pending from Mr. Schroeder, I ordered four of the same AudioQuest hard “Y” splitters Mr. Schroeder used, so that I could  become more knowledgeable.

The AudioQuest hard “Y” splitters were so tight fitting, I had a hard time plugging them into the components and an even more difficult time plugging the KLEI RCA plugs into the splitters.  My plan was to attempt to isolate the sonic differences that doubling interconnects makes from the sonic impact of the “Y” splitter. I could do this by using a single pair of interconnects with and without the “Y” splitters in place. But then as a second test, keep the “Y” splitters in place, and go between using one or two pairs of interconnects.

The experiment fell on its face at the near start. The AudioQuest hard “Y” splitters were so tight fitting that it was nearly impossible to remove my Level 6.2 RCA interconnects from them. One was stuck on so hard that when I finally pulled it free, the tip connection of the KLEI RCA plug broke off and stayed inside the AudioQuest “Y” splitter.  The “Y” connector was holding on so tight to the RCA signal pin that the pin itself was taken beyond its ultimate tensile strength limit and split in two. I was eventually able to get the broken pin out of the “Y” splitter using a pliers, but by this time, I was done having this $15 “Y” splitter wreck any more $180 sets of RCA plugs. I canceled the experiment and returned “Y” splitters.

An Alternate Solution:

Because of Mr. Schroeder’s experience and enthusiasm with his Schroeder Method, I will start offering “Optional Schroeder Method Wiring”, for all of our analog interconnects. If a customer selects this option, we will build the interconnects with two (instead of one), signal wires. This factory optional Schroeder Method will have these advantages:

1. The sonic impact of adding four $15 “Y” splitters per pair of ICs is eliminated.

2. It will cost significantly less. The option will cost a flat 50% more, instead of 100% more for a second set of ICs plus $60 for four “Y” splitters.

3. There will be no risk of “Y” splitters damaging anyones RCA plugs.

4. Audiophiles that already own our existing interconnects, who find themselves enjoying their optional “Schroeder Method” ICs more, can send back their original Anticables ICs for money by utilizing our 50% Buy-Back Program.

Power Cords:

Where do I start? I am honored that Mr. Schroeder recognized them as being the stars of his review, as they are our long standing most popular product. Customers buy one to try, then come back and buy more for the rest of their components. I have heard at a customer’s house how one $330 Level 3 Power Cord on a OPPO disc player sound like a $3,000 DAC was added.  It took years of research to develop a Power Cord that is universally beneficial and not just lucky component synergy. It was fun to read how Mr. Schroeder cited them as one of the biggest surprises from a power cord over the course of his reviewing career.

Thank you very much Mr. Schroeder and Mr. Soo for the effort you have both put into creating and publishing this review.

Paul Speltz (President, Anticables Audio Co. Inc.)