ANTICABLES LEVEL 6 SPEAKER WIRE - REVIEW
ANTICABLES LEVEL 6 SPEAKER CABLE
You may remember that my last article for AKR investigated an exemplary cable loom from Audio Art Cables. As part of that review, I discussed the role that cables and interconnects play in the overall performance of a component audio system. I’ll summarize by saying, at least in high-end audio, wires spark fierce debates. Some audiophiles swear by expensive wires, while others claim coat hangers work just as well. One may justifiably wonder, what is the truth behind the jive?
The science behind cable performance is complex. Conductors like silver and copper offer the least resistance, while various metals in connectors can impact signal flow. At a microscopic level, metal structures physically respond to alternating current, rearranging their molecular structure to accommodate impurities, and eventually settling into a low-energy state. This is why some manufacturers use high-purity copper and directional labels. In addition to pure resistance to signal flow, capacitance and impedance also play crucial roles.
Most people, when they think of speaker cables, think of zip cord. On the other hand, if you ask an audiophile for their thoughts, you’ll receive a range of opinions from, “It doesn’t matter…” to a solid preference for a particular brand. I am of that second mind, as I use specific name brands that I know and trust. One such is ANTICABLES, a Midwest manufacturer of high value cables, interconnects, power cords and transformers. All their products employ one of two solid core wire formulations. ANTICABLES manufactures a low defect, high purity copper entry level line, their “red” wires. However, for this review I’ll be going with an alloyed approach; their top of the line products with ACElectrum™ conductors, an alloy of mostly silver with a soupçon of gold. The subject of this review is their top of the line in speaker cables, the Level 6, with the heavy duty solid copper spades option at the amplifier end, and the banana BFA–style Z-Plugs option at the other.
Paul Speltz, electrical engineer and hi–fi fanatic, is the man behind the wires. For over two decades, all his offerings have been hand made here in the US from domestically sourced, select components. I am long an owner of his Level 4.2 FLEX speaker cables and Level 6.2 RCA–to–RCA interconnects. For this write up, I received a newly minted set of the white–jacketed Level 6 wire. I mention the color because ANTICABLE is know for their red polyester–insulated copper wire which, though it looks like magnet wire, actually isn’t. The white insulation on the Level 6 is a polymer chosen for its low energy storage ability. Less storage means less “time smearing (of) the music signal,” according to Speltz.
As mentioned last month, better quality cables are provided with directional markings, as are ANTICABLES. Speltz told me that he thinks silver offers increased resolution, “…which makes it easier to hear low level details, but it comes with a couple of caveats. Solid silver has a sonic signature of sounding both lean in the bass and forward in the highs…(while) gold has a sonic signature nearly opposite that of silver…There is just enough gold added to the silver to bring back the bass and relax the highs, without taking away silver's high resolution. The result is relaxing musical detail without brightness.”
To get the party started, I decided to hook up both the Level 4.2 and 6 cables at the amplifier end so I could quickly swap at the speakers. Much frustration ensued as I attempted to attach both spades to the heavily shrouded binding posts on my Parasound Halo JC5…It didn’t help that the Level 6 is not a flexible cable and the Level 4.2 FLEX, despite the name, is even less so. Numerous expletives and far too much time later, I started in on listening, with Amarra Luxe for macOS as the source feeding my exaSound e22 Mk. II DAC. The converter was connected directly into the Parasound with Audio Art Cables’ Statement balanced interconnects. in turn, the amp fed Vienna Acoustics’ Haydn SE SIGNATURE stand mounters (review forthcoming), resting on IsoAcoustics’ ISOL8R155 shock absorbers.
When I’m auditioning a new component or substitution in my reference loudspeaker system, I listen to oldies as well as new material, but one of the aspects of Qobuz I love is their curation. Their Grand Selection list keeps me abreast of what’s happening in music now. As an example, the first album I started in with was JB Dunckel’s Corps Échangés from this year’s MÖBIUS MORPHOSIS [Qobuz 96k Warner Classics]. One half of the pioneering French band Air, Dunckel’s modern classical piece combines massed voices with subterranean synth and frenetic percussion. The stereo effects and very wide frequency range (20Hz to well into the ultrasonic) make for a fun and challenging track to “get right.” Back in the day, I thought my Level 4.2 cables were quite nice, especially considering the cost, but swapping in the Level 6 was both a let down and a clear improvement. A disappointment because I once considered the budget wires to be a good fit, at the time anyway. The white wire beat the red in high frequency clarity, soundstage portrayal, and bottom solidity. Those three aspects always seem to benefit from additional dollars, leading to concrete enhancements.
To test my perceptions, I queued up two rock war horses. First, the 50th anniversary reissue of ex–Procol Harum guitarist Robin Trower’s Bridge of Sighs [Qobuz 44.1 Chrysalis 2024]. With powerful vocals by James Dewar and original engineering by none other than Geoff Emerick, the release has both the original and new mixes. The remix of this benchmark rock power trio is less cluttered with effects and more open sounding, perfect for testing. As I had heard with the JB Dunckel piece, the top end became more spritely, with better defined transients. With the white wires in circuit, Trower’s axe got a gentle top end boost with more critical bite. Bassist James Dewar’s vocals exhibited more that subtle vocal fry that makes his husky delivery so in keeping with the overall composition. Since Dewar’s (he’s a Scot, can you tell?) vocal sounded so similar to my memory of Paul Rodgers’ contribution to Bad Company’s eponymous song, I next dug that 2015 remastered nugget out of the Qobuz pile [88.2k Rhino Atlantic 1974]. Yup, the upgraded cables jumped up the reverb, making it deeper and more lush. An interesting additional effect was that the overall level of the song seemed to increase by a just noticeable decibel.
Brad Mehldau is usually thought of as a stripped down, virtuoso jazzer; I love his keyboard chops. On more than one occasion, he does stray into other spaces, as is the case with his cover of Rush’s 1981 classic rock hit, Tom Sawyer on Jacob’s Ladder [Qobuz 96k Nonesuch 2022]. Chris Thile’s mando solo, with more than a nod to prog rockers Yes, and rhythm noodling nicely matches his thin, reedy and, to me, off–putting vocals. Geddy ain’t got nothin’ to worry about there! Qobuz has a nice quote from Mehldau were he states that progressive rock was the music of his childhood before discovering jazz. As a teen and young adult, I too was attracted to prog rock while I also attempted to decode Miles’ Bitches Brew, Weather Report’s Mysterious Traveler and Mahavishnu’s Inner Mounting Flame. Mehldau’s keyboards on Tom Sawyer are ultra–wide, with mucho out of phase information. Moving from the Level 6 back to the Level 4.2 closed in that wider soundstage, with that coincident small drop in global level I noted earlier. Everything seemed to back away from me a tad. As expected, a metaphorical scrim lowered over the speakers, hindering definition and softening the snap that I so appreciate.
Since damping factor and other facets of an amplifier’s design affect their speaker cable interaction, I thought it beneficial to try another amp. My JC5 runs in Class A at my typical playback volumes, and I happened to have another Class A amp in da house. Accuphase’s E-700 integrated (review also forthcoming) is, like my Parasound, another super beef. At a non–trivial and overbuilt 55 pounds, it delivers a pure 35W into an 8 ohm load, a fraction of what the JC5 is capable. However, the E-700 has minimal shrouds around its binding posts, which made simultaneous cable connections so much easier. It’s also a favored cat perch due to the heat it generates…
For a variety of reasons, I love Charley Crockett’s Killers of the Flower Moon from $10 Cowboy, Chapter II: Visions of Dallas [Qobuz 96k 2024]. First, there’s Charley’s distinctive voice that harkens back to an earlier time. Then there’s that oh so acoustic kick drum, so different from what you often hear these days. As with any good country stand out, the song tells a rambling tale of woe. Based on David Grann's book and Martin Scorsese's filmed version, with co–writing credit given to Joseph Henry "T Bone" Burnett III, Crockett’s voice is bathed in reverberation as is appropriate to get the feel right. The Level 6 reveal that the bass and percussion, guitar and vocal each lives in a different acoustic space. The guitar is close and dry, the vocal is wet, and Jay Moeller’s percussion sounds like it was captured with spot and room mics (on that kick drum) in bassist and producer Billy Horton’s Fort Horton Studio. Switching from my Parasound to the Accuphase, I found the presentation to be leaner, more in keeping with what I associate with a “Japanese” sound profile. Still, the differences between the red and white factions held, with the white wires allowing more emotion and vibrancy through.
If you think I’m some latter–day haruspex, sifting through stringy wire strands in place of viscous entrails all in a search for verisimilitude, you’d not be far from the truth. Reviewing cables is a fun and challenging task. To apply my now familiar reductionist approach to this red versus white debate, the crimson Level 4.2 FLEX sound like good quality audio, while the fancier white wires draw you into the music, more involving; deeper, better and far more enjoyable. Ultimately, the importance of cables depends on your system's resolution, room acoustics, and listening skills. While not everyone can discern differences, that doesn't negate their potential impact. As audio technology advances, the cable debate is likely to continue, challenging our understanding of what truly matters in sound reproduction. If you’re in the market for interconnects, I recommend that you consider ANTICABLES, especially with their generous 30 day return policy.
THE COMPANY
ANTICABLES Level 6 speaker cables start at $2120
ANTICABLES Audio Company Inc.
Lake Elmo MN US
www.anticables.com