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Equipment Review

April 2002

Silver Audio Jetstream Interconnects and Silver Symphony 48 Speaker Cables

by Andrew Chasin



Silver Audio Jetstream interconnects...
Review Summary
Sound "A wonderfully grain-free presentation, smooth, detailed treble, uncolored midrange, excellent resolution, and a well-balanced sound that was consistent across a wide variety of associated components"; "on the cool side of things," however.
Features Jetstream interconnects use Teflon-insulated solid-silver conductors and locking WBT RCAs (XLRs are available for the same price); Silver Symphony 48 speaker cables use 48 Teflon-insulated solid-core silver conductors and are terminated with Silver Audio’s HPF technique, "which fuses the cable’s silver conductors directly to the body of the terminating spade connector under 12 tons of pressure."
Use Required little to no break-in; "would be at home in a wide variety of high-resolution systems."
Value "Near the cream of the crop" at a mid-level price.

It’s been a few years since I last reviewed a product from Silver Audio. Back then, the company was known as D Lin Audio and had just broken into the high-end cable game with an interconnect called the Silver Bullets 4.0. Having heard Max Kreifeldt's over-achieving Silver Bullets and spent time listening to his thoughts on cable design, I came to admire his emphasis on sound engineering principles (low capacitance and self-inductance, for example), rather than the sort of pseudo-scientific mumbo-jumbo spouted by many so-called cable designers. My positive experience with the Silver Bullets had me jumping at the chance to review Kreifeldt’s Silver Breeze phono cable, which I found to be an excellent example of the genre that I would still use if not for my Graham tonearm’s need for a thinner, more flexible cable with DIN termination.

Early iterations of the Silver Bullets interconnects (whose design was based on Kimber’s popular KCAG) looked rather unremarkable, but they sounded much better than they had any right to at their asking price: less than $200 USD per meter pair, including some of the tightest-gripping silver-plated Cardas RCA connectors I’ve ever used. Later versions traded in their DIY appearance for a more polished look, including an attractive exterior sheathing material and high-quality locking RCA connectors from WBT. With an eye on the upscale cable market but its foot still planted firmly in the value-for-dollar camp, Silver Audio introduced a succession of more sophisticated cable designs in its so-called Baseline series, the most recent of which are the top-of-the-line Jetstream interconnects and Silver Symphony 48 loudspeaker cables.

The Jetstream interconnects ($550 per meter pair) are a typical Silver Audio design: a cable comprised of small-diameter, solid-core, Teflon-insulated silver conductors wound using a geometry that results in low capacitance and self-inductance (Silver Audio is one of few cable manufacturers that publishes capacitance and inductance specifications for its cables). The interconnects are terminated with connectors of the highest quality, in this case the locking WBT 0108 RCA connector (balanced XLR connectors are also available at no extra cost).


...and Silver Symphony 48 speaker cables

The Silver Symphony 48 ($1700 per eight-foot pair) has been a mainstay of the Silver Audio line for a few years, but it has continued to evolve. The current design incorporates 48 Teflon-insulated solid-core silver conductors (over 12 ounces of silver are used in each eight-foot pair!) wound, as with the Jetstream interconnects, in such a way as to greatly reduce both capacitance and inductance. The Silver Symphony 48 is now being terminated with Silver Audio’s High Pressure Fusion technique, which fuses the cable’s silver conductors directly to the body of the terminating spade connector under 12 tons of pressure, eliminating the need for the typical solder or crimp joints that can result in signal loss. The spade, manufactured by Cardas, is milled from a solid block of copper and then silver plated by Silver Audio.

With the Jetstream and latest incarnation of Silver Symphony 48, Silver Audio has jettisoned all of the DIY look of its earlier products. The fit and finish of both review samples were exemplary.

Review system

Listening was done in the context of my usual reference system: VPI Aries turntable/SDS Speed Controller/Graham 2.0 tonearm/Transfiguration Spirit phono cartridge, Audible Illusions Modulus 3a preamplifier with John Curl-designed MC stage, Simaudio Moon W-5 power amplifier, Harmonic Technology Pro-Silway interconnects and Pro-9 Plus loudspeaker cables. I was fortunate enough to have a wide variety of loudspeakers on hand, including Anthony Gallo Acoustics Nucleus Solo, Audio Physic Tempo IIIi, Silverline La Folia, and Magnepan MG3.6/R, with which to assess the Silver Symphony 48 loudspeaker cables. For a product category that is typically highly system dependent, the Silver Audio cables exhibited surprisingly consistent results with all of the gear I used.

Unlike cables from other manufacturers, the sound of the Silver Audio cables changed little over the review period, so prospective purchasers should be able to hear the full measure of these products after relatively little break-in time.

Listening

Swapping cables rarely causes the same level of sonic transformation in my system as switching phono cartridges or loudspeakers (the mechanical side of audio reproduction still seems to exhibit the most sonic variability), and replacing my reference Harmonic Technology cables with the Silver Audio products was no exception. While there were noticeable differences, they were hardly of the jaw-dropping variety.

Regardless of which loudspeakers I happened to be listening to at the moment, my overriding impression of the Silver Audio Jetstreams and Silver Symphony 48s was one of crystalline clarity, a vanishingly low level of grain in the upper midrange and treble, and a high level of transparency across the audio band. As with the budget Silver Bullets 4.0s I reviewed a few years back, neither the Jetstream nor Silver Symphony exhibited any hardness or glare in the high frequencies, a quality that has, in some circles, come to be associated with cables employing silver or silver-coated-copper conductors. Listening to Ella Fitzgerald’s Ella Swings Lightly [Verve MGVS-6019, LP], I was struck by the purity of the muted trumpets and saxophones used in Marty Paich’s brilliant orchestration, with no sense of the unnatural edge imparted by lesser cables. The sound of well-recorded strings, such as those on Aaron Copland’s Appalachian Spring Suite [RCA LSC-2401, LP], was equally silky and seductive, although the more wiry tone of period instruments, such as those heard on The Academy of St. Martin-in-the-Field’s traversal of Bach’s Concertos for Three Violins [Argo ZRG 820, LP] was not rounded over by the Silver Audio cables.

The middle frequencies are where most components make it or break it, and the Silver Audio cables more than made the grade here, especially when coupled with the wonderfully uncolored Magnepan MG3.6/R (full review forthcoming). I never grew tired of listening to the likes of Janis Ian, Holly Cole, Ella Fitzgerald and Billie Holiday while the Silver Audio cables were in the system, their smooth, grain-free nature making the most of this eclectic mix of pop and jazz divas.

Although I noted no real aberrations in the Silver Audio’s tonal balance, there was a sense of coolness (not to be confused with brightness) in their overall presentation that seemed to be the result of a slight lack of energy in the mid- to lower bass. This manifested itself in a loss of warmth and weight on some recordings, most notably on full-scale orchestral works, and some jazz and pop recordings with a significant amount of energy in this region. As a result, bowed and plucked bass, as well as the lower toms of the drum kit and the lower registers of the piano, seemed to lack the last ounce of weight that was more convincingly communicated by the Harmonic Technology Pro-Silway and Pro-9 Plus cables. Michel Petrucciani’s left-hand piano lines on Power of Three [Blue Note BTC 85133, LP], for example, didn’t have quite the body to which I’m accustomed to hearing, nor did the sound of Scott Lafaro’s bass on Bill Evans’ Waltz for Debbie [Analogue Productions APJ 009, LP]. I don’t want to harp on this point too long because, in absolute terms, the weight and body heard through the Silver Audio cables was rather good. Only in comparison to meatier cables, like those from Harmonic Technology, did the Silver Audio cables fall a bit short.

In comparison to the Silver Bullets 4.0s that I reviewed way back when, the Jetstream is a sonic step up, although for just over twice the price. Whether its improvements (greater transparency, more extension at the frequency extremes and better overall resolution) are worth the added cost in the context of your system and pocketbook is up to you, although the Jetstreams are certainly worth a listen if you’re looking to upgrade to interconnects in the $500-$600 price range. Comparing the older generation Silver Symphony 48 loudspeaker cables to the current model was less conclusive. In terms of fit and finish, the latest generation has it all over the older version, and the HPF termination is, at the very least, a theoretical improvement and one that may provide greater long-term reliability (although I haven’t heard of too many cable solder joints going bad). Owners of earlier versions of the Silver Symphony 48 need not worry that they’re missing much, although the HPF termination is a rather interesting option.

Conclusion

Overall, I was most impressed with the Silver Audio Jetstream interconnects and Silver Symphony 48 loudspeaker cables. They bring to the table a wonderfully grain-free presentation, smooth, detailed treble, uncolored midrange, excellent resolution, and a well-balanced sound that was consistent across a wide variety of associated components. While I felt they leaned toward the cool side of things and lacked the heft and warmth of my reference Harmonic Technology cables, there will be systems to which they will be a perfect complement. (As with all audio products, a thorough audition in your own system is mandatory before purchase.)

It’s difficult to avoid the inevitable comparison between the Silver Audio cables and my current reference, the Harmonic Technology Pro-Silway interconnect and Pro-9 Plus loudspeaker cable. Although the Silver Audio cables might just edge out the Harmonic Technology cables in terms of upper-frequency purity, the weightier presentation of the single crystal cables is a better fit for my current system and tastes. At their price point, both cables are near the cream of the crop and would be at home in a wide variety of high-resolution systems. Give them both a listen and pick your poison.

...Andrew Chasin
andrew@soundstage.com

Silver Audio Jetstream Interconnects and Silver Symphony 48 Speaker Cables
Prices:
Jetstream, $550 USD per meter pair; Symphony 48, $1700 per eight-foot pair.
Warranty: Lifetime.

Silver Audio
10340 Leila Lane
Santee, CA 92071
Phone: (800) 570-7881 USA/Canada, (619) 449-5586 international/direct
Fax: (619) 596-6159

E-mail: info@silveraudio.com
Website: www.silveraudio.com


Silver Audio responds:

Thank you for the level-headed and anything-but-gratuitous evaluation of our Jetstream and Silver Symphony 48 speaker cables. I am charmed that Andrew Chasin is still so enamored of our very earliest products, despite their, well, rather humble appearance. Silver Audio has come a long way as a company since then. Now, six years later, I was faced with some really challenging problems when I dreamed up the design for the Jetstream as it cannot be made by any conventional cable-making equipment. I put more time and effort into figuring out how to accurately machine-fabricate the Jetstream than all of our other cables combined. We’re now in the middle of our third production run of the Jetstream since its quiet introduction about one year ago.

Andrew did omit an important feature of the Jetstream, which is its exceptional immunity to mechanically induced vibration due to the compliance of the low-density Teflon-based core of the cable. This vibration can otherwise be induced into the signal conductors from transformer hum, something that a stethoscope will demonstrate exists loud and clear even on an amplifier chassis that feels absolutely still to the touch.

As with many other audio products, the Silver Symphony 48 has undergone continuous, subtle improvements, but not to a point that I ever felt a new model name was warranted. Besides more precise fabrication, different winding strategies, our HPF termination, and vastly more attractive cosmetics, the use of internal vibration-damping mechanisms is the main feature that distinguishes the modern Silver Symphony 48 from its earlier versions.

I would like to point out that though Andrew had on hand several loudspeakers, he seemed to have used only one amp/preamp combination. Therefore, though I am flattered with the compliment, I do not see how Andrew had much basis to declare that our cables yielded consistent results with a "wide variety of components."

I must especially take issue with the perception of the cable combination being a bit less "warm" in the low to midbass than Andrew's reference. None of the speakers Andrew cites using are known for being especially generous in the lower registers, though the Maggies can produce a midbass "slap" when overdriven, and the Tempos have been found downright "cold"-sounding by other reviewers. I think readers should consider this very carefully, especially in light of my comments to follow. Also, the Audible Illusions preamp has an usually high output impedance due to (I think) the intentional omission of a cathode follower, and as such is more cable-sensitive than is typically the case. The significance of this is a perceived tonal balance that is exceptionally dependent on the cable design (capacitance in particular) AND the tonal balance of the source material. Quite simply, with a high source impedance, it is possible a higher-capacitance cable (i.e., Andrew's reference cables, which are fully shielded design) can produce a bit of a power loss in the very upper octaves, which gives the illusion of fuller bass since the ear is "pulled" elsewhere (much more on that below). I don’t know what the input impedance of the Moon W-5 amp is, but if it’s on the low side, as is often the case with solid-state amps, then we’ve got a "double whammy." It’s hard to believe our 9AWG, ultra-low-inductance speaker cable coupled to a solid-state amp could be in any way lacking in bass. So IF there really was some diminished bass fullness with our cables and it didn’t just SEEM like there was, then the preamp/interconnect loading problems I reference above combined with the speaker choices and psycho-acoustic issues are surely the culprit. I am all the more encouraged that you did not find our cables to impart any unnatural glare or irritation in the upper registers, a subject that would otherwise negate some of my opinions here. Moreover, you cite an uncolored midrange AND a well-balanced sound overall, which simply implies our cables don’t EXAGGERATE anything, which is exactly how a superior cable should behave.

Readers will notice Andrew observed a corresponding increase in upper-frequency clarity and midrange purity with the Silver Audio combination compared to the reference. This is very significant. I have never known of a cable comparison where the brand with greater perceived bass or midbass "warmth" did not also have a corresponding lack of upper-octave resolution or extension and vice versa. With short lengths of interconnects in particular, I am convinced the only area in audio that can be directly affected by various aspects of cable design is the very upper octaves, not the lower ones. It might have been valuable for your readers to try to "mix and match" with the other cables to pinpoint whether it was the Jetstream or Symphony 48 that gave the impression of diminished midbass energy. Regardless, the findings to me simply verify that our cables achieved their goal of absolute neutrality and non-reactance within audio, even if to a fault in some system combinations. Our interconnect cables are very low capacitance AND solid litz silver AND terminated solderless (with the top-line WBT RCAs), this combination allowing maximal resolution and neutrality across the board with virtually zero possibility for attenuation or exaggeration anywhere in audio regardless of the system they are used in. Their inability to attenuate the upper registers of audio even with high source impedances compared to many other cables means they will not artificially exaggerate the lower registers as a psycho-acoustic side-effect of diminished upper-octave resolution. In my experience, cables that have a prominence in the lower registers at the expense of resolution elsewhere usually wear out their welcome, especially as owners upgrade to components that demand the utmost in neutrality and resolution in cabling to earn their money.

So in summary, it is my opinion that Andrew’s review system is a bit on the cold and lean side on its own despite a tube preamp, and his choice of speakers would suggest that to me. It seems clear that through cabling choices he reluctantly trades resolution and clarity in the upper octaves for a corresponding bump in the lower octaves to compensate, a tradeoff that wouldn’t normally have to exist with most other systems. In most any other case, there is no reason why cables with increased upper-octave resolution should have to coincide with an ACTUAL diminished fullness in the lower registers. That tradeoff simply doesn’t normally exist with our cabling and there are thousands of satisfied Silver Audio owners by now who can surely attest to that. Ample lower-register fullness is a quality that should be, and usually is, provided by a well-chosen preamp/amp/speaker combination as well as simple speaker placement, thereby leaving truly high-end cables to do their job as "transparent messengers" rather than tone controls.

Lastly, contrary to Mr. Chasin’s, opinion, due to oxidation, galvanic effects, etc, inferior soldered connections (of which there many) are not incapable of physically degrading over time, and any soldered connection is ALWAYS incapable of the ultimate electrical transparency of a direct, pressure-fused connection. With Silver Audio’s interconnects and speaker cables in his system, there was no solder anywhere in the cable signal path, (16 connection points!) which certainly contributed to the exceptional clarity and purity of sound he experienced. I highly encourage all owners of non-HPF speaker cables to have them re-terminated with our HPF method -- the price is very reasonable. Our HPF termination beats a good solder job by a small margin and a bad one by a mile. It also future-proofs the cable as it eliminates any potential for chemistry to influence electricity over time. We perform HPF termination on just about any brand of speaker cable, not just our own.

Well, guys, I guess I can never seem to resist indulging in manufacturer's response that is longer than the review. Maybe deep down inside I would rather be a journalist! Hope your server has room for this one. Thank you again for the evaluation.

Sincerely,
Max J Kreifeldt
Owner, Silver Audio

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