Perfect. Using your high-level knowledge of physics please calculate the effects of a cable's properties on transients to demonstrate time-smearing (propagation dispersion) effects among audio-bandwidth signals in an interconnect. Be sure to include the effects of drift velocity for an example signal. You might also consider more macro effects like dielectric absorption, surface roughness, skin effect, and so forth. And don't forget distributed RLCG terms. If you need a standard metric, group delay over frequency for the cable should show any potential for time-domain transient errors. For a cable, any RG-59 cable variant is representative of an audio interconnect.
Or you could just use a high resolution DAC+good enough studio monitor to test it cheaply, like I do.
Thanks to your information I've google a bit on drift velocity, now i knew exactly why connect L-2s2s and TC core 20/0.012 serially create compressor effects. I knew what was compressor effect, it's a transcient response alteration that compress and release signal accordingly, just didn't related two things together.
Should have followed the old hifi rules book and use a y splitter to connect those two pair of cables parallelly instead of connect a bigger gauge solid copper to smaller gauge TC core cable in serial position. (Was thinking of utilize the high pass filter but it change the eris 3.5 signature)
But it's my design and although a little bit artificial coloured, it do retain the old vintage warm in low and middle and tight crytal clear in high. Just need to know why
Honestly here, our minds play all manner of tricks on us. In an A-B direct comparison, if we 'see' what's being compared, we 'hear' a difference, if one is ever-so-slightly louder than the other (half a dB or less), the louder one will usually win in a direct comparison. Listening to a few tracks at a time and then swapping over will also present 'differences' that really aren't there, purely by the act of changing over (one chap 'compared' speaker cables at a client's house and said client 'heard' all manner of 'improvements' with the 'new cable.' Turned out that no change AT ALL was made and the clienbt had been fooled, for good or ill. lastly, do a direct A-B and get the levels pretty much identical and no peeking (so effectively blindfolded) and these so-called audiophile 'differences' miraculously disappear!!! I've done it, so my zeal is perhaps akin to a reformed smoker and similar ex-addicts of one sort or another. What I'm saying here has been repeated over and over and furthermore, our hearing mechanism and knowledge of 'sound' and how it's propogated is very well known with proven written peer reviewed confirmation internationally. Only our psychology and how individuals interpret what we hear or think we hear is more difficult to determine. I've been fooled too many times now and now my ears are sh*te (tested so), I can't possibly trust them now. I doubt many so called 'audiophiles' ever have their hearing measured and checked and of course our brains can make up for some loss, if not all...
I bought an Amazon Basics RCA cable, it's brilliant at the job and good quality internals was confirmed in a thread here. I feel bad using it because it's TOO CHEAP!!!!! Had I been working in the store and a rep brought one in, dressed up to the nones and retailing for £500 or so, I'd not have flinched at all!!!
You won't believe me Mr Leeking2005 at all until you've had your mind fooled this way, but try to keep an open mind on it as I'm one of very many who've been through all this 'stuff' over the years...
P.S. Sure in ceertain circumstances, differences can clearly be heard and that's why intense testing is done to find out WHY we can hear it. This is where genuine advances have occured in our understanding - and how other psychological factors rather than actuall differences instead have been determined.
Not with transcient response, just like frequency response it's kind unmistakable to a trained ear, unless you had very low resolution DAC (lower than 192kHz )or you didn't utilised "near-field" studio monitor (use it to fill the room etc) properly. I mean, that's what they're designed for right?
When you hear a music you knew very well ( any source utilsed every frequency), you will noticed how close or how far the drummer, guitar solo agaisnt the vocal... That's the clear frequency response image if you know what's their acoustic range. Ofcourse your case might be they only listen to middle frequency piece like pop song or bass heavy song. I admit not everyone can do this but fairly common if you listen to very complex musics over a decades or two.
As for transcient response, it actually nothing to do with loudness but the time and spatial accuracy of frequency transitioning (aka muddiness in human perceiving range). Like the vinyl vs cd, tin vs gold vs copper vs silver vs their combination.
Slower transcient response can be create by proper material( tin or gold ) with specific gauge, they kinda add a unique warm thick body to bass and middle, but muddy and mellow signature to high timbre harmony (also depending on gauge size and strands count). Faster transicent response (Copper, silver) had thinner low and mid (with specified gauge and strands count), but they had crytal clear and "exciting" high and timber. Combination of alloy like the TC core is a good trade off cause some frequency had more "skin effect" than other and even had minor reverb.
If you still not understand just think about it's microphone/speaker diaphragm, lower diameter and thickness had faster transcient responses, but might overshoot, and vice versa.
Physic is that simple actually, cause everything followed a few simple law. Don't overthink it. just order a proper size 2 meter cheap TC core cable that existed for few decades and you will understand.