I have to first thank Ron Nagle, one of my audiophile buddies and a fellow reviewer, for starting the ball rolling. Sometime last month I was thinking about what product I should audition for my first Stereo Times review? Then I received a serendipitous email from Ron, saying he had received some cables from a Canadian company named Audio Sensibility, but that his reviewer’s plate was full. He suggested I give them a listen. As the reader will learn later, I owe Ron a cold beer. After exchanging emails with a gentleman named Steven Huang, there was a package from the company at my front door about a week later.

Steven Huang is the head honcho of Audio Sensibility (hereinafter referred to as AS), located in Toronto, Canada. In the early 1980s, Steven became interested in high end audio while he was a university student, and ended up buying an Oracle turntable and Harbeth speakers. He still owned the Oracle turntable until recently, having replaced it with a TT Weights turntable. Along the way, Steven became a passionate audiophile. He holds a Bachelor’s degree in Chemical Engineering and a Master’s degree in Mechanical Engineering.

Steven started AS in 2009, as a response to the burgeoning trend of online buying. He wanted to sell online and pass the savings directly to the audio consumer. The company’s mission statement is clearly stated on their website: Audio Sensibility's goal is to provide the customer with the best value in high end audio cables. Well, if the statement is true, then they are exactly the kind of audio products I’m most interested in reviewing. Steven wanted to sell cables made with OCC metals. OCC stands for Ohno Continuous Casting, a process developed and patented by Dr. Atsumi Ohno in 1986. Dr. Ohno’s work actually started in the 1970s in response to the increasing emphasis on the miniaturization of electronics, especially in the field of medicine. Ordinary crystal wire could not be produced thin enough for medical micro-surgery where instruments require very thin/fine wire. OCC was developed to allow wire to be cast in very thin gauges. OCC wire has a much smoother surface than ordinary crystal wire. Audio cables are a happy byproduct of this innovative technology.

So, the uninformed reader (like me) asks, what is different about OCC copper and silver, compared to regular oxygen free copper and silver crystals? Well, I’m glad you (I) asked. What Dr. Ohno developed is a much larger crystal than an ordinary copper or silver crystal. How big, you (I) ask? Imagine an OCC crystal the size of Gulliver, and an ordinary crystal the size of a Lilliputian. Okay, you want numbers instead? It’s like one OCC crystal is approximately 412 feet, while an ordinary crystal is less than one tenth of an inch. With ordinary crystals, there are a lot more gaps between crystals, which tend to cause distortion. By using a much larger crystal, say large enough to make up the entire length and width of a cable, the gaps are minimize and theoretically results in lower distortion. Dr. Ohno licenses his OCC process to a few select companies: Furukawa and Sumitomo in Japan, and Wan Lung in Taiwan. These companies supply the wire to audio cable companies who usually use OCC wire in their higher priced or top of the line products. Audioquest was one of the first audio cable companies to use OCC metals in the late 1980s. All AS cables are manufactured with OCC metals in their wire, regardless of price.

I encourage readers who want to learn more about this process and want additional information on the type of materials used in AS cables to visit the company’s website. Besides, reading scientific papers loaded with technical jargon makes my eyes glaze over quicker than taking an Ambien. This is a bit ironic because I majored in Experimental Psychology as an undergraduate, and have read or written a fair number of research papers and technical abstracts. Perhaps too much, for now I tend to lean in the opposite direction.

Audio Sensibility offers a fairly comprehensive line of audio cables at different price points. Looking at their price list, I would say that almost all of the cables are well within the realm of affordability for the average audiophile. Steven sent me a sample from each of the company’s different price levels: a 1 meter pair of Impact RCA interconnects ($129 retail photo right), an 8.2 ft/2.5 meter pair of Testament single-wire speaker cables ($369 retail), and a 1.5 meter Statement S/PDIF digital cable ($199 retail). Both the Impact interconnects and Testament speaker cables are constructed with OCC copper, while the top of the line Statement digital interconnect is constructed with OCC silver wire and is uniquely shielded with four layers of various quality materials, such as carbon fiber. All AS cables are treated cryogenically, either at a local cryogenic facility or by Furutech (in the case of connectors), and soldered with quality Silver-Gold solder. All AS cables are CAIG deoxoit treated and have directionality arrows. Steven uses expensive Furutech plugs and connectors, starting with his mid-level cables and on up to the top of the line. Not satisfied with commercial connector bodies, Steven manufactures stainless steel bodies to minimize vibration and provide excellent electrical shielding which he uses for Testament and higher cables. The company provides a 30 day money-back guarantee, and a 10 year transferrable warranty, which is uncommon in the cable industry.

Steven suggested the cables should sound good after a week of burn-in. I initially listen to the cables for about two hours after opening the box, and then played a CD continuously for about a week before I began the audition. I did not hear a difference between the initial listening and during the audition. Let me say that I have listened to dozens of cable products in my audio systems throughout the years, and in most instances have not heard a change in sound. On the rare occasion when I have heard a difference, the change was slight and not always for the better. On the most rare occasion (perhaps 4 or 5 times), I have heard a significant difference and always for the better.

How do the AS cables sound? They sound like music, rather than reproduced sound. They present music in a smooth, organic and natural way, very much like live music. The AS cables have better cohesiveness to the musical presentation unlike any other cable I’ve tried, except when I heard cables made with gold wire and which were insanely expensive. With almost all other cables, I try to determine how they affect the sound of my audio equipment. With AS cables, I’m hearing music as the performer intended. It was hard to keep my reviewer’s hat on, as all I wanted to do was play every CD in my collection. But I did force myself and will attempt to describe the sonic attributes of these cables with several song selections.

The methodology I used was to replace my existing cables by inserting one AS cable (digital) or pair of cables one at a time. While I heard changes with each replacement, the greatest change was with all AS cables in either my tube or solid state/digital systems. There was a greater improvement with my tube based equipment than with my solid-state/digital gear.

I find that transparency and resolution often go hand in hand, and AS cables have a large amount of both, but not to the point where those qualities become annoying. When I close my eyes and listen with these cables, I’m usually transported to the recording venue or stage of a live concert. I don’t hear any artificial treble enhancement which presents music in a “hyper-realism” fashion nor do the cables make music electronic sounding. The AS cables are cleaner and more transparent, compared to my reference cables. It’s analogous to dancers at a masquerade ball, where the participants have their masks on during the dance (my reference cables), and then take them off after the dance (AS cables). On The Decemberists, The Crane Wife [Capitol], Colin Meloy’s voice sounds eerily real on “Shankill Butchers,” as he sings about an English murder tale in a modern baroque pop manner. His voice sounds very natural and the resolution of the AS cables allows me to sense the recording environment of the studio. Until now, I didn’t think cables could affect dynamics the way a higher power amplifier could over a lower power amplifier. I stand corrected, on “Shankill Butchers” Meloy start the song at medium volume, and then proceeds to sing louder and louder. The dynamic contrast was so wide that I had to lower the gain. My reference cables did not produce such a wide dynamic contrast.

If you like rhythm and blues with a heavy dose of pop, I recommend Amos Lee’s Amos Lee [Blue Note 2005], and Supply and Demand [Blue Note 2006]. The AS cables have an ability to present low level detail cleanly and naturally, and with no fanfare. On the Amos Lee self titled album, the song “Bottom of the Barrel,” a bass drum is kicked and heard at a very low volume several times in the first 30 seconds. It is a subtle detail that is cleanly produced by the AS cables. With my reference cables, I couldn’t tell what was producing the sound, as what I heard was muddy. With the AS cables, imaging is not pinpoint, but natural. By that I mean there is no outlining of the body like a 3D cutout, but a general image of a body occupying a certain space, much like listening to a singer at a live concert. By comparison with my reference cables, the image outline of the singer is more amorphous.

North Carolina’s Superchunk formed in 1989, a good decade after the punk movement ceased. Using punk as an influence, but returning to catchy melodies and terrific hooks, the group released several critically acclaimed albums. Several major labels wanted to sign them through the years, but the band wanted to remain independent and stuck to small indie labels. After more than twenty years together, 2010’s Majesty Shredding [Merge Records MRG 380] contains several of the group’s signature punk/pop masterpieces. Unfortunately, the sonic quality is not up to the musical quality of the album. Almost all the songs on the album are compressed up the wazoo, reducing most of the lyrics into unintelligibility. And the record company had the nerve to illustrate a vacuum tube on the album cover. But with the AS cables, there appears to be less distortion and greater smoothness, compared to my reference cables. Did the AS cables turned a turd into chocolate bon-bons? Not exactly, but the cables did create an illusion that you were looking at bon-bons. Subtle vocal inflections are presented better. Words are smoother sounding and more understandable. AS cables seems to be bringing out the best in a mediocre recording.

The Magic Hour by the Wynton Marsalis Quartet [Blue Note 91717] is a terrific jazz album, both musically and sonically. The Audio Sensibility cables capture pitch, tones and harmonics beautifully on this excellent recording. On “Feeling of Jazz,” with guest vocalist Dianne Reeves, I can hear her shaping the notes in perfect pitch as she is singing the lyrics. Sibilance is natural and not exaggerated. The tonal colors are vivid, and harmonic overtones are rich. Everything sounds natural and I couldn’t ask for anything more from reproduced sound in this area. Decay of musical notes has a slight roundness, just like in live music. These cables do not produce very crisp notes, nor do they produce sharp and super fast transients. Some listeners may prefer a more incisive presentation, and that’s fine, it’s a matter of taste. I just like reproduced music to sound more like live music, and that’s what these cables do for me.

Leonard Bernstein’s interpretation of Grieg’s Peer Gynt [Sony Classical] is dynamic and the pacing is very good. The tempo and wide dynamics are quite evident in “In the Hall of the Mountain King” with the orchestra starting with a very low volume, and slowly playing louder and louder until culminating in a crescendo. Violins sounded sweet and silky, and not steely like cats scratching against metal. Tonal balance is quite good with these cables on this recording. Closing my eyes, perspective is mid-hall with the AS cables, while my reference cables present a further back soundstage.

In general, timing of rhythm and pace is spot on with recordings that prominently feature these musical qualities. Sound staging (if it’s in the recording) is fairly wide and deep, while channel separation is very good. Vocal presence is very good to excellent in many recordings. I get a sense of “being there” in many instances. The AS cables produce a beautiful layering of the music, similar to live music. Steven mentioned that the cables are warm sounding, but to my ears they are relatively neutral, but with a touch of warmth in the mid-range. My reference cables are certainly warmer sounding.

Steven also sent me a pair of his grounding devices to attach to the binding posts of my speakers, to try as a tweak. The grounding devices are suppose to improve soundstaging and low-level detail, but instead produce some high and mid frequency grit that I didn’t care for. Perhaps I didn’t give them sufficient burn-in time, so I will reserve final judgment until later.

As an aside, one of my best friends from college was visiting from California during my auditioning of the AS products. Andy is not an audiophile, and owns stereo equipment that is probably more than 25 years old. He doesn’t know any of the audiophile jargon either. He is a music lover though, and regularly attends concerts. Andy hadn’t heard my system in a number of years, which has substantially changed during that time. I played various musical selections for about an hour and a half to demonstrate what a high-end system sounds like. After the first few notes of the first selection, Andy closed his eyes and uttered a few oohs and ahs every so often. After the listening session, Andy said that the sound was rich and detailed, and that he heard only the music and not the equipment. He further noted that while listening, he felt like he was “right there.” I told Andy that he hit the nail on the head. I replied that for me, the ultimate goal of a high end audio system is the ability for that system to transport you to the recording venue, whether it is a sound studio or a live venue. If the system cannot achieve that result, the second best goal would be if the system transports the performers to the listener’s room. Any lesser result means I’m listening to a electronic system which is not really high-end for me. Other audiophiles may have different goals for high-end sound, but the two goals I stated above are the most important for me, because I am enjoying the performance and the musical message instead of the equipment.

What impressed me most about the Audio Sensibility cables is how they rendered the most natural presentation of music to date in my system, regardless of the type of music, whether it is rock, folk, classical, or jazz, everything sounded almost like real music. That’s my statement, and I’m sticking to it. In fact, I’m buying the whole kit-n’-kaboodle. With a 30 day return policy – for those willing to audition Audio Sensibility cables, I hope they come away with the same sonic joy that I experienced. I give a strong recommendation for audition. Until next time, I wish you happy listening.



About the Author
Hello faithful Stereo Times readers. My name is Paul Mah, and I am a new writer for this online e-zine. I reside in New York City, and am a member of several area audio clubs. As the heading indicates, my aim is to inform you about audio products which I believe represents “value added” relative to its retail price, or matches the performance level of more expensive components. Or, as that well-worn phrase aptly states, I will be auditioning “bang for the buck” audio products.

I am a music lover first and foremost. Excellent sounding audio equipment as a means to an end, and that end is hearing the recreation of the emotional impact of a live performance.
Throughout my more than three decades of listening to high end audio (I blame my older brother for starting me on this road to financial ruin-- just kidding), I have tried to approach a new piece of equipment with the notion that I will listen using a relative standard of neutrality, though my own preference is for a warmer sound. I say relative neutrality because I do not own equipment for objective measuring. Frankly, I do not care to record whether or not an audio component shows an absolute flat response curve (though I believe that’s not possible). I let my ears and brain determine whether or not an audio component falls within my subjective definition of relative neutrality.

I think I have written enough for you to get a basic understanding of my listening criteria.



Specifications:
RCA interconnect pricing: Impact OCC copper 1.0 meter length, with locking connectors; $129 pair.
Speaker cable pricing: Testament OCC copper 8.2 ft with Audioquest copper spade connectors; $369 single-wire pair. AS offers a wide selection of spades and banana plugs from Audioquest, Cardas, Furutech, WBT, and others for use with single-wire or bi-wire speaker cable applications.
Digital S/PDIF interconnect pricing: Statement OCC silver 1.5 meter length, with Furutech OCC copper plugs and 303 stainless steel connector shells, $199.

Company Information:
Audio Sensibility
Steven Huang, President
Address: Toronto, Ontario, Canada
Telephone: 416-953-8898
Email: sales@audiosensibility.com
Website: http://www.audiosensibility.com