PABIAN DH LABS 실버소닉D-110 RCA INTER CABLE (1m~1.5m)
*기본길이-1M가격 pair(조)
*뉴트릭 금도금 금도금RCA단자
*DH Labs의 디지털 인터케이블 겸용 D-110케이블로 제작된 인터케이블\
*3중 쉴드처리로 노이즈를 적극적으로 차단하고 크리스탈 OFC위에
은도금
처리되어 동선과 은선의 장점을 취한 가성비가 아주 뛰어난 케이블
*파비안에서 강추하는 케이블 중에 하나의 케이블입니다.
*Pabian 터미네이션
아래는 ☞↓D.I.Y케이블
설명입니다.
미국 DH Labs SILVER SONIC D-110
DIGITAL inter cable
*Made in USA
*110옴 디지탈 케이블이나 아날로그 인터선등 다목적 diy 케이블
*3중쉴드로 노이즈를 완벽하게 차단
*외경-6.5mm
The Silver Sonic D-110 is a precision 110 Ohm AES/EBU
type balanced digital interface cable. 110 Ohm digital cables are most often
used to carry digital audio data from A/D converters to digital tape transports
in recording studios. They are also used between CD transports and D/A
converters in home hi-fi systems as an alternative to the more common S/PDIF 75
Ohm coaxial interface. 110 Ohm cables are terminated with XLR connectors.
The Silver Sonic D-110 was designed to be a
state-of-the-art, no compromise product. We feel it’s sonic performance equals
or exceeds all other cables of this type, regardless of price. This level of
performance is achieved by combining the finest materials available with the
highest level of quality control.
A critical goal for any digital interface cable
is to maintain a uniform characteristic impedance. This is achieved in the D-110
through the use of a pure PTFE insulation whose thickness is held to a tolerance
of .002 inch (.05 mm). The material is extruded under pressure in order to
maintain maximum consistency, which minimizes a phenomenon called "VSWR spikes",
a cause of jitter.
Other features of the D-110 include silver coated
conductors for improved conductivity, solid rod spacers to maintain a constant
impedance, and 100% shield coverage to eliminate noise and interference. Our
custom D.H. Labs XLR connectors feature direct-gold-plated, pure OFC copper
contact pins, far exceeding industry standards.
If your audio system has the ability to utilize
the 110 Ohm digital interface, we recommend auditioning the D-110 before
investing large sums of money in other cables. Several recording and mastering
studios have already selected the D-110 as their cable of choice.
아래는 미국잡지 Goodsound
誌의 리뷰입니다.
DH
Labs Silver Sonic D-75 and D-110 Digital Interconnects
When separate
digital-to-analog converters and CD transports emerged on the market,
essentially splitting a CD player into two chassis, I could accept the fact that
I now needed a
digital cable -- after all, the digital data read from the CD had to somehow get
from the transport to the DAC. What I couldn’t accept was that I needed an expensive digital
cable. All the cable had to do was get a series of ones and zeros from one point
to another. Computers do it all the time, reliably, at low cost, using wire that
costs a fraction of what audiophile stuff does. How tough could it be?
I wasn’t the only one
with such thoughts. The arguments about digital cables are similar to the
debates about amplifier sound that have been going on for decades. On the one
hand are those enthusiasts who say that, in terms of the needs of a home-audio
system, cables should be indistinguishable from each other -- like those who say
that two well-designed solid-state amplifiers should be indistinguishable. When
digital cables came into the picture, the arguments of these folks only
strengthened: after all, now we were dealing with bits and bytes, not analog
audio signals. On the other hand, as in the amplifier world, are those
enthusiasts who can hear the minutest differences among almost all cables,
whether used to carry analog or digital signals, and can expound at length about
those differences.
The tactics some
cable makers use to sell cables, not to mention the prices that some charge,
have caused many to view the cable trade with the same caution that others do
religious cults, sports supplements, and self-help experts. A lot of mumbo-jumbo
and marketing hype are used to sell cables today; when you start to look
seriously at it all, you realize that, well, it often doesn’t make a whole lot
of sense.
But DH Labs and their
Silver Sonic line of cables do make
sense -- so much sense that the practicality of it all sometimes scares away
more mystically inclined audiophiles. I’ve known the company a long time, and
I’ve never heard company president Darren Hovsepian say anything that puts the
needle of my B.S. meter in the red zone. No hype, no mystique, and most of all,
no high prices.
DH Labs’ first
products were the Silver Sonic BL-1 analog interconnect and T-14 speaker cable,
which both debuted in the mid-1990s. They had copper conductors plated with
silver -- hence the name -- and cost practically nothing compared to what
audiophiles were used to paying for high-end cables. Those who listened more
with their ears than with their pocketbooks (and eyes) scooped them up by the
boatload. A new, practical cable
company had been born.
Today, DH Labs is a
far larger operation with a more impressive array of products, but their
commitment to value appears unchanged. The D-75 and D-110 digital interconnects
are priced at $75 and $89, respectively, for 1m lengths. While that may seem a
fair chunk of change for those used to out-of-the-box cables, it’s actually a
fair price, given the quality of construction and the performance the DH designs
offer. In fact, they may be the last digital cables you’ll ever need to buy,
regardless how expensive your system is.
Description
Like the rest of the
DH Labs line, the D-75 and D-110 are no-frills, no-nonsense designs: well-made,
properly terminated, and of good quality. They’re just not cosmetically showy.
That’s okay, though, because showy, in high-end-audio terms, usually means
expensive.
The D-75 cable is for
S/PDIF coaxial-type connection, and the D-110 is for AES/EBU-type balanced
connection. AES/EBU is generally considered the superior connection method,
provided your transport and DAC
both support it. If not, your transport and DAC will likely have an S/PDIF
coaxial connection that will use RCA or BNC connectors. When faced with S/PDIF,
I prefer the BNC method of connection, but if your components have only RCA
jacks, don’t sweat it -- you’re not missing that much.
The D-75 is a basic,
black-jacketed 75-ohm digital cable. Its $75 price includes RCA terminations; if
you want BNCs on both ends, add $25; for BNCs on only one end, add $12.50. A
0.5m length costs $10 less, additional meter lengths $20 each. If you want to
buy the cable without RCA or BNC
connectors so that you can roll your own terminations, the price is $4.50/foot.
Similar rules apply
to the 110-ohm, maroonish-brown D-110: $79 per 1m length, $69 for 0.5m, $20 per
additional meter length. AES/EBU cables use only XLR-type connectors, so there
are no options there; the XLRs supplied by DH Labs are very good.
I used the D-75 in my
reference system with a Theta Data Basic transport. Since my Theta doesn’t
support AES/EBU, a Simaudio Nova CD player with an AES/EBU output was used as a
transport for the D-110. The DACs in question are the astonishingly expensive,
reference-level Weiss Medea and Zanden Model 5000 Mk.II, which support both
digital connection formats. This equipment, particularly the DACs, is far more
expensive than most audiophiles own, but I figured it would reveal everything
about the cables’ performance.
Performance
Unlike many, I do
hear differences among digital cables. However, I also believe that if a digital
cable is properly designed for the specific type of connection (not all are),
then the differences between even a relatively low-priced, properly designed
cable (such as the DH Labs designs), and cables that cost hundreds of dollars
more, will be slight to nonexistent. My reference cable, for example, is a
BNC-terminated i2Digital X-60, which retails for more than twice the price of
the D-75 with BNCs, but still far less than what it’s possible to pay. I haven’t
heard any better than the X-60, which -- skinny and white, with more attractive
connectors -- certainly looks more
sexy than the D-75. The sonic performances of the X-60 and D-75 were exceedingly
close -- but the visual differences between them were far greater.
I like to use the
soundtrack album of The Mission [Virgin
90567-2] to evaluate digital components -- transports, DACs, and cables alike.
Ennio Morricone’s large-scale music is choral and orchestral, primarily in
performances that tax digital gear. But with the digital electronics I have and
a cable like the D-75, I could unravel a wealth of detail that lesser components
obscure.
For example, "Falls"
begins lightly and builds to the full weight of the orchestra. Poor-performing
digital cables obscure the bass with a notable reduction in texture and detail
-- things become lumpy and diffuse. With the D-75, as with my reference X-60,
when the orchestra fills in, the bass had great depth that rumbled with detail
-- when the bits and bytes were all traveling right, the sound gained texture
down below. Engineers tell me the improvement is likely due to the signal’s
having fewer jitter errors
(i.e., timing-related distortions induced by poor-performing cables,
connections, or other components), but I don’t know for sure. I can only tell
you what the result sounded like.
"Gabriel’s Oboe" is
great for evaluating detail. At the beginning of the track, a drum is played
far, far back in the soundstage. With lesser digital cables, the resolution can
be reduced enough that the striking of the drum becomes obscured, losing impact
and immediacy. But when everything’s right, every nuance of the drum being
struck can be heard -- and more, including better re-creation of the soundstage
space: I can hear the precise depth and left/right position of the drum, as well
as its size in relation to the other instruments and performers. The D-75 got it
all right, but when I played this same recording using a bare-bones, no-name
digital cable that I’ve had in the house for years -- mostly to prove to people
that digital cables do matter
-- the impact of the drum and the depth were not only lessened, but the
instrument itself became slightly more diffuse. In short, a good-performing
digital cable can enhance precision in many ways.
Similar things could
be heard even on simpler recordings, such as Willie Nelson’s outstanding Stardust,
from 1978 [Columbia 65946]. The CD version, remastered in 1999, has a clear and
detailed sound that does justice to this terrific record. "Georgia On My Mind"
places Nelson’s highly textured voice starkly in the mix. The D-75 let me hear
all the detail in his voice, and the ambience that spreads around him like a
glow. When I switched in the X-60, I heard the same thing. But with the no-name
cable, the stage lost some depth, the ambience wasn’t quite as apparent, and the
voice lost just a touch of starkness and immediacy.
I actually found the
D-75 and X-60 indistinguishable when played through the Weiss DAC, partly
because Weiss goes to great lengths to isolate the Medea from external jitter
from the transport or connecting cable, and partly because, of course, the D-75
is a great-sounding digital cable. Where the X-60 edged out the D-75 was with
the Zanden DAC, which is not so
immune to cables and transports. The X-60 sounded the slightest bit more
precise, and resolution was a tad better. It was the smallest difference, but
it’s here that paying more money than you would for the D-75 might be
worth it.
The D-110 seemed to
perform to the same level as the D-75; however, directly comparing the D-75 to
the D-110 is impossible. For a comparison to be valid, you can change only one
variable at a time; in the case of cable comparisons, that would mean switching
out nothing but the
cables. But the D-75 and D-110 each use a different type of termination, which
inserts a second variable. The only thing I will say is that, all other things
being equal, in general I’ve heard properly implemented AES/EBU connections
outperform S/PDIF coaxial connections -- as I did to a lesser extent with the
Weiss, and to a greater extent with the Zanden. If you can choose one type of
connection, choose AES/EBU, though that choice will depend on what your
equipment supports. But don’t buy a specific transport and DAC just to
get AES/EBU. Implementation is everything; it’s possible to get stellar sound
from either type of connection.
Conclusion
DH Labs’ Silver Sonic
D-75 and D-110 won’t win awards for glitz and glamour, but these no-nonsense,
well-made cables do deserve praise for delivering great performance at a
reasonable price. If you find something as good as or better than for less, more
power to you -- the people I’m addressing here are those willing and able to pay
more: Regardless of the price of
the associated equipment, I recommend trying either of these DH Labs digital
cables before considering something more expensive. I found that they rivaled
the best out there. Why pay more if you don’t have to?
Prices of
equipment reviewed
아래는 미국잡지 Soundstage 誌의
리뷰입니다.
The DH Labs D-110 AES/EBU Cable
Silver for your Gold
I love bargains--you know, those things in life
that deliver pleasure that's far greater than the time and effort it takes to
get them. The Internet qualifies as a bargain, and so does the N(ational)
F(ootball) L(eague)--which, like music, is not always more involving in person
(dopey announcers aside). Although, in my opinion, there are components that
wouldn't be bargains if given away, for the most part, high-end audio itself
also qualifies. The Clayton M70 monoblock amps are certainly bargains--and so is
the DH Labs D-110 AES/EBU digital cable, which I've been using between my Timbre
TT-1 DAC (another serious bargain) and Wadia 20 transport. It's the equal of any
AES/EBU cable I've used, including my reference and three-times-the-price Purist
Audio link, and in ways that make listening to recorded music a most
participatory endeavor.
The D-110 is skillfully conceived and
constructed. It features silver-coated conductors sheathed in pure Teflon
dielectric and completely protected against the RFI/EMI nasties with a full
outer shield. The connectors have gold-plated OFC pins--a surprising touch at
the cable's price: $89/meter, with each half-meter adding $10. The D-110 is very
supple, and the reason reviewers make such a big deal out of this is that we're
often pulling out and installing new cables in tight spaces, and it's no fun
wrestling with a thick and unwieldy piece of wire around prized
components--especially with the extra clearance needed for the balanced
connectors.
In my experience, few digital cables sound as
different from one another as any two of the formats (AES/EBU, coax, AT&T, etc.)
do. In general, AES/EBU is the warmest format, AT&T the most resolving, Coax
falls in between the two, although a bit closer to warmth than ultimate detail.
The very best cables minimize these differences, making it hard to know exactly
which format is in use. And so this happened to me during the audition of the
JPS Labs coaxial digital cable. I inadvertently switched to AT&T and didn't
realize it until I went to connect another cable. The JPS Labs cable is
splendid--coherent and sweet, fast and spacious.
These adjectives also apply to the DH Labs D-110
cable, but it also adds a touch of warmth to the mix--a bit of brandy to your
favorite audio coffee. It, like most AES/EBU cables I've tried, sounds more
analog-like than any AT&T cable, but it doesn't do this my nipping and tucking
transients and overtones. The music is there, but it's liquid, fleshy.
I particularly enjoyed listening to female vocals
with the DH Labs cable--everything from Jennifer Trynin's Cockamamie to
Cassandra Wilson's Blue Light Before Dawn. And if you don't have Holly Cole's
Temptation, you're truly damned. Eclectic readings of Tom Waits songs--bonus on
top of bonus. In all cases, the voices were rock solid and in scale--in short,
about as real as reproduction gets.
I did much comparison withe Purist Audio AES/EBU
link--the much-ballyhooed, and terrific-sounding, water cable. The DH Labs
cable, at less than a third of the price, was the equal of the Purist cable in
almost every way. In fact, I know I'd be hard pressed to tell the two apart once
installed. The Purist cable is perhaps a touch warmer, but it would be a light
touch. You couldn't go wrong with either cable, but the DH Labs D-110 is
especially sane given its wallet-friendly price.
About the best advice I can give a digiphile,
especially one with a transport/DAC combo that will accommodate multiple
formats, is to stay cable-ready with an example of each format locked and loaded
to allow for easy switching--variety being, as it were, the spice of life
(ahem). In such a configuration the DH Labs D-110 cable fits the bill nicely. It
sounds terrific and will save you enough money to buy other cables without
guilt--although you may find that the others don't get much play. Righteously
recommended.
...Marc Mickelson
DH LAPS는 1992년에 설립된 미국의 케이블전문회사입니다.
설립될 당시의 모토가 SILVER 즉
은이 이세상에 존재하는 가장 훌륭한
소재임과 동시에 가장 훌륭한 사운드퀄리티를 유지할 수 있다는 이상을
실현코자 설립되었습니다.
그러나 SILVER뿐만 아니라 다른 소재에도 가장 훌륭한 사운드퀄리티를 실현하고자
노력하고 있습니다.
동사는 음악의 완벽한 밸런스뿐만 아니라 넓은 다이내믹레인지와 믿을 수 없을 정도로
큰 사운드스테이지를 합리적인 가격으로 실현하고 노력하고 있습니다.
그래서 그들제품의 가격은 가격대 성능비가 매우 우수하다고 할 수 있습니다.