are one of the broadest and most varied segments of the audio industry. The
different cable varieties, connections, materials, quality, production
techniques and creators to name a few of the factors that contribute to a
cable’s overall performance. These factors combined with an often long
break-in period, extremely lengthy evaluation period, and sometime system
dependencies are why many reviewers prefer other types of equipment to evaluate.
However, it is this complex tapestry of various components, which always
intrigues me the most and makes reviews so important to consumers.
The two unassuming boxes contained some very
nicely designed packaging for the cables and even more importantly the cables
themselves. The interconnects themselves are fairly flexible, the Mamushi
perhaps a little less pliable than the Cottonmouth, but not enough to cause
anyone attempting all but the most difficult connection between their components
to have any problem. The Cottonmouth power cable was also extremely flexible and
not exceptionally heavy which means you need not worry about it putting undo
stress on your component.
It did not take long until the cables were out of
their boxes, which included certificates of authenticity and right at home in my
reference system. Jonny had mentioned that the cables were already
“broken-in” and really did not need much time to settle into my system. My
initial evaluation was done about an hour after installation. The cables
performed well, but in truth, after numerous cable reviews, it has been my
practice to allow them at least another 200 hours before any real evaluation is
completed, and in this case, it would have been a big mistake had I evaluated
them with any less hours logged.
The second selection was Sarah Chang and the
Orpheus Chamber Orchestra playing Antonio Vivaldi’s The
Four Seasons on EMI’s label. The three tracks, “Concerto No. 1 in
E” better known as “Spring,” were definitely something to experience.
Sarah’s violin was magical and sweet against a backdrop of orchestral sound.
It felt as though this was the first time this reviewer had heard this
particular selection and yet it has been used in many of my reviews in the past.
The biggest reason for this was the laid back character. It allowed the
enjoyment of all the instruments without allowing one to become too intense.
A second selection on the same album was track
ten, Karrin Allyson playing No Moon At All. She has a beautiful voice, which has been
enjoyed many times within the context of reviews. However, while her voice
certainly contained all of its usual beauty, it seemed even more enveloping
because it seemed to draw the listener into its folds and hold them there. The
band only enhanced the already incredible experience.
The final jazz album used on this review was
Patricia Barber’s Night Club on Mobile Fidelity’s Label. It is an album full
of delicate vocals, rich sounds and wonderful ambiance. This album can humble
nearly any system because it tends to somewhat bright, even the remastered
Mobile Fidelity version. However, the brightness of the album was tempered by
the somewhat dark qualities of the Mamushi cables. They seemed to be meant to be
The second selection from the same album was
“Speak To Me.” This review keeps talking about there being a somewhat laid
back or dark. However, to make things clearer, and perhaps to make sure there
was no loss of detail, the beginning of the song was particularly important to
me. The heartbeat can usually be described as felt more than heard by many
people. On systems that are tend to have a tad too much treble or brightness for
my taste, the sound quickly goes from nearly non audible to nearly overpowering
in mere moments, detracting from the song itself. However, in the case of these
cables, while it seemed a tad farther away, it did not seem overpowering. In
fact, it seemed to lead into the vocals in a way that was incredible.
The last selection was an old album, Chris De
Burgh, The Getaway. It is a
typical example of everything bad from the early eighties. It not only was mixed
with way too much treble in the hopes that bad systems would be playing it loud
enough to generate some bass, but it suffered from the original A/D conversions.
The cables certainly did not fix an already broken album, but they did allow you
to hear a little more detail than you might hear normally.
Cottonmouth Power Cable
Mamushi Audio Interconnects
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