this post was submitted on 14 Feb 2026
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I thought audio quality was more to do with the source and the destination. If you have a shit needle on a record or a speaker made of wood then its gonna sound like ass.
I never once thought it had anything to do with the cables. Unless they were frayed or damaged in some way.
But i am not an audiophile, i record my own music and mix etc, but never worried about cable quality before.
I was buying a receiver and speakers in 2020 and when it came time to pick out speaker wire, the salesperson walked over to where the wire was and began the pitch...
Salesperson: so when the frequencies are higher the electrons end up traveling only on the outer layer of the wire instead of in the middle...
Me: yeah, skin effect, I did electrical engineering
Salesperson: ah, so I guess you know you don't need this then (pointing to gimmicky monster speaker cable that had a single strand of wire in a spiral around the main bundle with a clear jacket so you can see it)
Me: correct (grabs the cheapest 16awg)
Cables give resistance... thats all...
Exactly this, the cables never mattered. They're the least significant part of an audiophile system and I doubt anyone could tell the difference between a crappy cable and a good quality cable. People get good quality cable for durability rather than sound quality.
As long as its not too crappy. Otherwise you’ll wonder why you’re picking up radio.
I’ve literally used lamp wire in a pinch before…sounded great 😆
Speakers are made of wood, the good ones are at least.
Unless your referring to the actual drivers, then yeah wood wouldn't really work in that case.
Solid natural wood is a horrible material for loudspeaker cabinets. Granted, this fact isn't limited to just speakers. Wood expands and contracts with humidity, which means making boxes of any type out of solid wood complicated. Cabinet doors have floating panels in the center for exactly this reason. That's why you should use breadboard ends if you want to frame a wood table, otherwise your table will risk warping and cracking. There's also the whole non-uniform density thing. Most loudspeakers use something like MDF as a substrate and will veneer the outside. MDF is both stable and uniformly dense, which makes achieving a "dead" (or non-resonate) enclosure a lot easier.
Yes you're 100% right. Solid wood will warp and split, I did mean MDF and should have said as such
Well, paper is a very popular material in speaker cones, including high-end
Even more than the actual contact with the media, the entire system breaks down at the ears. If your ears aren't well-trained, then you don't even know what to listen for. You might think loud bass is good, or booming drums, and never notice that you can't hear any mids.
So in a blind test like this, some people just might prefer a sound that this experiment has little impact on, so they wouldn't be able to notice any differences.
A well-trained ear might be able to detect differences between them, but still not have a real preference. Besides being able to hear all the different frequencies, you have to know what the instruments sound like in real life to know if those frequencies are reproducing accurately. Again, if you don't what it's supposed to sound like, you really don't know if ANY change in components makes a positive or negative difference in the natural sound, you only know the difference relative to your personal preference.
TL;DR: This "experiment" doesn't prove anything. It's just funny.
Interesting, do you know where I can buy a set of trained ears? - Audiophiles, probably.
Some of it is genetic, but a lot of it is years of training in hearing and teasing out all the frequencies.
I spent years in the audiophile record business back in the transition days from analogue LPs to digital CDs, and spent a LOT of time with beyond top-of-the-line audio gear, including high end stuff that wasn't even on the consumer market.
My ears got trained from many years in bands and orchestras, then recording sessions, then hearing the final recordings on CD, as well as thousands of other recordings, and many live performances by some of the greatest orchestras in the world. I know what it is supposed to sound like at every stage of the process.
Bottom line, cables aren't going to be a major issue. Guarantee you've got at least 10 other variables making a bigger difference, and most of them can't even be fixed.
Everything you said is wrong.
Only noticing the distortion you care about is fine. If you don’t notice it, it is necessarily irrelevant. You are not a computer, analog audio signals are not a digital transmission of data, where errors make the data unreadable.
An original recording was provided. The re-recordings are supposed to sound like the original. They’re not testing microphones, or whatever processing the audio engineer did, the sound of the original instruments is irrelevant.
I heard one guy talk about the importance of cable shielding and connector material and shit once, but the ones I actually know just talk about the other hardware (speakers, mixing pults, lots of terms I couldn't recite).