Can you explain what is gained from making this modification on the input?
It’s been talked about since the original post/review (by @Torq) up until now but I think I still need some clarification as to why you’d want to go from -10dB to 0dB
As @Torq previously clarified in several posts above, to achieve a reduction in level of -10 or -6db in level, resistors are placed in line with the output to cut that level. 0db would be the unaltered output of the amp but may not work with all gear. If I understand it correctly 0db is geared towards the nominal output of consumer grade gear. -6 or -10 works with the usually higher output from professional gear for making recordings. If you have say a DAC that outputs say 2 volts from its single ended outputs and 4 volts from balanced outputs(like I do) this will have an effect on the loudness level you can attain for a given setting of the volume control.
Put a signal thru the amp that reaches too loud a loud level at say 9 o’clock you may want to go with -6 or 10db to allow you to to get that loudness level in the say 11 o’clock to 2 o’clock region where the steps are smaller.
It is extremely dependent on the recording level of the source material, that’s why you need some flexibility to dial in the loudness level you like. I’m on 0db and initially thought it was too much especially with a balanced input but I’m finding it very workable at this point, especially with the single ended input. (The single ended input allows me to use analog EQ if I want to, not so on the balanced input.) I did not notice much if any difference in sound at any of the 3 settings but 0db should be the purest, unaltered signal, but again I didn’t hear any loss of SQ at the other settings.
There is no formula that will tell you what setting to use. Somethimes you just have do your homework and make notes of your results and determine what works best for you with your music. Ignore the -6db and test 0db against -10db,that should point you in the right direction for yourself.
If anybody else can explain this better than I please have at it, LOL!
3 Likes
See: https://www.aes.org/par/d/
decibel
Abbr. dB Equal to one-tenth of a bel. [After Alexander Graham Bell.] 1. A measuring system first used in telephony (Martin, W.H., "DeciBel — the new name for the transmission unit. Bell System Tech. J. January, 1929), where signal loss is a logarithmic function of the cable length. 2. The preferred method and term for representing the ratio of different audio levels. It is a mathematical shorthand that uses logarithms (a shortcut using the powers of 10 to represent the actual number) to reduce the size of the number. For example, instead of saying the dynamic range is 32,000 to 1, we say it is 90 dB [the answer in dB equals 20 log x/y, where x and y are the different signal levels]. Being a ratio, decibels have no units. Everything is relative. Since it is relative, then it must be relative to some 0 dB reference point. To distinguish between reference points a suffix letter is added as follows [The officially correct way per AES-R2, IEC 60027-3 & IEC 60268-2 documents is to enclose the reference value in parenthesis separated by a space from “dB”; however this never caught on, probably for brevity reasons if no other.] Hit this link for an online dB calculator. Good tutorials with charts: “Can You Tell The Decibel?” by Hugh Covill [Tip: click on the chart to make it bigger], and “Quick dB Reference Chart” by Pat Brown.0 dBu Preferred informal abbreviation for the official dB (0.775 V); a voltage reference point equal to 0.775 Vrms. [This reference originally was labeled dBv (lower-case) but was too often confused with dBV (upper-case), so it was changed to dBu (for unterminated).]
+4 dBu Standard pro audio voltage reference level equal to 1.23 Vrms.
0 dBV Preferred informal abbreviation for the official dB (1.0 V); a voltage reference point equal to 1.0 Vrms.
-10 dBV Standard voltage reference level for consumer and some pro audio use (e.g. TASCAM), equal to 0.316 Vrms. (Tip: RCA connectors are a good indicator of units operating at -10 dBV levels.)
0 dBm Preferred informal abbreviation of the official dB (mW); a power reference point equal to 1 milliwatt. To convert into an equivalent voltage level, the impedance must be specified. For example, 0 dBm into 600 ohms gives an equivalent voltage level of 0.775 V, or 0 dBu (see above); however, 0 dBm into 50 ohms, for instance, yields an equivalent voltage of 0.224 V — something quite different. Since modern audio engineering is concerned with voltage levels, as opposed to power levels of yore, the convention of using a reference level of 0 dBm is obsolete. The reference levels of +4 dBu, or -10 dBV are the preferred units.
0 dBr An arbitrary reference level (r = re; or reference) that must be specified. For example, a signal-to-noise graph may be calibrated in dBr, where 0 dBr is specified to be equal to 1.23 Vrms (+4 dBu); commonly stated as “dB re +4,” that is, “0 dBr is defined to be equal to +4 dBu.”
0 dBFS A digital audio reference level equal to “Full Scale.” Used in specifying A/D and D/A audio data converters. Full scale refers to the maximum peak voltage level possible before “digital clipping,” or digital overload (see overs) of the data converter. The Full Scale value is fixed by the internal data converter design, and varies from model to model. [According to standards people, there’s supposed to be a space between “dB” and “FS” — yeah, right, like that’s gonna happen.]
0 dBf Preferred informal abbreviation of the official dB (fW); a power reference point equal to 1 femtowatt, i.e., 10-15 watts.
0 dB-SPL The reference point for the threshold of hearing, equal to 20 microPA (micro Pascals rms). [Note: dB-SPL is defined differently for gases and everything else. Per ANSI S1.1-1994, for gases, the reference level is 20 microPA, but for sound in media other than gases, unless otherwise specified, the reference is 1 microPA.]
Since 1 PA = 1 newton/m2 = .000145 PSI (pounds per square inch).
Then 0 dB-SPL = ±2.9 nano PSI (rms) change in the ambient pressure — an unbelievably small value.
Also therefore, it is a change in 1 atm ambient pressure of ± 1 atm (±14.7 PSI) that is equivalent to a loudness level of 194 dB-SPL, i.e., equals 2 atm on the overpressure portion of the cycle and 0 atm on the underpressure portion. [Thanks to Bob Pease for pointing out these enlightening facts.] And higher positive pressures are called shock waves, not sound. [Thanks to “Someone” for this distinction.] [Thanks also to Chuck McGregor for the clarifying language.]dBA Unofficial but popular way of stating loudness measurements made using an A-weighting curve, originally referenced to a loudness level of 40 phons.
dBC Unofficial but popular way of stating loudness measurements made using a C-weighting curve, originally referenced to a loudness level of 100 phons. .
dBPa Preferred informal abbreviation of the official dB ¶; a reference point equal to 1 Pascal.
Clear as mud?
2 Likes
I meant to say that too! 
Hey fellas, just saw this on the RAAL site. And ordered one of course
1 Like
you will be pleased, I also ordered and received one
I went with 2 day air to get it in my grubby hands faster.
Hi, could you please summarize some of the improvements you’re experiencing over the stock cable? Sound, microphonics, weight etc.?
I’m aware there’s debate on whether cables can or can’t affect how things sound but I’m hoping these do sound better. 
Well, the new RAAL silver cable arrived. Not a lot of difference other than gold plated TRRS and style of barrel.
Can’t tell if the “under the sheath” wires / dielectrics are more or not. Time to start cooking them.
2 Likes
**Got lucky today, the snow went north and the rain south so I had an un-interrupted day of listening and putting this together. **
Comparison RAAL SR1a Stock HP Cable with SR1a Silver Ribbon Cable 2/9/21
For the past 2 weeks I’ve been listening to the SR1a with its Stock copper cable to saturate and familiarize myself with its sound for comparison with RAAL’s new silver based cable. I also have 2 other brand aftermarket cables for my SR1a. I feed my Yggdrasil 2 with an AES signal from my Emotiva ERC-3 transport / player. I’m using the JOT R for these initial listening sessions as it sounds to me like it generates a bit more energy at the frequency extremes than my HSA-1b and that it might help me identify sound traits with my source material more readily.
My source material consists of dozens of selections culled from my CD library (primarily classical but some Jazz and Rock thrown in) that display various sonic characteristics and that I have burned onto 8 CD’s for simplicity and time savings over having to load and unload dozens of CD’s to maximize use of my time to focus on listening and not interruption’s to change discs. Some of these tracks I’ve been using for 5 decades to evaluate new gear. I had 11 hours burn-in on the cable when I started this 3 hour session.
I’ll start with my summary;
I can’t remember trying a headphone cable that made such a positive impression so quickly.
-
This “Silver” cable with the SR1a is not bright; it is as smooth a cable as I have heard in the mids and highs. As I worked my way through my demo material I was completely taken by how this silver cable resolves high frequencies with a sweetness that the copper cable doesn’t seem to. This surprised me. I listened to selection after selection with never a hint of grit, glare or shout-y-ness. It is a beautifully “relaxed” presentation.
-
The bass is not shy, however, the Stock cable may be a bit more explosive in the lows (but not more detailed to my ears). I‘ll determine that in a matter of minutes after I get a week or so of steady use on the “Silver” and switch back to the copper. I also note I am not averse to using my Loki at 20 Hz with those recordings I feel need the help. Purity of sound without pleasure of enjoying what I’m listening to, not satisfying. The bass may still not be satisfying for a lot of genres and tastes. I wouldn’t buy this cable based on expecting higher bass levels for a given volume level.
-
Transient attack and decay seem comparable but that “relaxed” factor may be having an effect on my take. The SR1a handled some specific tracks with huge crescendos completely without any sense of strain or distress.
-
Air and ambience retrieval are maybe a bit better with the “Silver”, sounds comes from a very quiet background so there is no loss of detail at the quietest levels.
-
As I don’t use volume leveling when I burned my demo discs (to not screw with dynamics) I found myself adjusting volume levels slightly on many tracks as the “Silver” reveals these volume level differences extremely well and maintains a high level of detail without causing the SR1a to sound congested on loud, complex passages and I found it too easy to listen at higher than desirable levels as far as the sake of my hearing is concerned. But that is the same as with the Stock cable.
-
Imaging is comparable to the Stock but the quiet background may outline individual instruments or groups of instruments a hair more clearly. The perspective is less “in my face” than with the copper and I really, really like that. Sound stage is always, from my experience, based on the recorded quality. Some are 3 dimensional some are 2 dimensional. While the SR1a has some speaker like attributes at times there is no comparison with what a pair of in-room speakers can reveal about those characteristics of a recording when I listen.
-
I consider this money well spent on my part and think this will be my long-term cable solution for my SR1a. I would even go so far as to suggest that RAAL make it an optional item with the purchase of the SR1a for the difference in price between the two cables. I think it makes that much of a difference in the sound.
-
I was expecting little niggles with the sound of the cable at this early point in use but that was not the case. I also consider the fact that it could be a combination of “new toy syndrome” and maybe I was just particularly receptive to wanting to listen today. So many things can feed in to this sort of experience. If there is any change in the upcoming weeks with use, I hope it’s not too much as I’m liking what I’m hearing now, LOL.
I keep in mind that the amp to HP cable is a small but important percentage of what’s needed for the complete reproducing chain. In order of importance I always rank the source, transducer, and amp before it. But the HP cable is always that last piece of the puzzle for me. It either enhances or negates what the transducer is capable of and delivers what the amp outputs.
I have added my specific notes, made while listening. I only got through the first 2 CD’s of selections this session and I have 6 more CD’s to go, but I doubt I will have much else to add. When I switch back to the Stock cable I may add a follow up paragraph, but as it stands, the “goosebumps” were in full force and effect with the “Silver” even with so few hours on it.
(Of course different components could lead to different conclusions; I’ve got a 3rd cable to evaluate against the Stock and “Silver” as well as throwing my HSA-1b into the listening’s mix. It’s always a long journey to an indeterminate end point with this passion for sound.)
Listening Notes with the “Silver” (and bleeding chunks selections)
- Chesky Ultimate Binaural HP CD;
a. “When the Saints Go Marching In”: nice ambience retrieval and sense of depth. Good perspective, not so “in my face”. Able to hear all instruments simultaneously and individually.
b. “Don’t You”: Amber Rubarth’s voice is not as piercing as can be with the Stock cable.
c. “Las Perlas de Tu Boca”: Nothing strains forward. Bass, guitar, drums, vocal, all in proper balance.
d. “Ben’s Farm in Vermont”: nice percussion sound characteristics, good thump on the final bass drum strike.
e. “Wa Wa Wa”: May be a little less depth than I’ve experienced with this cut before, puzzling. Grouped voices may not be delineated as well either but I don’t sense any lack of detail otherwise. Guitar solo is so clean I swear I could sense his right hand fingers moving from string to string. Curious.
f. “War”: just plain fun with all the percussion instruments in this one. Imaging and sound stage are just like the Stock cable.
-
Shostakovich; Piano Concerto #1 on Hyperion: It all hangs together very well especially at the big tutti about 4 minutes into the first movement which delineates all the instruments clearly. The “hot” high notes on the piccolo are not quite as piercing in that movement. Great clarity of piano key strokes throughout, maybe the best I’ve heard this yet.
-
Schedrin; “Carmen Suite” on DG: Great depth, ambience and air around instruments. Powerful yet tightly controlled bass.
-
Gregorian Chant: “Kyrie fons Bonitatis” on Telefunken (1966 recording): beautiful sound, no grit, grain, or shout-y-ness. Great reproduction of the church acoustics with just the right amount of reverb.
-
Purcell: “Dido & Aeneas” on Pentatone/Philips (1970 recording remastered): Soprano Josephine Veasey’s voice – this is the best I’ve ever heard it. Very clear and smooth on top.
-
Debussy: “Prelude to the Afternoon of a Faun” on Sheffield (1985 recording): Lots of delicate details and atmospheric tones, extremely evocative and reproduced so realistically here. And Stravinsky: Berceuse and Finale from “The Firebird Suite”: on Sheffield (1985 recording): Brass, tympani and bass drum pounding out the triumphant finale with great dynamic range and complete control.
-
Wagner: selection from “Tristan und Isolde”: on Sheffield (recorded 1978): Prelude to Act 1: Massed string sonorities will test the high frequency capabilities of a system and they come across here as smooth as silk. And “Gotterdammerung” on Sheffield (recorded 1978): “Siegfried’s Funeral March”: the soft tympani strokes that accompany the opening and closing bars are captured perfectly, the brass have that bity edge at low volume that’s impressive, and the climax towards the middle of the piece holds together.
-
Prokofiev: 3 selections from “Romeo and Juliette” on Sheffield (recorded 1978): “Mercutio’s Death”, tremendous dynamic range in this and the Act 3 Introduction. The two full orchestral crescendos that open Act 3 have clipped many a conventional power amplifier with that distinctive tearing sound and here they are no issue and the ribbons just coast on through. All the Sheffield’s are top shelf recordings capturing some of the most realistic sound of instruments, imaging, and sound staging, from any point of view, that I have ever heard.
(Note: 6, 7 & 8 were recorded on MGM/UA’s Hollywood soundstage utilizing an analog, tubed tape recorder and single tubed stereo microphone. They capture the distinctly different, highly detailed sound and imaging properties of that type of venue as opposed to a concert hall, or, in another case, I have a recording of a full orchestra that was made on the stage of a university auditorium and it has its own unique sound stage, imaging, and sonic qualities. Anything gear I purchase will have to satisfy me on selections 6 through 8 to make the grade.
That’s it for discs 1 and 2. On to 3 through 8… in the days to come.
8 Likes
Wow, very detailed impressions @FLTWS. A great read.
Thank You. It was a satisfying listening day for me.
1 Like
What balanced line cable is recommended to run from the hsa-1b to your DAC (I have an aqua la voce s3)?
I was going to buy the 6ft silver XLR-XLR cable from requisite audio for $270 (for the pair). I have been using a ~$7 monoprice rca cable. Is there an inexpensive balanced cable that performs well or should I just go with requisite?
You’ll get as many answers to that as people you ask.
Never seen one, but if you like it it’s far from the most expensive cable of its type you’ll encounter.
The “Gotham” stuff from “World’s Best Cables” (e.g. 6 foot Gotham GAC-4/1 XLR) is hard to argue with. Quality components, appropriate geometry, properly built and barely more expensive than no-name nonsense.
6 Likes
This is a difficult question to answer, and depends on your budget as much as anything. I am using a very expensive WireWorld Gold XLR-XLR because it came with an earlier hi-fi purchase. I would not go out and buy it again. If I were in your shoes, I would try Torq’s suggestion of “Gotham” from “World’s Best Cables” and see if you like it in your system.
Keep in mind that in our hobby, prices do get silly: gaining a few percent improvement in sound quality over “acceptable” sound quality can cost 10 times as much! But is it worth it?
2 Likes
On the topic of price/value what do you think about $1050 for the new silver sr1a cable?
I got my sr1a/hsa-1b bundle relatively recently. I was told I could exchange the 10ft (I asked for a longer length) stock cable for the silver and pay the difference. The stock cable would be given a $315 valuation. I wasn’t sure if I should pay $715 for the silver.
I’m also not sure if I’m better off waiting until the silver starts showing up on the used market (granted then I’d be without the 5 year non transferrable warranty which I also value alot).
I am in the same quandary, which results from the incredible pleasure I am already getting from the combination of the SR1a and the HSA1b with the stock cable. I think that the question of a $1050 silver cable versus a $315 stock cable is difficult and depends on how much of a perfectionist audiophile you are, and what your budget is. Will it be three times better? I seriously doubt it.
I would ask Danny for a trial of both cables, and the ability to return the one that you don’t decide to keep. Only when you hear them in your own setting can you make that judgement. Do let us know what you decide.
2 Likes
there is literally product where the increase in price and performance are linear…if you can afford it and there is improvement then go for it if you can afford it…it is a better cable for sure as I have it but 3 times better?..who knows or cares?..is a 100 dollar bottle of wine 5 times better than a 20 dollar bottle?
I think the conflict has more to do with “should I go for it new or wait for it to go on the used market.” The question of how much I value a warranty plan is always an interesting one to me/something to ponder.
Once focal made the 5 year warranty on the utopia transferrable it made the decision of getting a used one for $2300 (bought one month prior from a certified dealer) vs. a new one for $4000 pretty easy.
EDIT: Sorry if this isn’t the best example.
1 Like
i use custom cable from Triton cable made with Neotech UPOCC Silver cable and Furutech connector and ViaBlu splitter. These are some of the best silver cables and doesn’t cost anywhere near $1050. Something to look into if you want an upgraded cable. There are other custom cable mfgs as well for SR1a
1 Like