"It is for this reason that my cables are very thick. the conductors can wind along the periphery of a central support core. My cables aren’t shielded so that ground does not pass as usual by an insulating copper braid but can be worked and modulated independently. On my speaker cables for example, mass centering runs on a second nucleus. It is a kind of coaxial architecture where I can control the volume of items. See my speaker cable Cristal 1.3 +++ which allows its owner to modulate the size of the mass by directly influencing the size of the sound and presence. My cables are passive in that they contain no filter but Cristal 1.3 +++ for instance offers an adjustable path. I also offer various interconnects differentiated by slightly different mass yet with a big impact on the sound. The careful choice of interconnects allows an owner to better adapt to the components which they connect. It’s a difficult concept to sell but the reality of listening to make a correct choice prevails. The three interconnect models I sent you [below] are sufficient to cover 90% of all eventualities. Speaker wiring is a similar deal and the Cristal 1.3 is very balanced and runs the same composition and architecture on both sides of the signal. But there are systems which will need more low frequencies, more heat and presence so it is for these that I adapted Cristal 1.3 to Cristal 1.3 +++ by versatile modularity on the return legs whose elements are superimposed.

"In short, the composition of the hot leg balances the full spectrum from the treble extreme to the deepest bass through the midrange, all managed with Litz wire and my geometry. Everyone knows that it is at these frequency bands where we meet the biggest problems of excessive emphasis overlaying the neighbouring frequencies. Here I acted on mass and volume since unlike most cables, mine are not shielded. I can play with their composition. This allows me to build up the conductor surface to increase presence and velvety soft textures. Increasing the size of the mass is not necessarily better. Sometimes it must be reduced because the sound gets too soft. That's why we proceed by trial and error. In some cases it will be impossible to use my cables when proximity of a TV, phone or other radiating device causes interference. My cables are designed for demanding audiophiles and hifi systems, not common household appliances. They are not expensive relative to their performance, quality and quantity of work. They are entirely handmade in Switzerland and some materials are exclusively manufactured for us. My cables are not a single loom but a progressive range whose various choices are meant to return a hifi system to a state of equilibrium."

This discourse revealed a different approach to cable design philosophy. Mr. Brandt started with the premise that the audio chain does not accurately reflect the acoustic ideals which it is supposed to reproduce. His cables therefore are not designed to simply act as traditional pass-through devices but rather, as custom tuning agents to achieve corrective system matching. Such a balancing methodology is sometimes pursued on a hit’n’miss basis by end users themselves but this marked the first time where I saw it attempted as a controlled graduated lineup by a single manufacturer. Whether or not theory would play out in practice remained to be seen. It was time to take a closer look at the cables and see what I was dealing with.

These products have all the size and feel of the luxury creations they purport to be. The visible construction is thick of girth and somewhat stiff but still flexible enough to manoeuvre into position. My loaner speaker cables employed nylon sheaths with massive off-white end caps whose final pig tails terminated in Elecaudio TE-FS50NP spades on the speaker end and Tellurium copper Yarbo SC-1020RC bananas on the amp side. The interconnect cables were finished in a soft black cotton braid labeled Masse 3, 4, and 5 and came equipped with Eichmann copper bullet plugs (Neutrik Sommer XLR are available for a surcharge). A luxury CHF 600 surcharge adds leather wrap sourced from a local master saddler. Something for the potential purchaser to bear in mind is that the body of these interconnects is very wide so oversized RCA spacing on your components will be mandatory. The time for looks and feel over, on with music selection and system assembly. Musical choices were divided between the Wyred4Sound Music Server and 1’441kbps Tidal streaming. Here is a random sampling.

"Susato: La Morisque" from the 30th Anniversary Sampler [Reference Recordings RR-908] is another fabulous Professor Keith O. Johnson number featuring Jerry Junkin conducting the University of Texas Wind Ensemble. This piece has a generous warm acoustic with layered depth which commands startlingly fast attack and punctuated detail. "Ave Maria" and "Le Banquet" from by Vincent Belanger [Fidelio FACD032] were recorded in 2010 by engineer Rene Laflamme in the Saint-Matthias church of Westmount utilizing purist stereo microphones, tube analog gear and DXD encoding. This recording makes the most of real acoustics, organ and choir to showcase Mr. Belanger’s incredible delicacy and fire on the cello. The album is a crackerjack compilation of varied pieces from furious fun to emotional poignancy.