Sextet V16 and V16-T
Sextet V16 is the new for
2016 revision* of the "original" Varidig Sextet.
The Sextet V16-T has a STEALTH tuning
collar**, the Sextet V16 (without the "T") doesn't have that
Except for the tuning collar, the
V16 and the V16-T are identical.
The Sextet V16 cables are available in S/PDIF (coax, 75 Ohms ) RCA-to-RCA, RCA to BNC, and BNC to
BNC configurations, and balanced AES/EBU (110 Ohms, XLR-to-XLR) configurations;
BNC to BNC Sextet can also be made in 50 Ohms configuration - on
a special request. Since the Sextet cables are made by hand -
i.e. NOT by a machine, we can make them in about ANY realistic
characteristic impedance - say, from 20 Ohms to well over 200
Ohms, but a need for such cables comes very seldom.
Design history and
It took two years to improve on the Sextet V14 -T and
design and test the V16-T version**. The main difference is
in the tuning collar's "active" media - which is a
proprietary, STEALTH-made conductive ferromagnetic composite,
versus non-conductive ferrite in the V14 version.
Below are our beta-testers comments on STEALTH Sextet V14-T and
V15/V16-T. Please note that V15 and V16 versions are exactly the
same (the difference is ONLY in markings !) , while the
(previous) V14 version is different by design, markings
I now feel
confident enough to report my conclusions about the Sextet V14-T
in time for each cable was about 14 days.
were used between my Wadia 971 CD transport and Wadia 931
digital control/switching unit ( the Wadia 900 series is a 4 box
design with double glass optical connections for word clock and
data, (most glass cables are vastly inferior to your Sextet but
the best from Aural Symphonics –the red first gen. Optimism
(with the special polished metal tip) and the blue $5000 Exelon
the later regrettably out-of-production came close -under
certain system conditions).
was used for data transfer, while the “red” Optimism was running
listening was done with Reed book 44/16 CD´s but curiously the
musical and analytical resolution is still better then I hear
from most even ultra expensive high end systems using hi-rez-files
as a source (this is only possible whe the disks get the full
treatment: Audio Desk disk edge cutter, disk black painting,
Nespa Pro light flashing at 120 seconds, surface spray, Bedini
starting the tuning process:
I moved the
collar in 3cm steps alongside the cables and took a short listen
(not considering the first and last 10cm of the cables)
process I made short notes, later returning to remarkable
beginning it was hard to make decisions but at the end, with the
help of a friend visiting me, it was a straightforward process
to find the best position for each cable.
musical aspect was very close to optimum a few minute shifts
finally made it clear.
audible shift to finally log-in the “sound picture” was only
about 3 or 4mm.
have a distinct “character” which doesn't change while shifting
for me the
best position is simply the one with the greatest clarity which
let me hear the most detailed sonic signature of every
instrument and voice in the recording.
compare it with the effect of focusing a lens.
opinion moving speakers in the right position is too complex to
compare it with the effect of shifting the collar)
after then I
verified the effect of the Shakti Stone:
to be done carefully, because a Shakti in the wrong position can
also darken or over damp the sound
in the right
position and with the appropriate distance to the cable I heard
more powerful vibrating energy and “image-density” !
this final tuning process it was an even greater pleasure
hearing a well recorded female voice swelling, getting louder
and louder without loosing her physical dimension (as opposed to
homogenous flat sound) captivating the listener with
harmonically rich full timbre.)
(I don't now
if I could succeed in illustrating the difference a Shakti Stone
description of the cables ( as I hear it):
significant is the darker tonal balance of the V14.
a bit of
high frequency information is missing with the V14 –(the ferrite
I have heard
a similar tendency in some “overfiltered” designs.
get me wrong the V14 is still very resolving in the highs, but
by comparison with the V15 there is a considerable amount of
with the V15
listening to Vivaldi's four seasons let me hear a beguilling
sparkle and shimmer floating above the orchestra
between notes the V14 gives a more “blacker” background, while
the V15 sounds more atmospheric, keeping the lights on and let
me better feel the ambience of the hall.
with the V14
the decay of the harpsichord sounds a little damped.
the violoncellos got a drier, tighter and spectacular raspy
imagine the V15 akin to the acoustics of a wooden paneled
chamber, then adding some absorbing foam and get the sound of
listen I thought that the V15`s more liquid slightly lasher
presentation might result in obscuring some detail ( in the
analytical sense) but this was not the case.
I als found
the liquid flow of the V15 more natural relaxing and appealing.
version of the Sextet has a similar tonal balance then the V15
but is significantly less controlled with an inherent extended
reverberation which tends to slightly smear information (it is
simply not as accurate but nevertheless can be very pleasent to
I will not
rule out that people who are not preliminary listening to
classical music or voices and like a tight, punchy sound might
resign natural harmonic overtones and prefer the V14.
choice is the V15 !
will install the V14/15 in an Wilson, Spectral based system to
explore if my findings are consistent in other systems.
I hope to
have provided sufficient comprehensible and useful descriptions.
evaluated the Sextets in another system together with one of my
consists of an EMM Labs digital front end, Spectral
amplification, cabling from MIT and HB design, Wilson speakers,
extensive room treatment.
He is an
audiophile, Audio dealer and musician in one person –a rare
combination -playing percussion in an Austrian symphony
are similar to what I heard in my own system but with slightly
different emphasis on which sound aspects matter more or less.
I want to
give you an example that illustrates (our) thoughts and emotions
we felt comparing the cables when listening to an ride-cymbal.
it sounds if
different cymbal types were played depending on which cable was
with the V15
the cymbal is thinner pronouncing extended overtone shimmer ,
while the cymbal with the V14 is thicker and pronounces the
(physical) metal attack with a lower tone, decay is shorter
because of the different frequency spectrum.
…Here are some of my thoughts after
listening to the V15. First of all, this is the finest Digital
Cable that I have ever heard. Now that I say that I feel that
this Cable is for the Audiophile that is going to tweak his
system to very fine tolerances. At one point I was listening to
Eric Bibb, a Blues Singer. He has a habit of producing fine
recordings. And that's rare for a Blues Artist. At first I
thought his voice was out of phase with the rest of his group.
But, I went up and just tapped on the side of one of my Tidal
Agorias. I had no idea if my speakers even moved since they
weigh 550lbs each. But Eric Bibbs voice just snapped into focus.
There was no phasey effect at all. His lead guitar player who
was standing to Bibbs left and placed about four feet back was
alive, dynamic and wonderfully focused. The same could be said
for his Drummer. I could see all the way to the rear of the
stage with no loss of focus, bass, and dynamics. Just so
transparent. This is not the case with the V14. In contrast
Bibb's voice was encapsulated. It sounded as though there was a
soft bubble surrounding Bibb's voice. The problem with this is
that less experienced listeners will think that this is more
focused and detailed. But, a bubble outlining a vocalists head
is not accurate. Close your eyes at a Concert and you will not
hear this encapsulated effect. Also with the V14 as you travel
back on the soundstage things are not as well focused or
dynamic. The V15 really shines in its detailed and transparent
I listened to Dianna Krall's Love
Scenes CD. Again the transparency was spectacular. The subtle
details that give you the ability to more easily envision her
fingers on the Piano Keys was there in abundance. It's trite to
say but, the Piano just sounded more like the real deal. Her
Guitar Player is sharply focused and the dynamics exceed
anything that I am familiar with. Including the V14. If the
recording is well done, the V15 just puts you there.
The V 15 is a very sophisticated
Cable. The Cable is so open, transparent, focused dynamic and
detailed that it's easy to just escape to the performance. It
projects images that just allow you to be transported to the
venue. If everything in your system is dialed in, this is an
From listening to the V15, I can say
that the Cables require the system that they are inserted into,
to be absolutely spot on. If the Speakers are off the slightest,
things are not going to sound correct
I was waiting for that so natural or
Organic Sound that I heard when the Cable was fresh in my
system. After a few days of listening past the fourteen day mark
I feared that this was gone. Lost somewhere where those fleeting
memories of something we heard sound so good disappear. But what
I found was that if you get into the correct range with the
Collar placement most of this comes back. What you have to be
careful of is that you don't place the Collar so that it's
literally sounding more focused but slightly brighter. At this
point, you have to move the Collar back in such a fine amount
that you are asking yourself if it moved at all. Than you have
to be very patient. Walk away if your tempted to move it. This
cable is much more sensitive to movement and touching than the
V14. So, when you hit this point let the cable settle. Yes it
doesn't sound as focused but suck up that organic sound. After a
couple of hours of waiting you will get it all, focus and that
organic sound to die for. The Transparency is also that of a
placid lake. You can see from the front of the stage to the rear
with amazing focus. You can easily locate everyone on the stage
and place them in descending order. And if that wasn't enough,
the micro dynamics are amazing. The word that came to my mind
was technicolor. This gives instruments a very real quality.
They are just there playing to you with an uncanny realness.
So that's where I am in this process.
I will add more as I spend more time with these amazing cables.
And, I will give more of a comparison with the V 14's.
Well if you had any doubt that I'm
nuts this should convince you. While I have greatly enjoyed the
V15, I never felt as though I was getting all of what the Cable
could achieve. So, I took all of the Stillpoints, Apatures, and
Entreq products out of the system. I listened for some time and
decided that I would try and tweak the tuning collar. So, I
moved the collar so that I had to guess whether it really moved
or not. Wow, everything just locked in. Suddenly that organic
sound was back. The stage widened and deepened. I'm elated with
the sound. This is such a revealing and demanding Cable. But
when everything is just so, this is an amazing and by quite a
margin the best available. Cheers to you!
First of all I want to thank you for
allowing me the opportunity to evaluate the Stealth Audio Sextet
Digital V15-T and V14, this has been a very interesting
evaluation and well worth the time spent. I have spent countless
hours listening to both cables mostly alone, however I have had
friends over to help me with the assessment.
One caveat or advantage to assessing both
cables you sent me was in owning 2 Lauferteknik Memory Players
along with the Behold APU768 Pre Amp, this allowed me to switch
back and forth from cable to cable while using the remote. Allow
me to explain. The Behold allows me to connect 2 separate SPDIF
cables while operating 2 different Transports. I used the 16
Core Memory Player connected to the Stealth V14, and the 32 Core
Memory Player connected to the V15T. I allowed the recommended
burn in time by continuously operating one player at a time by
alternating weeks, (total time 3 weeks). In between I never
turned off either Memory Player during the approximate period of
2 months of having both cables in my possession.
I will admit in the beginning I was having
a very difficult time figuring out which cable made the biggest
and most notable impact, this was mainly because I was in awe of
what each cable delivered in pure sonic presentation and
musicality. I also love the signature Stealth Audio Teflon
connectors, I also love their air tight fit and quality build.
I believe it took the V15-T more time to settle in, I will
explain my assumption later.
Using both Memory Players I loaded the same
music tracks to both machines and synced them to play
concurrently. I setup the remote so I could switch between each
player and listened to the same tracks of a CD while listening
for any differences that stood out, in other words, I was trying
to discover if one cable sounded better than the other when I
switched back and forth. In the beginning I found it very
difficult to hear any major difference. I made sure each Memory
Player was configured exactly the same. I even used the same
make and model power cords as not to lend an advantage to either
After a good week after burn in, I was
almost convinced that the V14 was the more dynamic and smoother
sounding cable. I even had a friend over who helped validate my
assessment. Both cables delivered flawless sound staging,
incredible mid range, and voices to die for. However I was
expecting a bit more from the V15-T. It really wasn’t until I
just left my evaluation for a period of time and came back to it
with the mindset of not expecting the V15-T to outperform the
V14 simply because of the higher model number and the ability to
tune the cable. Upon returning to my evaluation I swapped the
cables and started over. That’s when I heard it (BAM). Someone
opened the flood gates and the music poured in….the density of
the sound was incredible, sound staging was deeper with
increased dimensionality almost 4D if there is such a thing.
Imaging was spot on, each instrument has spaced out like never
before, the music cued up with such accuracy in speed from start
to finish and the transients were defined to a “T” very fast and
accurate. These cables allowed my system to perform
Upon switching the cables around, I
wondered, How could this be…..why is the V15-T now performing
better on the 16 Core as opposed to the 32 Core Memory Player.
To make a long story short, I had missed setting up the 32
Core’s up sampler so the 16 Core was at a distinct advantage. I
corrected my mistake, swapped cables and listened again. I would
not be honest if I said the V15T blew away the V14, however
although both cables performed better than any digital cable I
have ever owned, I have never heard my system sound so
immaculate. As though I did not recognize some of the material I
was listening to, everything just got better, especially with
the music playing out of the 32 Core.
The Stealth V15-T is a remarkable cable. At
first I was unsure how far to slide the tunable collar, what
increment should I use? 6 inch, 12 inch? With the help of a
friend I settled on both. Then I found that it best to shorten
to approximately 4 in, In my system I was able to detect a
substantial difference when the cable was almost mid-way past
the output of the Transport (Memory Player). I felt beyond
midpoint and the closer I approached the input of the pre amp,
the sound got thinner. The closer to mid-point, my friend and I
reached consensus that the Stealth Audio V15-T digital cable
rendered a sonics we have never heard before. At that point I
have not listened to the V14 due to I have spent the remainder
of my evaluation on the V15-T.
The V15-T in my opinion can be your best
friend or your worst enemy in terms of reproduced audio. If this
cable is not setup properly it sound like pure crap, please
forgive my example, however at times I thought the cable was not
engineered or built properly, however once I reached the sweet
spot, I am convinced there is no other cable on the market that
can compete. I also love the fact that the cable allows you
diversification. To prove this, I noticed when I had it
installed on the 16 Core Memory Player the cable performance was
stellar, however when I reinstalled on the 32 Core Memory Player
I had to make a slight adjustment of the tuning collar to
capture and exceed what I had heard on the 16 Core.
I can go on and on and on, about the
Stealth Audio V15-T’s sonic attributes, the quality of the
cable, durability, and second to none connectors. This cable
once installed in an audio system will speak for itself. It’s a
truly remarkable cable, in my opinion and experience; it’s by
far the best I’ve ever heard in my system. Hands Down.
Moreno Mitchell, USA
REVISION HISTORY and ADDITIONAL INFORMATION*
Sextet V14 and V14-T
The Sextet V14 features a new,
completely redesigned all solid silver/Teflon STEALTH RCA
connector - optimized for DIGITAL signal transmission -
which is quite different from analog
Another new (optional) feature in
the Varidig Sextet V14 is the tuning collar - shown below.
Moving the tuning collar long the cable allows to fine-tune the
sound. The initial position of the collar is approximately 6 to
7 inches from the transport (the transmitting end of the cable).
The optimal position of the tuning collar is system-dependant.
it is recommended to fine-tune the Varidig Sextet V14T after it
is broken-in (i.e. approximately two weeks after its
installation in a system) - moving the tuning collar along the
cable for find the best clarity and naturalness of the sound.
Our tests show that on a high-resolution system with high
quality digital units moving the tuning collar along the Varidig
Sextet V14T creates clearly audible changes in sound, and with
careful tuning the sound quality with the Sextet V14T surpasses
the original Sextet by a considerable margin.
The "official" name for the
Varidig Sextet V14 with the tuning collar option is "V14T"
The "original" Varidig Sextet
(2008-2013) description and features:
VariDig Sextet is our digital cable design to "match" our flagship
analog interconnect, the Sakra.
The Varidig Sextet cable consists of six identical, individually shielded Varidig cables, matched in length, spiraled together and run in parallel; the center of the cable is hollow and contains a flexible
blank (no metal or wire) Kevlar reinforced supporting "guide" (which runs along the
The concept of running several identical digital cables in parallel is similar to
"stacking" several DAC chips, employed in a number of the best DA converters;
usually, such configuration increases low-level linearity, as well
as subjective clarity and overall resolution.
Like all advanced STEALTH cables, the Varidig Sextet is made of
extremely thin wire, and constructed entirely by hand. The impedance matching variable-along-the-lengths Varidig geometry can only be
handmade (including its hand-formed Teflon insulation). The
Varidig Sextet is not available in the bulk - spooled,
unterminated form, it cannot be machine-made or cheaply reproduced or copied
An assembled S/PDIF (RCA- or BNC-terminated) Varidig Sextet cable is very light weight and extremely
The "original" Varidig Sextet cable (manufactured prior to
2014) is shown below.
The balanced AES/EBU version of the Varidig Sextet is not as
flexible as the RCA version because of the outer shielding. The
AES/EBU cable is noticeably thicker in the middle, compare its
ends, due to the impedance matching geometry of each of the six
individual internal Varidig wires its composed of.
The latest 2010 balanced version is made with the proprietary
STEALTH XLR connectors (machined carbon fiber shells,
dielectric and solid silver contacts):
Varidig Sextet AES/EBU
SOUND & REVIEWS
- Srajan Ebaen
- According to the feedback we have received from more
than 100 Sextet users, testers and reviewers,
not only the (expected) overall resolution and clarity is
excellent, but also bass is profoundly better than any other
cables the Sextet was put against, there is a noticeable improvement in dynamics and the subjectively perceived
sound "body", as well as overall "sense of
- Below is the link to the feedback we have received form
the Indra beta testers; several of them also tested the
Varidig Sextet, and submitted their opinions: http://www.interlinkhouse.com/products/indra/beta.htm
The "Varidig Sextet" FEATURES SUMMARY
- innovative "stacked digital cable" concept;
- proprietary impedance matching geometry;
- hybrid shielding;
- Teflon® dielectric throughout;
- extreme S/PDIF cable flexibility;
- state of the art impedance-matching connectors;
- advanced termination technique;
- standard Cryogenic treatment (special extended audiophile cycle)
- built-in gradual strain relief;
- internal Kevlar cable support ;
The Varidig Sextet cables are available in single-ended
RCA-to-RCA, BNC-to-BNC, and BNC-to-RCA, and balanced XLR-to-XLR (AES/EBU) configurations.
emphasize the type and the quality of the connectors used
because - for digital cables - connectors
technique contribute at least as much to the sound quality as the
design and geometry of digital cables themselves.
PRE-2008 REVISION HISTORY*
In early 2007, we started experimenting with Ultra-modified
PTFE (Teflon material), which lead to development of our
newest proprietary connectors - both RCA and XLR - that use this
type of Teflon instead of the conventional PTFE. The Ultra-modified
PTFE features superior dielectric properties (reduced permeability
and a lower dielectric constant - which offer even lower energy
storage and further reduced "crossover-type" distortion
in cables and connectors),
better mechanical characteristics (significantly lower deformation under load,
higher elongation and tensile strength - these qualities improve
the "grip" of the STEALTH connectors on the chassis
mounted counterparts), plus a pore-free and extremely smooth surface
- preventing contaminates from being trapped in high purity
applications. Appearance-wise, the Ultra-modified
PTFE is similar to the PTFE, the only visual difference is a
shade of blue in the Ultra-modified
The latest prototypes of the STEALTH new connectors are shown
below. Starting 2008, we supply the Varidig Sextet cables
with these new connectors. Please note the machined Caron Fiber
shells of these new XLR connectors - versus solid Titanium shells on the
2006/2007 connectors, and multiple grooves on the larger Titanium
ring on the RCA connector. The center pin of the RCA connector has
also changed: it now has a rounded tip and microgrooves for a
better contact. If a contacts enhancer is used, these grooves
would "hold" it better than a smooth pin.
We continuously work on improving our cables*, thus the actual production
cables (and connectors) may look a bit different, and
the pictures below shows a general appearance of the 08
connectors, and are placed here for information purposes
Even the beta S/PDIF Varidig Sextet made use of a
digital RCA connector. This connector is similar to the Indra connector, but modified for digital application. These digital STEALTH connectors are very light weight, but robust; they are made of Kevlar, carbon fiber composite and machined titanium, with exclusively Teflon dielectric and ultra light 99.99% pure silver contacts); in order to achieve a true 75 Ohms characteristic impedance, the geometry of this digital connector is different from its Indra brother: it's larger in diameter at the termination point, and the center pin is hollow, but not cylindrical; in addition, a machined Teflon insert supports and positions the wires as they approach the termination
The 2006 and 2007 balanced AES/EBU Sextet used the proprietary STEALTH
XLR connectors (machined Titanium shells, solid silver contacts,
machined PTFE dielectric)
The early (pre-2006) Sextet AES/EBU (balanced) beta version was made with XHadow XLR
connectors. The male X-Hadow XLR connector works like a conventional XLR,
but the female version of this connector is not locking, and it
also lacks the "guide" that guarantees the correct
position of the connector towards the pins on the panel mounted
XLR counterpart, so it's necessary to be extra careful while
connecting the female XLR end of the cable to the equipment. None
of the production Sextet cables were made with X-Hadow
Suggested retail price for an RCA-terminated
Varidig Sextet V16 (with the STEALTH proprietary Titanium/Carbon/Teflon/silver
connectors) and the Varidig Sextet V14 is $2,400.00 for 0.6 meters, $2,800 for 1 meter,
and $1,100 for each extra meter after 1 meter;
Suggested retail price for a balanced (AES/EBU)
XLR-terminated Varidig Sextet V16 (with the STEALTH proprietary
Titanium/Teflon/silver XLR connectors) and the Varidig Sextet
V14 is $3,700.00 for 1 meter
length (1 meter is the shortest for the AES/EBU configuration),
and $1,300 for each extra meter after 1 meter;
Suggested retail price for an RCA-terminated
Varidig Sextet V16T (with the STEALTH proprietary Titanium/Carbon/Teflon/silver
connectors) is $3,200.00 for 0.6 meters, $3,500 for 1 meter,
and $1,100 for each extra meter after 1 meter;
Suggested retail price for a balanced (AES/EBU)
XLR-terminated Varidig Sextet V16T (with the STEALTH proprietary
Titanium/Teflon/silver XLR connectors) is $4,400.00 for 1 meter
length (1 meter is the shortest for the AES/EBU configuration),
and $1,300 for each extra meter after 1 meter;
INSTALLATION of the RCA-terminated Sextet:
One needs to apply a significant force to make sure the
STEALTH RCA connectors are inserted all the way onto the RCA female (on the back of an equipment piece). When you insert these connectors, the feel is like
forcing a knife through a cold chunk of butter: it goes slowly and
smoothly, but with a very noticeable resistance. This usually requires either approaching
your equipment rack from behind, or partially removing a component
from a rack to have a clear access to it's back panel to insert
the connectors using the axial force (along the connector's
axle, along the cable); The internal part of the connector is
made of Teflon, and the internal diameter of the Teflon cylinder
is slightly smaller than the RCA female diameter. When the
connector is fist connected, the Teflon cylinder expands to
reach the internal part of the titanium housing (the outer
titanium ring on the connector). Once connected, the connector
sits very tight on the RCA female, and the three solid silver
strips, that make the actual contact, are pressed to the RCA
female outer part. If the RCA female was cleaned right before
inserting the STEALTH RCA connectors into it (with a contact
cleaner or with simply rubbing (isopropyl alcohol), the
connection between these strips and the RCA female is very firm
- close to air tight, and it won't oxidize or deteriorate
*We continuously improve our cables and connectors, and add improved and extra features to our products – as we design and test these improvements. The general sonic character of the
improved cable remains the same, it just becomes progressively better and better.
Eventually, with a number of improvements added, the cumulative effect of these improvements becomes significant – i.e. a cable works clearly, considerably better. At this point, we introduce a new revision to a cable model, which summarizes all improvements since the initial release of a particular model (or after the previous revision), making these improvements and features standard for the latest revision.
It’s worth noting that we keep our research and experimentation separate from production, i.e. All cable and connector changes are thoroughly tested before going into production. We never make changes just for the sake of making changes: All improvements that we introduce make perfect and clear sense from the engineering point of view, and are always tested sonically We make absolutely certain that these changes are an actual improvement (i.e. NOT a degradation in any area); we pride ourselves that – since 1999 up to date - no mistakes, errors, or wrong moves have been made or noted. Before adding any improvement, and especially releasing a new revision to any of our products, we always make absolutely certain that the latest revision is better than the previous in each and every respect – being it sonics, appearance, reliability or user convenience.
STEALTH tuning collars
Based on numerous listening sessions with various equipment, a
STEALTH “T” cable with a tuning collar in the optimum
position, the overall result (sound) is better than with
the cable without the collar, BUT – with the collar in incorrect
position the sound is not as good as with a cable without the
The best sounding tuning collar position is different for every
two pieces of equipment which that cable connect, thus it is
impossible to point at the same spot (location) of the collar,
giving the same sound as without the collar.
Finding the best position of the collar is a lengthy process and
requires some time and patience. Usually two people are needed
(one is listening, and the other is moving the collar). It is
even better to have several people, and listen together.
So, usually, an evening, or even entire day can be dedicated to
finding the best collar position – for a particular audio
But the result is worth the effort!
In general, finding the best position of the sliding tuning
collar on a STEALTH audio cable is similar in effect to finding
the best position (location) of a pair of speakers in a room: an
audio system sounds MUCH better if the position of the speakers
in optimized, and the same audio system doesn’t sound good with
wrong (incorrect) position of a pair of speakers in a room.
On the Sextet-T cable, start with the collar positioned some 8
inches from the SOURCE end, and slide in ½ inch increments and
listen at every position. Usually, it takes about one hour to find the best
position. - ST