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Cable Asylum: REVIEW: Luminous Audio Synchestra Signature Luminous Audio Synchestra Signature Cable by Celluloid

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REVIEW: Luminous Audio Synchestra Signature Luminous Audio Synchestra Signature Cable

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Model: Luminous Audio Synchestra Signature
Category: Cable
Suggested Retail Price: $499 a meter
Description: Interconnect
Manufacturer URL: Luminous Audio Synchestra Signature
Manufacturer URL: Luminous Audio Synchestra Signature

Review by Celluloid on September 28, 2001 at 13:59:45
IP Address: 168.122.14.38
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Reprinted--this time in proper format for archiving

Cables have to be the absolute worst component to audition at an audio shop. Despite the outrageous profit margin built into the sale, the staff at even the most pleasant of audio salons don’t want to spend an afternoon swapping out wires for a persistent customer—and I can’t say I blame them. Since there are so many brands and types it must stand to reason that there is no one ideal cable—it depends entirely on component synergy—or so I thought before listening to Luminous Audio’s Synchestra Signatures interconnects. To cut to the chase: these cables have not only taken my own system to a new level of performance—but also every one of my friends’ rigs as well. These are as close to a perfect cable as I have heard and have permanently replaced my XLO Signatures and Cardas Golden Cross interconnects. While auditioning during the last year I managed to commandeer nearly a dozen sets of various cables—so my remarks should be taken into this context. The average time in system of these various other silver and copper ICs was two to three weeks per set for the good ones, less than a day for others!

The Synchestra is cream-colored, of average overall diameter, with silver Cardas connectors, Siltech-soldered, zero (some call them "single") crystal copper not unlike Truthlink, or Acoustic Zen, both of which I also enjoyed until Luminous showed up—so perhaps there is something special about the this technology. I bought mine unshielded, as recommended. The copper cable appears to be suspended in an air dialectric, surrounded by the rubbery, but attractive outer "tubing." I learned of the Synchestra first through Marty DeWulf’s excellent "Bound for Sound" (a well-deserved plug.) Marty has proved to be on the money (but not on the take!) more often than most reviewers. Also, Bob Crump of Asylum fame seems to have had a hand in the final tweak of the product, or so I recall. (I’m sure Bob will correct me!)

The very first thing one notices about the Synchestras is the positively HUGE sound—big, bloomy, and extraordinarily three-dimensional. This can be so disconcerting at first that one focuses on this one attribute to the exclusion of all others. The initial time I dropped them into my system Sinatra/Jobim, was in the CDP and from the opening track the sheer size and volume of the singers completely knocks you out. There is an almost exaggerated size and body—as if you can literally "see" and feel the presence of the vocalists, it was almost spooky. Though I have heard this CD many times before and thought no surprises were left to discover—there was a new, bold and palpable presence to the vocals on "Girl from Ipanema." The listener’s emotional connection to their delivery of lyrical lines was never so definitely communicated—these are easily the most passionately direct and dramatic cables I’ve heard. The next thing I noticed: ultra quiet--creating a completely black, relaxed, if ever so slightly "velvety" deep background. Most of that "tension" implicit in digital seems to be pushed aside or eliminated entirely. While they aren’t what I would call forgiving, the Synchestra does seem to remove a good amount of noxious digital hash, allowing one to listen for hours to many inferior CD masters. While playing John Hiatt’s "Slow Turning," a friend listened for a few minutes and said: Wow! I never realized so clearly that they’re playing acoustic instruments!" That is an effect I continually noticed. A lot of the electrical jingle-jangle, hashy congestion I once thought to be part of the recording or digital mastering turned out to be just artifacts—when cleaned away the sound becomes pristine, clean, and open. Acoustic instruments don’t seem so electronical–they just jump out, surely and seductively without odd harmonic artifacts. Unlike, say the Alphacore, which could get some of this incisive detailing right, but without enough smooth expression or body, the Synchestra is also lush—a very full-bodied deluxe sound I associate with Cardas and Magnan.

The silence between notes and phrases-- even in complex passages--is exceptional; almost every other cable seems a bit noisy or confused. This might be its greatest virtue in the end, since the totally quiet and relaxed sound of the cables seems the very attribute that allows the complex layering of instruments in a soundstage appear so cohesive and rock stable. On acoustic instrumental passages you get a consistently open and spacious sound-- reminding me of my first listening experience with SETs on my Sonus Faber Guarneri; effortlessly wide and deep coupled with a very sensuous, tactile presentation. The Synchestras are also fast and razor sharp on transients. The attack and decay are exceptional. On some cables, notably the silver ICs and Goertz, there is also an extreme sense of speed, but those seem to me a bit ethereal, dry and thin; lacking in body . With the Goertz I also sensed a lack of depth—all the action seemed to focus in front of the speakers. The Synchestra has this an equal sense of transient speed and attack, but couples it with a lush and full-bodied—and seamless--dimensionality. So not only are those "bits" and pieces that are buried in the mix clearer and more distinct, but presented with aplomb and resolutely integrated into a cohesive whole. No listening hard to pick apart passages. Even dense, busy and muddy recordings ("Wrecking Ball" anyone?) are simplified. On these Daniel Lanois’ subterranean recordings you might even understand the lyrics! But here’s the real kicker: what is indisputable in my experience is the Synchestra’s consistent and exceptional ability to "release" a note. Smoothly and powerfully. The extraordinary dynamic range had me consistently reaching for the remote to turn down the volume, the dynamic contrast (especially on CD) compared to other cables was remarkable. There doesn’t seem to be any energy storage (capacitance?) here…NONE…as if you roto-rootered your cables! (Regrettably, I never auditioned Mapleshade’s battery IC$, but what I understand this is the hallmark of their "sound." I have also noticed this virtue typically championed in Japanese ICs based on thin gauge, air-dialetric interconnects similar to Synchestras.) The leading edge of the music jumps, attacks, pops right out of a silent, black background in an exceedingly dramatic fashion, with extremely long decay and fantastic layering of instruments.

But not, as with so many dynamic cables, presented as a peaky forwardness centered in the midrange frequencies. This is a top to bottom power, with a tactile, "chewy" and even "plush" quality. And the depth? One hears the supporting players deep and far into the midfield and background. (You’ll be pulling out all those Blue Notes for a second listen.) For all of its dynamic capabilities this is a cable that also captures the nuance and subtlety of timbres exceptionally well. For me it all comes down to how the Synchestras flesh out and integrate those little grace notes and inflections of tone into the bolder strokes of the cables. Most typecast cables into two categories: warm/musical or cold/analytical. I would dodge this question by saying these are about as flat down the middle as I’ve heard. Not unlike the Cardas Neutrals in that regard, but with much more bloom and ease of presentation—and silence! (Which allows the subtle shadings of music to develop in a graceful, tuneful manner.) But they diverge most strikingly from many of the champion euphonic cables because there is no "homogenization effect." Most of these cables turned out upon extended listening to have placed too much of their own character into the music. After awhile everything turned out to sound too much the same: as if one producer had made every record or CD. While this could be an engaging signature, it made the music ultimately boring and certainly not honest. While Synchestras perhaps err ever so slightly on the side of the angels (a slightly discernible warmth) there is no homogeneity to the sound. I’ve been amazed at how much the "character" of each disc is more musical, distinct and coherently integrated with the Synchestras. A winner.

.


Product Weakness: none...that I can yet discern.
Product Strengths: see review.


Associated Equipment for this Review:
Amplifier: Joule Stargate SET monoblocks
Preamplifier (or None if Integrated): Joule LS 100 Mk III (Purist wired option)
Sources (CDP/Turntable): Meridian 508.24, Marantz SACD 1
Speakers: Merlin Millenium battery BAM
Cables/Interconnects: Luminous Audio Synchestra, AZ hologram biwire, B&W Silver Anniversay biwire
Music Used (Genre/Selections): Classic jazz, rock, classical
Room Size (LxWxH): 24 x 16 x 7' plus
Room Comments/Treatments: wooden louvres!
Time Period/Length of Audition: 8 months
Other (Power Conditioner etc.): ESP Power Distributor
Type of Audition/Review: Product Owner




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Topic - REVIEW: Luminous Audio Synchestra Signature Luminous Audio Synchestra Signature Cable - Celluloid 13:59:45 09/28/01 ( 12)