For Vivaldi Clock and the connections to the DAC and Upsampler:
Should both pairs be the same brand and model (quality) level?
If one has differing brands, or the same brand but different model/quality levels, where should the “better” pair of clock cables go? To the DAC or to the Upsampler?
Should both pairs be the same length ie 1m or 1.5m - or does it not make a difference?
If the two sets of clock cables are of differing lengths, ie 1m and 1.5m, where should the shorter or longer length be deployed. This assumes one believes there is a difference between 1m and 1.5m lengths (not saying I do or don’t)
Of course the clock cables referred to above will be high quality and fully 75 ohm compliant - as I believe clock cables make a difference.
Assuming that the better cables sound preferable to the less good ones you have a choice of upsampling an inferior input or downgrading the result of the optimum upsample. There is , of course, no obvious correct answer so my advice is to ensure that all are of comparable quality.
In theory and as a rule of thumb, digital cables under 1.5m could be subject to failing to adequately attenuate reflected signals due to impedance mismatches at the connectors. However , theory does not guarantee that the event actually occurs nor, more importantly, that it is audible. I would however err on the side of caution and buy 1.5m lengths.
I had an interesting conversation with the Siltech distributor, and another with a forum member.
Siltech has sophisticated measuring devices in the factory and went through the exercise of measuring a 1m, 1.5m, and 2m cable. The equipment showed the best to be 1.5m. On the flip side, as you mentioned, they questioned whether it is audible or not.
The forum member stated, if I understood correctly, the most important factor is for the cable to measure a proper 75 ohms. This attribute trumps (sorry ) length
Deviating from my original question (clock cables) I assume the theoretical “ideal” 1.5m is also applicable to the AES/EBU cable as well? Obviously 110 ohms being the required impedance.
Assuming for a moment you are using different cables (be it brand, model, length etc.), your preferred clock cables should be connected to the DAC - that’s the connection that is most directly correlated to the resultant sound quality. From a purely technical perspective, the jitter on the DAC’s internal clocks being output to the Ring DAC is the mission critical bit, so reducing the DAC’s jitter is more important than anything else here. If you find you have a preference for the sonics of one type of cable, use that into the DAC instead of the Upsampler.
There isn’t any need to match the lengths of cables used across the Upsampler and DAC. As long as each of the cables in isolation doesn’t cause any issues (such as any of the cables being out of spec), there’s no inherent need to have the cables matched.
Thank you for the reply. Definitive and to the point.
Do you care to weigh in on this question -
does length matter (1m vs 1.5m) for either clock or AES/EBU cables?
My sleuthing had me run across the topic of reflections however it seems meeting impedance standards is more important than length, and reflections would more readily occur with a cable out of spec rather than with one too short.
When I purchased my prized Rossini (in the middle of the pandemic) I decided to go all out for Transparent analogue cabling of reference standard (having upgraded from plus through super). Having tested used older model Reference cables against new I really could’nt hear a difference. So I obtained through both UK dealers and eBay used Reference interconnect and speaker cabling. But what about my new Rossini clock to Rossini DAC? Of course (for me) it had to be Transparent. So I purchased (through a dealer) a second hand (3m) Transparent 75-Ohm BNC to RCA digital cable. I cut two 1m lengths and reterminated with Furutech BNC connectors, using Furutech branded silver solder. That’s my Rossini sorted, sounds great but is it truly 75Ohms still? I did cut the rest of the cable in half making two 500mm cables with Cinch BNC connectors (silver soldered) both of which were succesfully sold. I really do need my cables tested but am reluctant to spend money on test equipment to be assured they are still 75 Ohm impedence. Anyway my transparent (modified) digital clock cables look great anyway. Also they are directional (Transparent cabling is directional as arrows are in place visable beneath the cables mesh covering). Can I hear a difference wrt to the direction I have connected them? - no way, but good branding and marketing I’m sure.
Gregg, the cable length is not so much concerned with creating reflections but that it is long enough to attenuate the reflection has it passes along the length. The rule of thumb that has been calculated is a minimum of 1.5m. However any degree to which this has significance in a practical system is difficult to to predict.
Since the forum seems to be riding a clock “wave” here we go:
I am in the process of completing a full loom of Siltech cables for my Vivaldi stack and would like to know the process of break in for clock cables connected between the Vivaldi clock and both DAC and Upsampler.
Am I correct in assuming the Vivaldi clock CONSTANTLY sends a signal through the clock cables? This would imply the cables will break in whether music is playing or not.
Yes, that’s correct. The Clock constantly sends out a signal if powered on - music does not need to be playing through the system for this to happen. You just need to connect each of the cables at both ends and power the system up.
I’ve had my Vivaldi clock for a few weeks now and I found that I’m quite sensitive to the improvement. I’ve had a couple of experiences where I bumped a setting by accident and the clocking reverted to the Master instead of the Vivaldi external clock. Blind to the change, I noticed a flattening of soundstage and some veil. Because I think the clock is important I’ve started experimenting with cables. So far I’ve used a pair of Wyde Eye and Belden which the seller supplied with the unit. I then moved to a set of AcousticZen Silver Bytes which I had lying around and I felt they were a modest improvement. I then ordered a pair of 75ohm cables for PineTree audio from a guy I trust…still budget at about $200USD. These sound better to me with more detail. Pine Tree (www.pinetreeaudio.com) builds excellent custom budget cables of all types. I now have someone else I trust building me a pair of 14awg with teflon insulation to try…and also am considering some Blackcat mini-trons that are up for sale. Not sure where this journey will end.
Great cables.
Myself, @all2ofme, and @magicbus (my possee ) are all using them.
Clock cables are the only thing missing from having a complete Siltech loom, so a pair will be arriving shortly. If they better my Black Cat Mini Trons I will purchase a second set. TBD.
Although I am sure that the cables are good and was sorry to learn of the passing of Chris whom I had great memories of having dealt with him, I must point out that copying text from other websites should be avoided.
Not only is this contrary to the rules of this forum it can give dCS huge problems being proprietors of this forum as without permission it is an infringement of copyright in most countries. Although this is not likely to cause the originators any problem in this case you cannot be certain of their reaction.
If you want to bring attention to material from third parties please provide a link and not the text itself.
I don’t have the clock currently. I do use a clock cable between the DAC and the transport, an Acoustic Zen MC2.
Do those who experimented with clock cables feel it was also very apparent in the position I have one in or is it more clear when having the clock?
