ACCESSORIES/XLR INTERLINKS ASI LIVELINE Sting in the tail

VITAL STATS Cable type XLR balanced Length 1m Directional Yes Conductors Solid core copper hot, solid core silver return, multi-stranded tails Insulation Teflon tubing, Techflex sleeve Capacitance N/A VERDICT A cable that delivers its musical wares with impact and conviction. One of those rare interlinks that makes a very real, audible difference. PRICE R9 300 SUPPLIED BY Ricata High-End Audio 083 223-8698 WEBSITE www.ricata.co.za Jeweller, guitar designer, musician -- Franck Tchang has worn many different hats. But among audiophiles, hes best known for his range of resonators: unique metallic devices that address acoustic anomalies without the need for large bass traps and the like. Tchangs understanding of metallurgy, linked to his appreciation of music, are at the core of a product range (under the Acoustic Systems International banner) that today extends beyond those original resonators. One of these new product lines is the LiveLine family of cables and interlinks. This review lacks both the space and the scope to delve into the technical intricacies of the LiveLine cable. Indeed, very little real data is on offer, despite some concerted searching on the Internet. So, heres what I know. The Liveline XLR Balanced interconnect uses a solid-core oxygen-free copper conductor for the hot signal transfer. It then uses a solid-core pure silver conductor for the return path. So far, so good -- if rather unconventional. But wait, theres more. Spliced onto each end of the interlink is a tail consisting of multiple strands of conductors, each silver-soldered to the solid-core conductor at high temperature in a specific sequence. Each tail consists of a specific combination of gold, silver and platinum conductors. The exact make-up of each multi-stranded tail varies, depending on where it fits into the signal path -beginning or end of the live copper or return silver conductor. It would appear that these innovative tails provide much of the Livelines musical sting ... Connectors are basic Neutrik XLRs, but with some small, anti-resonance holes drilled into the connector bodies. The LiveLine interconnect arrived in a lidded wooden box that looks a bit like a cigar repository. According to the accompanying blurb, it needs about 48 hours run-in time, and a 15 min warm-up thereafter.

I used the review sample to link my Esoteric UX-03 SE universal player to the Electrocompaniet EC4.7 pre-amp. I also had on hand Musical Fidelitys spectacular AMSCD CD deck, and some of the listening for this review was conducted with that player. The other ancillaries included Vivid Audios V1.5 loudspeakers, Electrocompaniet ASW120 power amplifier, and a variety of single-ended and balanced interlinks. I assembled a varied collection of CD, SACD and vinyl material, including the Holly Cole Trios sultry Dont Smoke in Bed; an Esoteric-commissioned SACD of Gunter Wand conducting a sparkling performance of Beethovens Seventh Symphony by the NDW Symphony Orchestra, and a Concord Jazz compilation of live recordings at the Montreux Jazz Festival. Im used to having to describe fine nuances, accents and slight tonal deviations when it comes to cables and interlinks. Big, instantly noticeable differences are rare. The Liveline interconnect provided one of those rare occasions. The difference was instantly noticeable -- so much so that I initially deemed it impossible to be the result of the cable swap. However, nothing else in my system had changed. The Liveline introduced an effortless flow and momentum to the music that was absent before. That alone made a huge difference, allowing the music to ebb and flow with an intensity and a rhythm that made other cables sound stifled and constrained. If the pace and impetus was impressive, then the ability of the Liveline to resolve fine flecks of detail and to use these to heighten the sense of realism -- of being there -- became increasingly apparent as the listening session wore on. There was real depth and foundation to the delivery, with a notably muscular and authoritative bottom end, a smooth and richly rendered midrange, and treble that was open, detailed and accessible, without any smudging, but also steering clear of too much bite. The overall impression was thoroughly musical and utterly convincing, with a sense of balance and realism that allowed access not only to the sonic content of the recording, but also the emotion of the performance itself. The Liveline XLR is a fine cable by any standards, and provides an interesting counterpoint to my reference Nordost Tyr balanced interlink. The latter sounds more analytical, and perhaps marginally more revealing, but also slightly colder. The Liveline has a wholesome presence that is musically satisfying. In both instances, running the same cable throughout -- source to amplification, amplification to speaker -- is likely to yield even more succinct results. Be that as it may, the ASI Liveline is a cable worthy of high praise, and given what top-end interconnects can cost, the price point reflects excellent value, too. Deon Schoeman