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REVIEW: Bogdan Audio Pure Silver Interconnects Cable

64.180.169.230


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Model: Pure Silver Interconnects
Category: Cable
Suggested Retail Price: $90.00
Description: Pure Silver Interconnects w/Air Dialectric & Bullet Plugs
Manufacturer URL: Not Available
Manufacturer URL: Not Available

Review by dvb ( A ) on March 09, 2003 at 19:34:01
IP Address: 64.180.169.230
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for the Pure Silver Interconnects


I was in cable denial. Although I knew that interconnects could make a difference, I thought the Equinox III I bought were enough to get me into serious wire – beyond that lay snakeoil.

I became interested in silver cables in the course of exploring passive pre-amps – I understood the FT LW-1 was wired with Kimber KS1020, and Bent Audio also has a link to a silver cable (Silver Audio). The Kimbers were out of my budget, though.

I encountered Bogdan cables in Analogkid’s posting on this site, and decided they made sense, according to my very rudimentary knowledge of cable technology –minimalist designs appeal to me. The Eichmann bullet plug, with minimal metal, made sense, as did a simple twisted pair of 5 nines silver. At $89.00, they were certainly within my budget.

So, I checked the listing on Audiogon, and sent an e-mail off to Ben to place the order, then paid by PayPal. A little over a week later, the cables were at my front door in Canada. (Ben had charged me $5.00 for postage, but as the actual postage was less than that, he gave me a $3.00 credit. Kind of a treat to be charged actual shipping)

As it happened, they arrived when my Wright Sound WPP100C phono stage was getting some mods done by George Wright, so I was getting by with my old SS phono pre (a “Zing” -- a local Vancouver design that won an award in the Korean audio press – bettered my Rotel – I’m thinking Black Cube- land). My new 200g Quiex pressing of Roy Orbison’s “Lonely and Blue” has become something of a test of transparency and presence for me. I was missing my Wright – although the Zing acquitted itself well elsewhere, the Orbison was comparatively veiled and dull (probably would have sounded OK if I hadn’t know better).

The reason for this digression is that, when I swapped the Equinox III for the Bogdan’s, right out of the box a lot of the veils dropped away. The record became very present and lively again. I was amazed at a new transparency and detail in midrange timbres; the background musicians were evident.

The Wright returned the next day. The difference with the Wright was not as pronounced – perhaps because it is already very transparent and lively. However, it was clear more information was being transmitted – there was a broader and deeper soundstage, with more space around the instruments, more “shape” and dimension to them. The effect was more subtle, but more musical (these observations are somewhat confounded by the fact that my Wright had been converted from 240 to 120 mains, so I am not sure what differences are due to the cables, what to the mods. However, I expect it is the Bogdans, as I lost a bit of voltage and balanced power going to 120).


The strength of the bass has been striking in these cables. I didn’t listen to a lot of CDs – mainly used it for burn-in – but I did listen to the Tacet recording of the Gaede string trio playing the Goldbergs – and compared with the Wireworld Equinox. The cello was particularly sumptuous, with a clearly defined bite of the bow on the string, and a deep, satisfying, well-articulated base. The Equinox was mushy and ill-defined by comparison.

After breaking the cables in for about 24 hours (CD on repeat through headphones), I played Cowboy Junkies’ “Trinity Sessions” “Sweet Jane” for the second time. That cut is notorious for its sibilance. I have not quite been able to tame it with my DV20XH, but use it to adjust VTA. When I had first played the cut with the Bogdans (in the first hour), the Bogdans gave the sibilance a crystal clear “whistle” – Oh brother, I thought, my worst fears of silver. Since burning in, this has almost entirely disappeared. The sibilance is there, because of the recording and my analog front end, but the sibilance is more naturally reproduced – no whistle. The rest of that album was also a treat – again, the bass was notable.

Bill Evans’ Waltz for Debbie (Analogue Productions re-issue) probably sums up well where I am at now -- forgetting about the cables and just getting caught up in the performance. – lots of detail (yes, the Village Vanguard chatterboxes are there) and swishing of the brushes on the cymbals, but the cables are not in any way etched or bright – rather than detailed, it would be more accurate to say they convey lots of information, which include cues of depth and breadth of soundstage and the positioning of the instruments in the sound stage.

A significant, if minor, plus – the pale blue-white colour almost disappears against the light colour of my living room walls – a plus with the open design of my Lovan rack in reducing the look of clutter.

The cables, for now, have achieved a lot of what I was hoping to achieve with a passive pre – more transparency, less between me and the music. So, ironically, having acquired the cables as a means to an end goal of a passive, the passive no longer seems so important.


Product Weakness: I haven't come across any yet. Use a hair dryer to warm the plugs before inserting -- they are a snug fit.
Product Strengths: Pass on a lot of information, contributing good soundstage; very good dynamics and range from bass to treble.


Associated Equipment for this Review:
Amplifier: Bryston B60
Preamplifier (or None if Integrated): Wright WPP100C phono pre
Sources (CDP/Turntable): Spacedeck, DV20XH
Speakers: PSB Stratus Silver
Cables/Interconnects: Prisma 2.5 speaker cable
Music Used (Genre/Selections): Chamber Classics and Jazz
Time Period/Length of Audition: 2 weeks
Other (Power Conditioner etc.): Monster 2000 (except for Bryston)
Type of Audition/Review: Product Owner




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Topic - REVIEW: Bogdan Audio Pure Silver Interconnects Cable - dvb 19:34:01 03/9/03 ( 1)