Finally, there's noise dissipation. Radio-frequency contamination is ever increasing, and AudioQuest has developed three techniques to combat this. The first is ZERO-tech, which is their terminology for achieving no characteristic impedance for the cable. According to AudioQuest, this technology “eliminates the electrostatic field between the high- and low-signal conductors, enabling a consistent octave-to-octave RF noise dissipation.” A second technique is referred to as RF/ND-Tech. RF/ND is said to cancel induced RF noise by “utilizing a common-mode, phase-cancelling array coupled with proprietary dielectric materials.”

To further address noise dissipation, many AudioQuest cables utilize their DBS (Dielectric-Bias System), introduced in 2004, which includes an RF-Noise trap for reduced dielectric distortion and noise. An insulated anode and uninsulated cathode inside each cable are connected to battery packs at the cable's downstream end. The batteries keep the cable's dielectric constantly charged with DC and thereby ensure that the dielectric never drains its energy as distortion. Because the battery packs are attached when the cables are terminated, the cables arrive ready to use. No hundreds of hours of burn-in are required before the cables begin to sound the way they should. AudioQuest argues that the phenomenon of cable break-in is actually a matter of the dielectric adapting to a charged state, and whenever the cable is not being used, the dielectric returns to its uncharged state.

Black Beauty is part of AudioQuest's Mythical Horses Series and incorporates ZERO-Tech noise reduction. To further enhance noise reduction, the RCA barrels are copper-plated, and the RCA plugs are silver-plated red copper. The cables are directional with clear markings on each RCA connector, and the barrels are large enough to allow for an easy grip during installation. The Black Beauty cables certainly live up to their name, having the most luxurious look and feel of all the wires sent in for review.

The Robin Hood ZERO speaker cables use the 72v DBS and Zero-Tech technology to reduce noise intruding on the music signals. The silver-plated red copper banana plugs are cold soldered for better signal transfer. Robin Hood cables are roughly rectangular in shape with rounded edges, and the banana plugs are a bit different than traditional bananas or BFA designs. Beautifully silver plated, the banana plug itself has a small diameter rib protruding from one side. This rib applies the pressure needed to keep the banana plug tightly inserted into the speaker terminals. A pair of “Bare Naked Bi-Wire Jumpers” are included with the Robin Hood cables to allow users to eliminate the usual brass jumpers included in many speakers with biwire capability. An interesting point to note about the Robin Hood ZERO: they are not intended for biwiring unless the second set of wires used are the Robin Hood BASS cables. AudioQuest states that two Robin Hood ZERO used simultaneously on a biwired speaker will cause a high-frequency spike in the speaker’s frequency response.

Finally, the Monsoon is part of AudioQuest’s Wind Series of power cords. It uses Perfect Surface Copper and Long Grain Copper (PSC+) conductors and utilizes AudioQuest’s RF/ND technology. These power cables are almost 3/4” in diameter and are fairly weighty, but they are not overly difficult to maneuver behind an audio rack. Both plug ends are nicely molded to fit your hand and the IEC end provides a solid grip when plugged in. The cable is flexible enough to route around components but is resistant to rotation of the end plugs, so some extra effort was needed to dress the cables behind the rack.

The break-in process for the cables I used was interesting but thankfully short. On the first day of use, the system’s sound was somewhat muted, polite and shy of treble. Still, the sound was listenable, and I streamed some Qobuz playlists to help with break-in. What followed on the next morning was the audio equivalent of “the terrible twos” in child raising: the midrange took on a shouty tone and the treble sizzled, making listening for enjoyment out of the question. But on the third or fourth day, everything relaxed and serious listening could begin.

fter the break-in period, I spent one morning enjoying two favorite piano recordings. The first was a Qobuz stream of Vikingur Olafsson’s Debussy-Rameau [Qobuz Deutsche Grammophon 24 bits/192kHz] followed by a vinyl copy of Glenn Gould’s Bach Vol.6, the Partitas [CBS Masterworks M2 42164]. Aurally, these two recordings are quite dissimilar. Olaffson’s recording is slightly distant, like most recent DG piano releases, yet vivid enough to be clear and communicative. In sharp contrast, Gould is recorded very close to the piano’s soundboard, almost as if the listener is seated beside him on the bench. His signature moaning and humming are easily heard throughout the recording. Quite a diverse listening session of equally enjoyable performances, and I felt that both recordings were a bit more satisfying with the fresh wiring and power distribution.

One improvement was instantly apparent: I was surprised just how coherent the sound of my Altec Valencias had become. I usually associate coherency with electrostatic panels, Magneplanars, and just a few single-driver, full-range speakers. I’ve enjoyed listening to my Altec Valencias for the past eight years, and they have served me well, but coherency is not something I normally associate with them. The bass range is produced by a 15" soft-paper-cone woofer in a large, underdamped cabinet, and treble is provided by a famously “energetic” 811b metal horn, driven by an Alnico-magnet compression driver. It is a rare moment that the disparate nature of these two transducers’ sound goes unnoticed, but that was exactly what I was hearing with the addition of the AudioQuest wiring. I could play tracks at higher volumes without stress, and the woofer and horn tweeter blended beautifully. Piano sounds on the recordings mentioned above had tonal consistency across the full spectrum, and the right-hand notes had just the right amount of sparkle without crossing over into harshness. This balance and coherency delivered by the AudioQuest wiring was completely unexpected but very welcome.

During subsequent listening sessions, I noticed that the lowest bass range was tighter and more focused than with my reference wiring. Because of this, bass lines were easier to follow and the timbre of the bass instrument was easier to assess. Along with the tighter bass came a clearer low midrange, which added information about the bass instrument’s tonality and nuances in the performance. The AudioQuest cables gave an improved apparent sense of speed to my speakers’ bass response, and recordings of upright bass were generally more powerful and propulsive. For synth and electric bass, I listened to L’Imperatrice’s Tako Tsubo [Qobuz Microqlima IDOL 100 24 bits/44.1kHz], a joyous disco-flavored album and the propulsive electronic dance music from Automat on Ostwest [Qobuz Bureau B BB246 16 bits/44.1kHz]. The AudioQuest cable’s presentation of bass was exciting and toe-tapping on these two dance-oriented albums.

Proof of transient-speed improvement came when I chose a recording by percussionist Colin Currie, teaming up with trumpet virtuoso Hakan Hardenberger on The Scene of the Crime [Qobuz Colin Currie Records-CCR0002D 24 bits/96kHz]. I spent the most review time listening to their performance of Andre Jolivet’s “Heptade,” a piece that is as challenging for the listener as it is for the performers. Hardenberger uses multiple mutes (straight, cup and Harmon) in the seven movements, and Currie answers with some explosive percussion bombardment. The trumpet had bite and energy, with plenty of dynamic range.

Additionally, the recording’s soundstage was well defined, with each performer standing out against a dark backdrop. Heptade’s opening snare-drum explosion was suitably jarring, and Hardenberger’s melodic answer was smooth and powerful. I’ve heard Hardenberger perform live, and the AudioQuest cables did a fine job of preserving his exceptional trumpet tone.

Encouraged by the AudioQuest cables' handling of brass recordings, I cued up Nightfall by Till Bronner and Dieter Ilg [Qobuz Sony Masterworks 24 bits/96kHz]. On their instrumental cover of Leonard Cohen’s “A Thousand Kisses Deep,” I was more aware of Bronner’s alternation between a soft-focus flugelhorn tone for melody lines and a tighter traditional tone for improvisational sections. Bronner’s soft-focus effect is similar to tenor sax players using subtones for a breathy fuzziness during ballads. A good example of subtones on saxophone might be any ballad by Ben Webster or Coleman Hawkins. Between Bronner’s flugelhorn tone and Ilg’s throbbing low-bass lines, the AudioQuest wires kept me deeply focused on each performer’s technique and melodic phrasing.

The recording I came back to most often while evaluating the AudioQuest cables was “Besame Mucho” from Henri Texier’s Heteroklite Lockdown [Qobuz Label Bleu LBLV 6743 24 bits/48kHz]. Texier’s bass sounded full-bodied, with a warm tone and just the right amount of finger pluck to propel the rhythm of the melody. He was recorded center stage, sparsely accompanied by Gautier Garrigue on lower-pitched congas or djembe drums. The AudioQuest products allowed me to hear that Garrigue’s percussion was given a different, more spacious soundstage than Texier. There was more reverberation overall and good reverb trails varied according to the size of the drum being hit. At the end of the first verse and chorus, Texier ends his bass solo on a low F just as his son, Sebastien, enters on sax. The AudioQuest bass control and definition made Henri’s lowest note seem even lower and more powerful than that note’s 43.65Hz frequency would indicate. Interestingly, the clarity delivered by the AudioQuest wiring also made it clear that the microphone choice for Sebastien’s saxophone rendered his sound a touch synthetic and less natural than the microphones used for percussion. It also became clear that Henri Texier’s bass sound and tone were the most realistic on this track.

Coming back to this track after removing all the AudioQuest cabling and reinstalling my normal wires, all the reverberation cues and warm tones were present, but the presentation was slightly different. With my wiring, images were a bit larger, but less defined and a touch more diffuse. The AudioQuest wiring presented a darker background and a more precise instrumentalist placement on the soundstage. The various recording nuances on the Texier album yielded a more natural, engaging listening perspective when the AudioQuest products were in place.

enjoyed my time with these cables and power accessories from the middle tiers of AudioQuest’s vast product lineup. As I was packing up the products for return, I thought about which of them I would miss most, which ones I would consider buying for my system. First on the list would be the Monsoon power cords, specifically for use with digital sources. I tried them on four different digital products: my own BorderPatrol DAC SE-i and Neko Audio D100 Mk 2 DACs, as well as a friend’s Denafrips Gaia DDC and Pontus II 12th. Each time the Monsoon were in use, the sound became smoother and more relaxed. It really was the equivalent of buying a more expensive piece of digital gear. That was particularly evident on my friend’s Denafrips combo, yielding the best digital sound I’ve heard at his house. The improvement was dramatic enough for him to order his own Monsoon cords after our listening session.

The second item I would purchase would be the Robin Hood ZERO speaker cables, largely due to their synergy with my Falcon speakers. I primarily used the Altec Valencia speakers for this review, but I did spend some time with the Falcon LS 3/5as, and I’m glad I did. The Robin Hood ZERO speaker cable's effect on the Falcon speakers was quite subtle and took a while to appreciate. The Robin Hood ZERO shifted the tonal center a bit lower, being ever so slightly darker with nicely controlled bass. That infamous LS 3/5a bass bump was tightened a bit, delivering a better sense of pace or apparent speed of bass attacks on floor toms and timpani. And even though the tonality was a bit darker, the little Falcons’ treble could still fill the room with a spacious soundstage. This is clearly the best cable match I’ve had with the Falcon speakers, making it difficult to return to my regular wiring.

A slogan on the AudioQuest website is “Doing no harm since 1980,” and it reminded me that I’ve been using a variety of AudioQuest products on a semi-regular basis since the 1990s. Presently, I’m using an older Cougar phono cable, which is a good match for my Ortofon SPU and Denon DL-103 cartridges, and a DragonFly USB DAC with my desktop computer system. I’ve come to depend on their neutral sound and reliability.

Reviewing these new offerings from AudioQuest revealed some deficiencies in my present wiring, as well as introduced me to some desirable upgrades. Audiophiles looking to improve their own cabling would do well to check out the AudioQuest catalog. It has a solution -- often more than one -- for almost any wiring need at every possible price point.