Having Richard in standby, I asked his opinion. What matters most of our listed cable parts and parameters, and in what sequence? What of it changes as one migrates up his catalogue; and how do these changes advance sonics? Between Google Translator and Reverso, I learnt that Richard considers all parameters of equal import and too interconnected to separate out by function and effect. His listening gear consists of Spectral DMC20/DMA180, Belles VT01/SA100, 1965 vintage Quad2, Jadis JP30mc/Defy7, NAD M22, Rega Brio, Cambridge A300, Goldmund Mimesis10, Audiomat Maestro3, Quad EST 63, Wilson Audio Watt/Puppy, Harbeth P3SR, Bergmann Magne, Mac Mini with linear supply, a DC filter and finally an isolation transformer. "For conductor material and purity, I listened to everything I could including copper and silver of different quality, copper with varying amounts of silver plating/cladding and a mix of materials. Once I had chosen pure long-grained copper, I tested diametres from 0.01-2mm. After I had determined optimum diameter, I tested for the amounts of strands and how to best bundle them. I experimented with coax, twisted and hybrid geometries at different ratios. I ended up with a symmetrical geometry of asymmetrical insulation. This best controls load and resonances. That fixed, I tested dielectrics including Teflon, various PVC compounds, Kynar, Viton, silicone, fibreglass, cotton and various fibre mixes. As my primary dielectric, I selected an asymmetrical structure of high-temperature silicone and PVC which preserve long-term quietness and a natural sound.


"Effective shielding without creating sonically deleterious side effects is extremely complex. After thousands of testing hours, I came up with a progressive shield that avoids the sonic hardening of traditional solutions yet still perfectly protects the signal from outside interference unlike the unshielded variants. We add ferrites against ultrasonic influences to preserve fluidity and silence; and dielectric polarization to improve the shield's function. For connectors, I tried to learn what does what, just as I did for all other design choices. I worked my way through all the usual suspects including a few unknown suppliers with a few surprises. I managed to make a pure copper-plated plug clad in thick pure silver. Where the vast majority of commercial plugs plate between 0.5 to 3 microns, I determined that 40-micron silver plating was the most quiet and natural and did not incur an HF rise or loss of energy. Our soldering process includes mechanical pressurization for the best long-term results. Our copper assemblies exhibit very low characteristic impedance and we go after low capacitance for maximum silence and bandwidth. To anyone wondering whether our cables will add a little bass or treble to their speakers, the answer would be a categorical 'No!'"


As do AudioQuest and Synergistic for just two cable firms, Avantgarde Acoustic and Gryphon Audio for crossovers, the application of a standing voltage on the dielectric, usually by batteries, no longer raises eyebrows. It explains the little black boxes attached to the send ends of the Eterna cables. A switch in the boxes activates them. Obviously sound happens even with a dead battery. It's not a do-or-die thing, just a polarizing scenario; somewhat of a class A bias on cables.