Wireworld Signal and Power Cable Review 
Home Theater Accessories AV Cables
Written by Andre Marc   
Thursday, 30 June 2016

I had the good fortune to review Wireworld digital cables last month. I say “good fortune” because their AES/EBU and USB cables improved the performance of both my systems in no uncertain terms. Wireworld’s designs are rather unique, and according to David Salz, chief designer and CEO, they are the result of 35 years of experimentation and development.

Wireworld also sent me an entire loom of their signal and power cables to wire up two complete systems. We are talking about two boxes stuffed with cables! The cables were chosen carefully to match the components and speakers in my systems. The goal was to make sure the products were commensurate price wise, and would be synergistic.

What I received in for review for the main system was a one meter pair of both Platinum Eclipse 7 ($3000), and Silver Eclipse RCA terminated interconnects ($700), three meter pairs of both Eclipse 7 ($1800), and Mini Eclipse 7($570) banana terminated speaker cables for comparison, and pairs of two meter Silver Electra 7 ($700) and Electra 7 ($360) power cords. I also received an Aurora 7 ($140) power cord, which I ended up using on the JL Audio d108 subwoofer.

For the office system, I was sent one meter pairs of Solstice 7 ($64), Oasis 7 ($110) RCA terminated interconnects, a two and a half meter pair of banana terminated Oasis 7 ($350) speaker cable, and three Stratus 7 ($120) power cords in two-meter lengths. I also used an Aurora 7 on another JL Audio d108 in that room as as well.


As noted in the review of Wireworld’s digital cables, the company uses proprietary patented designs with specific geometries and materials with the ultimate goal of taking as little away as possible from the signal. Wireworld says, and I agree, that a cable can never add, it can only subtract.

http://www.avrev.com/images/stories/equipaccessories/wireworld/ses_sm.jpgThe Silver and Platinum Eclipse interconnect use Wireworld’s Quad DNA Helix design, with the Silver using OCC (Ohno Continuous Cast) silver and copper conductors, and the Platinum using OCC solid core silver conductors. They both use Composilex 2 insulation. The Platinum uses carbon fiber plugs for good measure. The Eclipse 7 speaker cable uses Wireworld’s Octo DNA Helix geometry, with the Mini Eclipse using Quad DNA Helix. They both use OCC copper conductors, and Composilex 2 materials.

An interesting note about Wireworld power cords -- the company refers to them as “conditioning” cords because they were designed to absorb noise and block any interference from reaching your components. Wireworld says their cords are made with dual low impedance shields and are meant to be flexible. They also say that one can achieve better performance with longer lengths.

The Silver Electra 7 power cord uses OCC silver clad copper conductors, and Wireworld’s in-house designed “Globe-Grip” plugs with silver/copper contacts. The Electra 7 uses OCC copper conductors. The Aurora 7 uses silver clad OFC (Oxygen Free Copper), and the Stratus 7 uses OFC. All the power cords are rugged and can even be coiled neatly when installed, with no loss of performance. Across the board, the connectors and construction of all the cables are world class. When paying hundreds, and even thousands, of dollars for these products, that is what one should expect. Durability aside, there is a precision in the fine details, which inspires confidence.

Now onto the most important part -- sonics.



The cables were installed in the main system consisting of an Aric Audio Unlimited tubed preamp, a Simaudio 760A power amp, a Bryston BD-2/BDA-3 file player and DAC combo. I also used the excellent CLONES Audio Asher DAC. Speakers were the Bryston Mini T stand mounts augmented by the aforementioned JL Audio d108 subwoofer. Everything was plugged into a Bryston BIT-15 power conditioner. Wireworld Platinum Starlight 7 USB and Gold Starlight 7 AES/EBU cables provided digital connections.

The speaker and power cables have decent mass, so I just needed to make sure everything was routed cleanly and that components were centered on the rack. I was able to coil the power cords, as suggested, for a neater installation. I let the cables settle in for a day or two then set about for some extended listening sessions

http://www.avrev.com/images/stories/equipaccessories/wireworld/eci_sm.jpgWhat I first noticed was that the presentation, as compared to my usual cables, seemed to bring me one row closer to the music. I also noticed the soundstage got a bit wider. I also sensed that mythical, lower noise floor that is often talked about. I also heard more recorded detail on numerous albums I am intimately familiar with.

When one hears more detail with cables, this can be accompanied by the sound becoming brighter, or more analytical. But the Wireworld cables managed not to go this route. I had a hard time labeling the presentation as warm or cool. It seemed very much like it was right down the middle. Wireworld says if one is looking for cables-as-tone-controls, customers should look elsewhere, and after a few weeks with them, I would completely agree. They will show off the true character of your system. I liked what I was hearing.

I started out cycling through a number of new recordings from fresh new artists just recently discovered, then moved on to more familiar music. First up, Amanda Egerer’s jaw dropping debut, Folk Songs Of Many People. She draws inspiration from early 60’s folk music, Joan Baez, and Judy Collins, but with a distinctly original take. Her voice came through with wonderful clarity, and the sympathetic and tasteful arrangements were easy follow.

Tikounen -- a brand new release from the Brussels-based Tuareg band Kel Assouf -- was a real showstopper. The group mixes Saharan modality with modern production and a bit of classic rock. The exotic melodies and tribal rhythms were chock full of power and the dynamics were amazingly intact. This album really showed off some of the attributes of the Wireworld cable, namely, precision, the ability to preserve dynamic contrasts, and a wide-screen presentation. Remember, again, we are operating under the premise that cables cannot add, only subtract, so the Wireworld cables are presenting the music as described above in that they are doing little to alter precision, dynamics, and soundstaging.

A band I recently stumbled upon, M.A.K.U. Soundsystem, just released an exciting album called Mezcla. It recalls classic Santana and Chicago, with a bit of Afrobeat and Latin funk mixed in. It is an album that gets you off the couch, and the Wireworld loom framed the percolating percussion, horn bursts, call and response multilingual vocals, and general party atmosphere so wonderfully, it made evaluating a system utterly irrelevant, and everything defaulted to enjoying the music.

The Healer by the Melbourne, Australia based Anton Delecca Quartet, an all acoustic modal jazz tour de force, showed how well the Wireworld cables preserved tonal quality. The interplay between the instruments is sublime, and the little things -- the shimmer of cymbals, the lower register of the piano, and brassiness of Delecca’s sax -- were spot on. I had this album on repeat, and was continuously amazed how engaging it sounded.

At the tail end of the review period I purchased the classic Coldplay debut, Parachutes, now remastered in 24-192. It absolutely kills the CD sonically. Specifically, added refinement, micro detail, and a far more analog sound were all on display. Tracks like “Spies” and “Shiver” were well served the Wireworld set up. There was, again, tremendous dynamics, and lots of texture on the acoustic guitars and drums, and bass lines were highly melodic and perfectly placed in the mix.


The office system consists of an Aric Audio Expression tubed preamp, an Onkyo M5000R power amp, a Simaudio 280D DAC, the Sonore microRendu (review forthcoming) streamer, and a pair of Magnepan MMG speakers, with a JL Audio d108 subwoofer. Everything was plugged into an Audience aR6 power conditioner.

http://www.avrev.com/images/stories/equipaccessories/wireworld/pes_sm.jpgInterconnects were the Oasis 7, the least expensive cable in the line to use Wireworld’s Quad DNA Helix design. And the Solstice 7, which uses a Dual DNA Helix design. The MMG’s were wired up with the Oasis 7 speaker cable, and Aurora 7 power cords were used throughout with a Stratus 7 used on the subwoofer. A Wireworld Silver Starlight 7 USB cable from the Sonore to the Simaudio DAC completed the picture.

In some ways, the Wireworld cables improved the sound of the office system to an even higher degree. Conventional wisdom is that better cables will only produce modest benefits with less expensive gear. I found this to be the case on other occasions. I won’t say I was surprised at how much more music I was hearing with the Wireworld second tier loom, but the degree of improvement was easy to notice.

The specific areas I noticed an immediate difference were in the solidity of the bass, and the increased drive, especially with rock music. Robin Trower’s For Earth Below, a long time favorite, came barreling into the room like a freight train, with the electric bass and drums locked in with precision, and Trower’s psychedelic guitar flurries taking no prisoners. My office system was never supposed to sound this good!

The recent remaster of Jimi Hendrix’s The Cry Of Love, the essential posthumous release of tracks that were slated for his fourth studio album, was a real revelation. Having had the original LP, I had never heard such detail, coherence, and passion in the performances. Hendrix was ascending to a creative peak at this period before his tragic passing, and songs like “Freedom”, Angel”, and “Straight Ahead” were masterpieces that were beautifully committed to tape by Eddie Kramer, Hendrix’s long time engineer. With the Wireworld cables I heard percussion parts and backing vocals more clearly than I ever remember. I also heard flaws in the recording (or the current state of the master tape) I had not noticed as much before.

Finally, an album I just recently discovered, The Price You Gotta Pay To Be Free, by the great Cannonball Adderley, was a joy to behold with the Wireworld loom in place. The album found one of the great jazz legends of his time branching out into rock, funk, blues, and psychedelia, a real mind blowing work. The system was up to the task of producing a coherent and cohesive performance, as the album was a mix of studio and live performances that transition smoothly.
Holy smokes, what a trip. The electric piano, percussion, electric bass and, of course, saxophone all had distinct areas in the mix, but gelled as one.

http://www.avrev.com/images/stories/equipaccessories/wireworld/elp_sm.jpgSpecial note: I would like give a shout out to the Mini Eclipse 7 speaker, cable, which national Sales Manager Larry Smith told me was one of his favorites in the line in terms of price-to-performance. I have to agree totally. In both systems, it was maybe the best all overall performer considering the price. It really is the sweetheart of the speaker line. The Eclipse 7 provided a hint more refinement, but the Mini really held its own. Highly recommended as a significant step up from many cables I have heard in this price range.


Slight postscript: I attended T.H.E. SHOW at Newport this year and sat in on Wireworld’s “Cable Polygraph” tests. The trick was to stay objective and not to be swayed by any positive opinions of Wireworld products, or Larry Smith and David Salz, two extremely nice gentlemen. The bottom line is that Wireworld, and other cables are compared to “no cable” via a custom hook scheme that couples the amplifier directly to the speaker. It was clear that the Wireworld cables fared well in this demonstration -- it was the closest sounding to “no cable” which, in theory, cannot be improved. I felt compelled to report on this because the sonics I heard in the room were very similar to what I experienced at home, despite unfamiliar gear, save for a Bryston file player.


Wireworld digital and analog cables are among the best I have used in my two systems. I have had some excellent sounding cables take residence here, like those from ZenWave and, on the extreme budget side, those from SVS. As a total system, Wireworld products are a superb investment, in that the entire loom was designed to suppress noise, reduce distortion, and do less harm to the signal. This is simply what my ears told me.

As a consumer-based company, Wireworld has few peers. They have no issues providing internal looks into their products, offering comparison charts, and products at several price points from entry level and beyond. All pricing is available on their website as well, which I really like to see. Most importantly, the cables sound great, and are made to the highest standards. If shopping for cables to show your system in the most accurate light, put Wireworld signal, power, and digital cables on a short list. By all means compare to other brands as well. My feeling is that Wireworld are among the most uncolored audiophile cables I have come across.



Review System 1

DAC: Bryston BDA-3, CLONES Audio Asher
Server: Bryston BDP-2
Tape Deck: Revox A77, Revox B77
Preamp: Aric Audio Unlimited
Amplifier: Audio Research VS55, Simaudio 760A
Speaker: Bryston Mini T
Cables: Acoustic Zen, Element Cable, DH Labs, iFi
Accessories: Symposium Rollerblocks and Svelte Shelves, Shakti Stone, Bryston BIT-15, Salamander rack

Review System 2

Music Server: SOtM sMS-100 w/ Battery XPS, Sonore microRendu
Preamp: Aric Audio Expression, Belles Soloist 3
DAC/Streamer: Simaudio 280D w MiND
Power Amplifier: Onkyo M5000R
Tape Deck: Sony TC-350
Speaker: Magnepan MMG, Spendor S35R
Cables: DH Labs, Transparent
Accessories: Cable Pro Noisetrapper, iFi iPower, Audience aR6

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