HBS2 - Silver Solid Core

Those who have followed my recent posts on HiFi cables will know that I have developed an affection towards the use of silver in the signal path. This has turned out to be especially true for 4N solid core silver cables, ever since I came across Holger Becker‘s HBS1 interconnect. Although still quite affordable, the HBS1 is terminated with gold-plated copper plugs from the American manufacturer RAMM Audio that contribute to this cable being the most expensive of his current range. What had surprised me about the HBS1 was that it introduced seemingly unnecessary material transitions: gold+copper to silver+copper and—at the other end—the same transitions in reverse.

When I voiced my concerns about this mix, Mr Becker suggested that the use of gold was of lesser concern, because the RCA/cinch sockets found on quality devices are mostly gold-plated themselves to avoid oxidation. In this scenario, the gold-plating of the cable plugs matches that of the device’s sockets to form a corrosion free coupling. The alternative would have been to use silver-plating or, even better, solid silver, which would be in line with the material of the cables.

When it comes to pure silver, there are concerns about oxidation, of course. And while such concerns have some validity in tropical climates, the realm of vintage audio is special, in the sense that the original sockets of vintage devices are rarely of the gold-plated type. In a vintage environment gold is often just an additional metal in the signal chain. In fact, the very idea that gold-plating should be the premium metal of choice was sold to the general public much later. The fact that gold is better than polished metal was easy to sell, simply because gold is precious and therefore must be good.

While the HBS2 is based on the same solid core silver cable, it is terminated with WM Audio’s silver-plated brass plugs instead of gold+copper. Brass has its place in the context of plugs, sockets, and other audio applications, however, I was disappointed that these plugs again bring a third metal into the equation: 1. Silver, 2. copper, and 3. brass. In principle, the WM-Audio plugs are well made, with a meticulously crafted ring of outer contacts and a two-fold split centre prong that is oval-shaped to increase the inner contact pressure. The construction makes an excellent fit, even if it has a tendency of being a little tight when trying to remove the plugs at a later stage. Brass—by the way—has a conductivity of less than 40% compared with pure copper. In my understanding, this indicates that most of the signal travels through the silver plating.

Fresh out of the box, the HBS2 surprised me by showing an accomplished top-end. The highs were not yet perfectly softened, transients not extended enough. However, just getting to this stage of performance had taken a few weeks on the HBS1. I even wrote to Holger Becker, asking if this cable had already seen some running-in before it was sent out to us. He denied this, saying that he had built it afresh for me and had put it in the mail straight away. Since both the HBS1 and HBS2 had arrived here in the same basic condition, I suspect that the improved out-of-the-box performance of the HSB2 was due to the substitution of gold-plating for silver. If true, it would mean that the initial lack of upper frequencies during break-in on the HSB1 had been due to material transitions rather than micro fractures. The result being that the HBS2 makes the running-in period faster and more pleasant.

Similar to the HSB1 during the initial stages of warming up, the HBS2 started with a solid mid-band and a slight emphasis of the upper vocal section. This upwards shift can possibly be attributed to the still obvious lack of deep bass during the break-in-phase.

If solid core silver cables have a musical signature of their own, this would have to be the no-frills assertive manner in which they bring forth the music. Right from the first few seconds of playback, it was clear to me that this cable holds the reigns tight and drives the ensemble forward. I had never heard such clenched determination from a multi-strand. The HBS2 thrusts piano notes forward with might and bone-chilling timbre, which made it difficult not to look up from writing this text to smile with content. With their 2 Volts of line output, digital sources (CD player, streamer, etc.) are useful companions for running in interconnects, as they offer just enough energy to speed up the process. And our Rega Planet 2000 staged a soulful performance with Naim Audio’s 2009 “Phantom Limb” CD. The recording itself is on the compressed and bright side on any of our CD players, but voices and instrumentation are ferocious and loud, and that is just what was needed to chase the Caveman out of Bristol.

After a few days of playing, bass became layered and more extended. This helped female voices to find their natural timbre. Piano sounds were still astounding, but they were no longer as piercing as they had been at the beginning. When it comes to burn-in characteristics, the lower frequencies took their time to develop, similar to my experience with the gold-plated HBS1. I love the no-frills sound of both these interconnects. If there is an audible difference between the two cables, it is that the HBS1 sounds more extended in the bass, plays slightly fuller, darker, and softer. The HBS2, on the other hand, seems more agile and responsive. It makes the music seem closer, more tangible, three-dimensional, and highly engaging. Which is better? Well, in a double-blind test between the cables, my wife Sabina suggested that the HBS1 had the feel of a dark and vaulted Jazz club, whereas the HBS2 was more similar to an open concert stage. I could not find a more fitting description.

At this point, some of the perceived difference between the cables might still be caused by the two months lead of the HBS1 in terms of running-in time. However, I doubt that the basic difference in character will dissolve completely. To be absolutely sure, I will need to compare these two interconnects again in a few months time. If my impression should then change, I will gladly revise my findings.

Specifications

• Cable lengths: 100cm
• Material: 4N silver solid core, copper shielding
• DC loop resistance: 0.48 Ohm
• Parallel capacity: 50 pF (58 pF, terminated)
• Handling: non directional, flexible
• Termination: WM Audio, brass, silver-plated
• Position tested: Rega Planet 2000 to DB1

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