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Asterope cable?

OK, so show me a finished pickup model for SPICE. I've never seen one. I've seen people working on it, but it doesn't match the real thing. It's an approximation.

Spice allows one to build models using data tables. Basically it's a pure input to output mapping. It can map ANYTHING to exactly the accuracy of the data you feed it.

Problem is - it has no variable parameters. It just regurgitates the correct output data based on the input data.

Which means...

And it isn't very useful.

Exactly that.

It's only a useful model if you're using it as source to drive something - and even then of limited usefulness. It's a completely useless model (well, maybe not completely) for actually doing pickup design.
 
Head over to Rock Block and compare one of our Clear Connect cables to the Asterope. The Clear Connect cable actually features new technology with its solder free plug design. We are more than happy to talk about it.

After buying the better cable take the 160 you have left over and stay in the Hilton 2 nights and grab a couple pizzas.

And if it ever goes bad we wont charge 30 to repair one end.

And yes other companies DO offer money back guarantees. Some of us offer that AND put out products that are affordable for real musicians with no need to hide how they are made.

We find that honesty and real values are appreciated by real musicians.

Thanks for the heads-up. Looks like a great line of products at more-than-reasonable prices--I'll definitely swing by and check them out.
 
One way (floating ground) cables are better, because they don't pick up RF as easily: The problem with most MI cables is they use the shield to carry electrical ground, and signal ground, so the pro way of doing it is to float (do not connect) the shield at one end or the other, and carry signal ground inside the shield, along with the signal positive, using a balanced (two wire) cable. Another way to reduce cable noise is to twist the internal wires, so they spiral each other. I have several cables that are like that and they are much quieter than regular guitar cables. I use Mogami twisted pair for this - connect shield and signal negative (-) to the sleeve, then signal (+) to tip, at one end, then signal negative to sleeve, and signal positive to tip at the other. They are very quiet, and near noise free.

if you want to get really picky, get the four wire twisted pair cable, and pair the wires and float the shield. At a major recording studio, I watched some great studio techs & engineers compare cable noise between four wire Mogami studio cable and high end Monster studio audio cable, and the Monster was negligibly quieter - certainly not enough to warrant the almost ten times greater price tag...

USUALLY, the end with the floated shield / ground goes on the bass end, letting the amp's chassis ground to electricity earth connection serve as a shield to earth.

I think this is referred to as a dual male 1/4", unbalanced, floating shield cable.
 
What happened to "let the sound speak for itself"?
If it is truly phenomenal, would there be any discussion?
Love those electron-theories and hum-bustin' tips-&-tricks but I wanna hear some experience-based, unpaid endorsements... or "anti-dorsements". Isn’t that partly, what this is for?
psm
 
On a more somber note:
Victor Wooten advertising for ridiculously overpriced snake-oil power cable.
Bob Babbit advertising for ridiculously overpriced snake-oil instrument cable.

*le sigh*

On the one hand this depresses me.

On the other hand, as a physics teacher, this just gets me all the more fired up to teach the next generation about physics!

What do you say to students when they comment that "I'll never use this math after I get out of high school"? I heard that a lot before I graduated and I can't begin to count the times I've read someone asking a question that's really simple, but they should know. Throw in complex concepts like electrostatic shielding, reactance/impedance and acoustics- these people never had a chance.
 
Uni-directional cables aren't about "which way the electrons flow". As posted, they wiggle back and forth when AC is being conducted and we're not generating DC. The issue has to do with the shielding and these aren't standard coaxial cable, like the original RCA or 1/4" stuff. Anyone has done car audio/radio/CB/ham radio work, they know that "star grounding" is a concept that should be maintained. It means that all shielding and grounds go to one electrical ground point. This isn't necessarily a single physical point- it means that the ground points need to be at the same electrical potential, meaning that no voltage flows between those points because there's no resistance between the points. Voltage is potential energy and is often expressed as "they have a potential difference of xx Volts AC or Volts DC".

Shielding and grounding are not necessarily the same thing, either. In a coaxial cable, the shield acts as the ground but if the instrument and amplifier are each grounded, a single wire between them would do a good job of conducting the signal without noise as long as there's no resistance between the grounding points.

Twisted pair rejects "common mode" noise and if there's no shield, it still works well in environments where RF and EMI are present. Cat5e and for that matter, regular phone lines are twisted pair for this reason. The wire is cheap, it rejects noise and it works. Mic and distributed audio cabling has two conductors, twisted, with a braided or foil shield wrapped around it, sometimes with a multi-stranded wire called a 'drain' or 'sink'. This wire is in contact with the foil shield and is soldered at the head end, so the noise can be eliminated. If it's a braided shield, that's used instead. Where lowZ balanced cabling/systems have an advantage is in the fact that the chassis is grounded but the audio signal is carried on two conductors, one of which is "floated above ground"- floated meaning there's a resistance between the audio negative and the ground, so any noise that affects the grounded chassis won't be injected into the audio cabling.

The ground lift on an effect or amplifier lifts the connection from Pin1 of an XLR plug/jack so the system's common piece of equipment (preamp or mixer) can send the RF noise to ground. The disconnected end of the shield acts as an antenna for the noise and the grounded end dumps the noise to Earth. That's why unidirectional cables need to be in that orientation, not because of any device in the cable, like a cap or diode (although I have read about cables having a diode for DC voltage protection).

However, snake oil abounds and claims of "it made the sound open up", "I heard things that weren't there before" and "I couldn't believe the difference" are usually due to using a new cable in place of one that used cheap/inferior materials/construction or one that was damaged/repaired badly. Some of the claims and descriptions used by high-end audio cable manufacturers and their victims are absurd- "chocolatey"? "Eliminates the need to bias the dielectric"? "Eliminates the need for cable break-in"? W T H? Not a single electrical/communications engineer I have spoken to has heard of this stuff and at least one of them works with nuclear hardened circuits.
 
Was flipping through my latest bass player mag and noticed Bob Babbit (with this fender P) endorsing this new cable company called Asterope.

Surprisingly, there is not really any info about this cable on the internet yet...The Gear Page has some 17 page thread about the closing of a previous thread discussing the cable. No specs out there that i could find. 15' cable retails for $200 wow!

Was wondering if anyone here had any thoughts about it?

Ahh another best ever cable.
 
$220 for a cable? Not for the average garage musician.

Seems that the guys who are using and "endorsing" these cables are the big money players and they can afford that kind of outlay because they can afford multi-thousand dollar instruments to begin with. The ironic thing is, they are probably getting these cables for nothing anyway, since the president of the company is giving these out like candy to the pros like Levin, Wooten, Babbitt, Lee and Sklar at the Namm show.

I would doubt that you would hear any difference in the jumble of noise on the bandstand in a bar. Maybe subtle differences direct input to the soundboard in a studio. And, listening to the isolated track on expensive studio monitors. Maybe.

Just saying...
 
Give pro's shiny new cables.
Tell pro's shiny new cables sound better.
Profit.


Asterope said:
Directionality is a phenomenon that relates to how signals flow down conductive paths. This all starts as varying metals are drawn through a die and pulled into wire. Signals passing through the wire seem to sound better is the electrons follow the direction the wire is originally pulled. It is expensive and problematic to keep all the individual strands of the conductors oriented in a consistent direction.We utilize a unique technique which elimites this issue, enabling our cables to be assembled with enchanced shielding including shield termination at the signal's destination. After manufacture, the conductors are then processed for final configuration to establish the orientation of the signal path which ultimately results in a more quiet, dynamic and well balanced sound.

Fluff, glorious fluff.

Basically expensive "floating" shield.
 
Even if the cable is a tiny bit better, who cares? It's not as if anybody is really going to notice. Once your sound is competing with a drum kit, singer and keyboard and has gone through a DI with it's own cable and sheilding or gone through a microphone with it's own cable into the PA system, nobody will know including you, that at some point in the signal chain there's a $200 cable.

It's silly. As long as your cable is quiet that's all it needs if you ask me.
 
I'll keep my "krappy" spectraflex cables with their lifetime warranty (which I used 3 times over last 20 yrs to get brandy new cables). The terrible specs on these cables help to hide my amateur skills.