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When it came to the FirstWatt F5, things proved a little more complex. Neither the amplifier nor cables are bright and aggressive—far from it—but both celebrate a similar sonic aesthetic which eschews distortion, timing imperfections, softening, blurring or artificial warming. The bottom line is that this association was lean and brought me to the very core of musical and instrumental textures. This was very obvious on percussion. Until I started listening with the F5 and LiveLines, I did not know how much I was missing. This wasn't merely about  subtle differences between instruments but the fact that each stroke was slightly different in force and that depending on where the drum or stick were hit, the sound would behave differently (I say behave because it is not only about different sounds but variable lengths and a shifty weighting of decay, sustain and initial attack). There was a world of subtlety in percussion I had not suspected. This had me regret not having speakers with better control in the deep bass. Obviously this type of stark naked reproduction works well with a tonally dense speaker like the Essence but I'm not sure I'd try it with a lean transducer.


Then again I didn't think I'd get used to it with the Essence either but over time I came to truly appreciate how the F5 and LiveLine collaborated on liberating a lot of the expressivity captured in the recording by removing even more of the fuzz and timing imprecision which always stand between us and the recorded event no matter what our systems are made of. It is very difficult to describe exactly what the LiveLines remove and prove over time to be unnecessary and distracting; and what they bring to the table by way of speed, flow and connectivity to the event. I'll simply leave you with a few images. When it comes to what the LiveLines remove, it's like eliminating processed sugars from your diet. With my pregnant wife having just recently been diagnosed with diabetes, we had to make some radical changes to our diet. Strikingly, removing processed sugars initially telegraphed as an obvious lack of taste. Then very quickly the true textures of ingredients began to reveal themselves Once that great taste-bud equalizer called sugar had been banished, a far greater diversity and complexity of true flavors were revealed. That's also what happens when you remove timing imperfections from music reproduction.

The second analogy is one from the world of photography. If you've ever experienced what happens when going from a very good zoom lens—make it the Canon 24/70 F:2.8L I use—to the equivalent prime lens, sharpness improves not by sharpening large details (you can easily achieve that in software just like accelerating transients to fake up higher resolution in music) but by capturing more of the fine textures which produce a more 3-D feeling to an image. This is very applicable to how the LiveLines convey greater micro-dynamic resolution of small inflections and articulations to translate into a more lifelike presentation and holographic rendering.

Never are cables a solution to restore a system to balance. The LiveLines perhaps are even less capable than others because with them imperfections simply have no place to hide. Differences between better cables are small and subtle at best. More often than not they are a reflection on system matching - and how much of your cash you can be talked into parting with.


Here I think the LiveLines are different. Their effect is not hard to hear even if in the grand scheme of things it is not huge. Yet the effect is as meaningful as going from canned to fresh green beans. Beans remain beans and with the bestter canneries, differences will be small yet unmistakable. They take you from preserved to live. That's exactly how it feels going from the Zu cables to the LiveLines.


When I was a kid, I loved canned green beans far better than fresh beans. Over time though I discovered that unlike fresh ones, canned beans all had a fairly standardized taste. As my system matures, so do my expectations and components (cables amongst them). To not standardize flavors is one of those growing needs.


In addition the LiveLines are offered at prices that although high are not insane as far as cables go especially when one factors quite complex metallurgy and that France is one of the most expensive places to manufacture anything.


If your listening biases mimic mine or our publisher's* with a focus on dynamics, timing and nuances no matter how minute, the LiveLines should be a natural evolution of your system. For listeners who want tonal bloom, ease of listening or who must tame specific balance problems, the LiveLines probably are the wrong choice. As I experienced it, if you give these cables time, you may still find that you love what they do a lot better than what they don't do. For me it turned out to be an acquired taste. I acquired it, others won't. There's no implied judgment of relative merit, just listening preferences. All I know is that you'd have to fight me to get these cables back. Even though I would not despair having to revert to an all Zu cable loom, I'd also know that I would not be hearing the whole truth and nothing but the truth. And at this juncture, I'm ready to hear the truth.
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I usually don't insert 'confirmative' comments. In this instance I feel compelled to. As confessed, it took Frederic longer to come to terms with the LiveLine effect when he used his FirstWatt F5 (also owned by Franck Tchang). That he did eventually isn't the point. The point is that he described the effect very well regardless. His observations mirror mine, Marja & Henk's and Steve Marsh's on staff to a 't'. For once with cables I feel completely confident that our reviews have not only nailed it but that these cable traits translate no matter what your system may be. If this tightening-up action in the time and transient domain plus the fine harmonic resolution are qualities you're after, this cable family delivers. If you need added fat, body, mass and weightiness, it won't. It's as simple as that - truly predictable and consistent. - Ed
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Srajan awarded the RCA LiveLine interconnects a Blue Moon. I can only extend the award to the rest of the cable line of speaker and power leads. Their effect is similar, additive and addictive.

Quality of packing: Simple wooden box for each cable.
Ease of unpacking/repacking: Couldn't be easier.
Condition of component received: Flawless.
Quality of owner's manual: N/A.
Human interactions: Helpful and prompt. It's always a pleasure to deal with Mr. Tchang.
Suggestions: Give those cables time not necessarily for their but your break-in. First exposure only tells part of the story as their sonic signature—or lack thereof—is surprising and unlike anything I had previously encountered. Time becomes necessary to fully understand the effect and decide whether it's for you or not. My personal journey took me weeks.
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