“Further, in some applications, these laboratory instruments have become worse at their intended jobs. The Audio Precision, for example, is a fabulous digital test instrument, respected industry-wide for its ability to provide insight into the performance capabilities of many audio circuits and components. However, its design inherently limits its high-frequency sensitivity to well below 500kHz. This is just below the AM radio band! Analog test benches could have been much better in this regard, but most tests were done with both high- and low-frequency filters in place. Why? To get consistent readings, and because almost nothing does well when all the induced noise is shown. ... However, if we wish to make technological strides forwards, we must see, acknowledge, and consider the full extent of the problems in play (warts and all). We must accept that there is simply too much induced noise to fully dissipate. Rather, we will need to both dissipate and drain the noise in the most efficacious way possible — and in the most even, consistent, or linear means possible. … The characteristic impedance (ie, 50, 75, or 110 ohm) of an interconnect cable has to do with the geometric spacing of the topology’s high- to low-signal conductors and their dielectric constant. (It has nothing to do with series resistance, by the way.) These designs go back to broadcast radio and video — specifically, transmission lines. When matched with source and load electrical circuits of the exact same impedance, many inherent losses and distortions are either eliminated or greatly reduced. However, for many reasons that are both practical and directly related to circuit performance, that idea was abandoned by most of the audiophile industry almost from the beginning.

So, would there be any benefit in eliminating (as best we could), the cable’s characteristic impedance? Absolutely! Could it be done? Yes — the issue is markedly reduced by eliminating the cable’s dielectric constant via 100% electrostatic screening. This is a technology that I developed for AudioQuest’s Storm Series of AC power cables as an offshoot of technologies developed for our Niagara Series power products. In those applications, the fundamental issue was minimizing any distortion or compression of transient current. For an analog interconnect, no such issue exists. However, the need for predictable linear behavior is still paramount. In fact, it’s even more vital as the primary audio signal reaches far lower into the noise-floor. ... Through considerable testing and work, we have created a repeatable method for establishing a level of Permanent Molecular Optimization of both the cable contacts and the dielectric, the effects of which no existing system or method could possibly achieve after any length of time. The process optimally stresses the associated materials in a fashion similar to the purposeful run-in of a fine race engine …."
(Excerpted from "AudioQuest Mythical Creature Analog Interconnects – A Technological Leap Forward by Garth Powell | 2-22-2022)

Richard Drees and Rob Hay brought also two RCA cables, one of which had been treated according to Garth Powell's process. However, we could not hear the differences since my chain is wired symmetrically. However, in the not too distant future, a treated and an untreated XLR connection should arrive at my house. I will tell you about my experiences with them in a supplement to this article. But let's finally get to the first mythical creature, the ThunderBird. Its conductors are "Perfect-Surface Copper," i.e., high-purity copper with a special surface treatment. As a reference to this material, the surfaces of the special XLR connectors – the three individual signal conductors have to be accommodated in them, after all – are copper-coated, which is also supposed to benefit RF conduction. The two 1.5-meter cables replace the Goebel High End Lacorde Statement between my D/A converter, Chord Electronics' DAVE, and the Audio Exklusiv's Reference line-preamp.