Quote Originally Posted by Mr Peabody
If you are referring to AR vs Monster, I think the build quality is worth the slight difference in price alone but Monster has various levels of quality as many cable manufacturers do.

If you are referring to cables in general, you must not miss a chance to try to stir up an argument. I have spent several hundred dollars on one cable and have been very satisfied with the noticed improvement. Cables can and do make a noticeable difference. If you haven't experienced it, too bad. It still doesn't change anything. And certainly I'm not suggesting anyone go buy cables on my word, there are plenty of ways to get cables for evaluation to see if one finds the difference worth the expense. Actually, cables can make such a difference I highly recommend trying before buying. I've done some extensive comparisons of various brands of cables and my conclusion is system synergy can sometimes trump the expense of the cable for best sound.
..I've sorta' been lurking and seeing the same ol' same ol'...it grows wearisome...I'm not the only member who has taken Monster to task for being one of the hype-iest mfrs. in the hobby...So when I see someone post a rec for their products, I scratch my head and open my trap...you just happen to be IT so don't take it personal...but...

Generally speaking, how many levels of quality are needed in, of all things, wire? Once we get past basic build quality and shielding, what is there? Maybe locking connectors or zip-o-dee-doo-da color-coordinated sheathing? Do more expensive cables and wire allow more of the frequency spectrum to be passed? If so I (and others) would like to see some hard evidence as opposed to that of the sighted anecdotal kind.

And just what is that anecdotal stuff even based on? Listening to a flawed medium, if digital?...an approximation of the original signal...and taken a step further...most software is simply a stereo (or MC) presentation of individual mono tracks, probably recorded at different times and in different places...all the sonic cues are non-existent in reality, mostly provided by studio trickery...When we get into the whole aftermarket wiring providing more "inner details" and other bits of audiophool hoo-ha, I roll my eyes and make a corresponding gutteral noise of disgust and dismay.

Even if you are only into audiophile-type recordings, wherein quality material, produced by quality performers, using minimalist recording techniques, there's still a problem...with what equipment did they mix the final product? What may have sounded correct to them may be totally skewed by your playback gear and listening environment...there is no real touchstone that allows for the myriad of outside influences that could affect sonic perception.

And since the OP seems to be somewhat concerned re: HT, it's all out the window...What difference will wiring (whose effects are minimal at best and even then only with ultra-resolving gear) have on the average, garden-variety, laser-tottin' mechanical lizards? Given a character like Chewbacca, whose voice is a synthesis of various animal grunts and wheezes, sliced and diced and put together nice, why do we even care?

jimHJJ(...closer to what reality?...)