Sakura Systems OTA Cable Kit

After much soul-searching, study and prayer, I have decided to reveal the fact that I am an AUDIO MORON. I'm sure that both the members that take my opinions seriously will be shocked, but there it is.
All during this discussion of the OTA cables and what I intended to be a sidebar, or op-ed, if you will on the Mapleshade Double Helix I was breaking in, I mentioned the imaging problems I was having. Both Dekay and Redkiwi had noticed something similar with the OTA but their cables settled down and mine (the Mapleshade) didn't.
Two days ago I decided that perhaps one of the channels was out of phase so, and I know you'll find this hard to believe, I actually LOOKED AT THE SPEAKER POSTS to see. Sure enough, the left speaker had the leads reversed. (sound of hand hitting forehead rather loudly)
Oh, the shame, the ignominy! How could I return to the forum and waste more time? At first I continued posting as if nothing had happened. But my crime was a cancer eating away at me. I HAD TO CONFESS. But to do so would bring ridicule and dash any hopes of ever achieving that elusive goal of the set of steak knives.
Finally, I realized that someday, someone would find out the aweful truth which would spread out across the internet. I had to reveal my stupidity and hope that my betters would treat me with mercy.
You will, won't you? Please?

Whatever you do don't flog yourself with the cables, something to do with the dialectric. How is the sound now?

Yes Kitch, how is the sound? Should we be trying the OTA out of phase and perhaps with a lemon twist?

Hello everyone,

I just could not resist saying something here, although I am not sure I can rely say anything cleaver nor anything new. I feel like I have completely lost ground under my feet and do not know anything about electronics nor acoustics at all. After I have tried the 47L cable and amplifier in my system (and have immediately bought it) I just got totally lost. I am sorry that I am not able to use all those technical terms and descriptions that you use when describing this cable and its sound, but I do not feel comfortable enough that I know the meaning of all those words anymore.

All I know is that I am completely pulled into the art of music and a new dimension of absolute harmony that has suddenly appeared in my room. Nothing else matters.

Hi sead, it would have been nice to talk to you at Frankfurt High End 2001, but I could not find you. You have your headquarters in Sarajevo (correct?), and there can be no doubt that to meet you among your equipment there, in the very place where your 47 Labs set-up was conceived and usually operates, would be an unforgettable experience. Probably not like meeting you at the Frankfurt trade fair--namely, to encounter an original, undeviating (despite the soldered speakers) audiophile amid this swirl of different sounds, "omnia sua secum portans," on the alert in the dull grey light of his room in the Kempinski. To be sure, the big audio show exhibit is not a format in which I might initially expect an understated, minimalist system--and one of the subtlest ones at the show--to reveal itself. But to my ears the situation appeared differently. Your efforts brought the ideas behind the 47 Labs equipment into sharp focus for me.
Your entire account of my informal "review" of the 47 Labs exhibit is very fair and kind, and comes to terms with some important points about the 47 Labs equipment and the exhibit.
1. Names and professions of those involved. I just asssumed all were engineers. I did not see the name tags, nor the women, BTW.
2. The use of the STRATOS wire as a power cable. I am glad I was correct here: chalk it up to my sharp eyes, and curiosity. The Frankfurt area has notoriously bad AC and I was curious how all of the exhibitors would handle that problem.
3. Resonance. Please, do not take my words "casual attitude towards resonance" as a critique, but a hidden gloss. In the 47 Labs interview for "enjoythemusic.com" Junji Kumura offers an "alternative medicine" perspective on resonance: "We are not trying to control resonances... Instead of trying to kill off resonances by damping, we are trying to find a way to live with them." Koji Teramura added: "We can't stop the vibrations no matter what" I simply thought that the exhibit was an embodiment of these ideas. It seems once 47 Labs takes a particular direction, they follow it through as far as it goes with a certain resoluteness. This commitment to extremes (what else is it but dialectic and life's breath and passion?) can be seen in your cabling very clearly. Was it also in the shelving of your components, I wondered?
3. Restricted Low Frequency speakers and music. I simply was not in the room when any demanding bass recordings were played. Big bass is not a big sonic priority for me anyhow. Nevertheless, I would have loved to have heard the Rickie Lee Jones "speaker crusher" you mentioned.
Scarcely any of the recordings I heard were ones that normally turn up in my listening room or ones that I am familiar with. But as I sat there listening to them in my armchair, hands busy scribbling in my notebook or clasped behind my neck (more often the latter), I was overtaken with admiration, It was fascinating to follow that vocal recording of "American Pie" in its undeviating clarity and closeness.
Since the breaking-in of cables is lengthy, the involvement of many of the above posters with the 47 Labs OTA Kit seems to move in phases. (In and out of phase, as it were, ;-)) I ventured to provide some poetry above for the close emotional involvement I felt for the music through the 47 Labs system as I think that everyone who becomes closely involved with 47 Labs equipment does not really go through phases, but a fundamental transformation of sonic and electronic priorities. They also get much closer to the pure affective experience of music, as I think Hazim indicates in his post. If any of my words are authentic, they owe this to the poetic and deliberate dialectical construction of the 47 Labs system you built for us in Frankfurt. Thanks.