What do you mean by "better" when it comes to cabl


I have read a number of posts here and on other sites regarding cables being good or better or great or whatever. Once you use a pure copper or silver conductor, wrap it in a decent, effective insulator and terminate with quality RCA connectors, then what is it that an audiophile is looking for the cable to do? In other words, how does it become "better". Is it a matter of adding colorations. Or are people suggesting that there is some signal loss over 1 meter which degrades the sound and can be restored through better cable. and how does that restoration occur, or is it simply a matter of reducing loss. Is the cable being used as a tone control? an equalizer? Are we trying to achieve something more than what a preamp or component is putting out in the first place.
I am not in the camp that claims that cables dont make a difference, because I have heard a change in my system with a different cable, but it wasnt something strong enough for me to even articulate the change accurately. It sounded "better" but I dont know how or why. what is it that the better cable is supposed to do?
manitunc
"Better" cables are in the ear of the beholder, it cannot be quantified. Just like "better" beer cannot be quantified. "Better" is a subjective term that is widely over-used.

Just as those that post threads on these forums asking for the "Best" X. Most everyone here knows that there is no "Best". It's just an rookie mistake, don't get worked up about it.
better means one cable is preferred over another.

if you set up (arbitrary) criteria, you can relate better to the established criteria.
Manitunc-

I found this somewhere and saved it in notepad. I do not recall where I read it.

What better means:

[Better means deeper, more clearly defined soundstage, it means cleaner/more distinct overall presentation - more easily heard stereo separation, more solid L/C/R across the soundstage - with greater refinement of top frequencies clear down to the bass. It means improved macrodynamics such that it seems someone turned up the level when it has not been touched. These are the results in every instance. It also gives the sense that you are hearing into the piece more and increases the corporeality of the artist(s).]

These are some points that I personally use when I evaluate and critically listen to equipment or music I wish to own.
A lot of it starts with good system building first, e.g. properly matched components to begin with. When this is done first, then folks, by definition at this point, are IMO simply concerned with just finding decent wiring that can truly do the job while doing the least amount of harm in the process. But, if you start with a system that has been built with mismatched components, then you are likely 'stuck' on the unending treadmill of looking for wiring that will act as an equalizer of sorts. This can be a bit like looking for the needle in a haystack since often no 2 systems are mismatched in quite the same way and there's usually no readily available guide for such a search regarding the particulars of your own situation. And since the common perception is that roughly about half the systems out there (if not more) are likely in some significant way mismatched, then it's no surprise that there are plenty of folks around trying to sell their own brand of what can be, in effect, hit-or-miss, band-aids...some of which can be, well, painfully expensive. Hope this helps a bit. Regards. John