Before I start thinking about getting a hold of some RCA jacks to make interconnects, do you recommend the Vampire pure-copper ones first and foremost?
The Vampires 800C are the best sounding OFC copper Plugs I have found. They also offer an excellent connection as well. The Vampires have a “sputtered” Gold Flash directly on the OFC Copper, no nickel or silver plating. The body(negative connection) has a machined slot that allows the negative strand wires to be the same length as the positive strand wires. In my experience this was important to sound quality.

In addition Vampire offers an OFC Copper Chassis Jack at a reasonable price. Ideally, you should replace the Chassis Jacks as well. The improvement in sound performance is not subtle.

Do you use some special tweaks or parts on your Advantage Interconnects, that will make them sound better than cables I build using your wire, solder and information?
Yes, in some cases my cables do sound better to some DIY efforts. I always
recommend that constructors read the Advantage Specification Sheet. It clearly details all the materials I use and covers almost all of the processes I use. I believe not stressing the wire and braiding a uniform “long” braid where the braid is not to tight is very important. Also rubbing and melting wax into the finished braid significantly improves low level detail resolution(dampens mechanical resonance?).

But I will come clean and tell you about my “Mystery Process”, which I don’t think is mentioned in the Spec Sheet, but I will add now that I am telling you. I use a Jewelers File and a Small Tool Grinder to remove the Gold Plate on the outer body of the Plug and in the conductor mounting hole in the Plug’s Center Pin. That way I am soldering a “tinned” copper conductor to tinned copper without the gold getting in the way. Yes, I can hear a difference and the low level detail resolution and instrument voicing is better.

Is the OCCC Wire insulation substantial enough to use the wire as chassis hook-up wire by itself, or would it need a heat-shrink cover or something to prevent shorts?
The insulation on the OCCC wire is a double coat of high Grade Polyethelene, it can handle a lot of voltage. So it works great as hook-up wire. However, I am not sure why you are concerned about “shorts”. It is not a good practice to bundle wires in a layout, nor have positive voltage or signal wires come in contact with chassis or ground planes.

I recommend that all audio signal wires over a few inches in length be Litz Braided. In low voltage level signal wires like DACs or preamps, A three strand braid works well. One strand positive, one strand negative, another negative strand only connected at the ground plane. In power amps, Two strands positive and Two strands negative with another negative strand only connected at the ground plane.

I also recommend Litz Braided wires for AC and DC Filaments and the High Voltage power supply wires. In order to “tin” the ends on Litz Braided OCCC wires a solder pot should be used. You can braid a 24” length or more of braid, cut it into the ideal length and dip both ends in the solder pot to “tin” them for installation. The very small pots sold by TechniTool only cost around $60.00 or you can find them at electronics flea markets.

The wire should be run so there are no tight radius turns, electronic transmission line theory shows audio signals don’t like sharp turns. I install wiring in large horizontal(audio signal) about 3/8” off the chassis, and DC wires(except for the ground plane) in large vertical radius loops. When DC lines have to cross over AC lines you have them at 90 degrees.

Using this wiring technique, developed for high frequency applications, there is very little “crosstalk” due to EMI interaction. There are electronic and electrostatic fields around any wire passing a signal, care should be taken that they are spaced and “crossed” properly. For a higher number of strands, presume the braiding sequence is still the same as described for the 4 strand Litz (cross over one on the right, over many from the left, ad infinitum)?

The important to remember is the definition of Litz construction, outer conductors are "laid" or braided through the center of the conductor bundle in a sequential pattern. The ‘ideal” Litz braid would have each conductor braided the number of times with each conductor having the same length.

So when you use from 3 to whatever number of strands, you part the strands(let's say 8) into two equal bundles, in this case 4 on the left and four on the right. You take the outer conductor from the right bundle and lay it across the other three remaining strands in the right bundle. You now have 5 strands in the left bundle and 3 strands in the right bundle. Now you take the outer conductor in the left bundle and lay it across the four remaining strands in the left bundle. You have completed two braids and the left bundle and right bundle is back to four and four strands each.

You just keep repeating this sequence....always taking the outside wire from the right and laying it across the right bundle strands and then taking the outside wire from the left and laying it across the left bundle strands. This way each braid is from outside to center of the bundle......True Litz construction.

In the case of odd number of strands you put the extra strand in the right bundle and you follow the same sequence. I do not recommend odd number strands, save for three strands with the odd strand a floating shield, because I believe that the positive and negative conductors should have the same cross section.

Have you tried a multi-strand Litz which is left-right channel separated just at the ends so you have what looks like a single Litz connector carrying two channels. Downside / upside to doing so?
I do not have any personal experience in combining channels into one Litz braid. My instinctive response is why would we want to interleave two different signals?.....sounds like a recipe for cross talk. But, the only way to learn is to build a pair and compare them to a pair braided the way I suggest.

Can I use a separate positive and negative braid for speaker cable or internal wiring, say like inside my speakers?
In my experience, one of the “secrets” of the cable construction is to combine positive and negative strands in a single braid for any AC(Audio) signal transmission. Separate braids just don’t sound anywhere near as good as the combined cable. So speaker Cable or internal wire that is used to transmit the audio signal is braided just like the interconnects except with more strands. The positive and negative strands are braided into one cable.

Let’s take a 10 strand speaker cable for example. It consists of 5 strands positive(equivalent to 18.5 gauge wire) and 5 strands negative for a total of 10 strands. I braid split “ends” on my speaker cables. I take the 5 strands Positive and braid them for about 2” to 2.5”. Then I braid the negative 5 strands the same way. Then I interleave the positive and negative strands to create a 10 strand cable. When I get close to 2”-4” of the required cable length, length. I stop at a point where all the positive strands are on one side and all the negative strands are on the other side(I use a felt marker to color code the positives). Then I braid split ends to finish it off.

I was looking over the documentation for using the OCCC wire, but am still unclear about several things. First, the wire is much thinner than the wire I had been using (which was 20.5 gauge approx.), and was wondering what's the best way to compensate for this.. Litz braid 3 conductors together?
I am not sure why you want to approximate the same gauge. I use single strands of the 25.5 AWG, as audio signal wire in both tube preamps and power amps and have never found the need for a higher gauge. The wire will handle 0.4 Amps @ 700CM/Amp. I do Litz braid wire for HV power supply wires(only in high current power amplifiers) and for AC filament supplies. For long audio signal wire runs, say from the RCA jack to the first tube input grid, I do Litz braid three strands of wire….one positive, one negative and one floating shield(connected on only one end at the ground point). It does sound better than spiral twisted.

Also you had mentioned some "advanced" techniques to using the wire.. something about first dipping into solder pot to melt the outer coating, then rosin core flux, then using? I didn't quite recall what you had said, so was wondering if maybe you could clarify that again.

Also you had mentioned some "advanced" techniques to using the wire.. something about first dipping into solder pot to melt the outer coating, then rosin core flux, then using? I didn't quite recall what you had said, so was wondering if maybe you could clarify that again. Do you know of a good and cheap source for solder pot?
If you use a candle or disposable lighter to “flash” off the insulation you then need to clean the bare conductor ScotchBrite. Then you need to “tin” the exposed conductor with solder. If you use a solder pot, it burns away the sprayed on insulation and “tins” the conductor with solder. The solder flux I mentioned is a small container of highly active flux. You dip the insulated end of the wire into the flux, making sure the flux covers more of the wire length than you are going to “tin”. Then you dip the fluxed end into the solder pot. The melting flux carries away the insulation and you end up with a perfectly tinned end on the wire. The best solder pots are mini-pots that have a very small “bucket” for the molten solder. TechniTool(they have a web site) has a great 800 degree pot for $68.00 their part number 432SO240. You will need to melt enough CC solder into the bucket to achieve the best performance. Kester’s SP-44 Rosin Paste Flux works very well. TechniTool carries it as well.

Just got around to making up several style cables with the CCC. In your explanation of the LITZ braid, using the 4 wires and 8 step instructions, is it necessary to complete the whole 8 steps? Say the length you have cut the wire to length, but in braiding you can only manage, say 3 1/2 complete 8 step sequences?
In my experience, the important thing is to keep the positive and negative strands the same length. Since there is very little "shrinkage" when you braid the strands, using your example of 3 1/2 complete 8 step sequence, should work just fine. I use the Vampire 800s RCA plugs because they have a milled slot in the RCA outer shell. This allows me to solder a ground strand on each side of the milled slot, keeping the length of all the strands the same.I know you highly recommend 4-wire method over 3-wire ones. But at this length of 2" does it matter? 3-wire is easier in braiding, but if 4-wire one still sounds better at this short length, then I'll do it as you advised.

Even in 1” of wire, I would use the 4 strand. I do everything possible to reduce the energy absorption of the signal. I feel the third floating wire, like thick insulation or a “shield” absorbs the leading edge of the signal. The 4 strand is much faster. When I am going to rewire something I braid a 24” length of 4 strand and use a permanent felt marker to “mark” the cable after 8 braids. That’s the point where all the wire lengths are oriented with the strands in the same position as the start of the braid.
I install wire so that the cable arcs(has a radius) from the input connections to the output connections. I feel this reduces mechanical resonance. When the wire is longer than 4 inches. I use a wooden dowel to support the wire for the same reason.And be it 3- or 4-wires, there should be no "dangling" ground (i.e., ground connection on one end but not the other), right? For 3-wire one should have 2 grounds, 1 signal; for 4-wire one should have 2 grounds and 2 signals, right?

Again, I do not recommend three wires. But the proper way to install it is for two strands to be connected to ground at one end and only 1 ground strand to be connected at the other end. This is to keep the positive and negative “cross section” the same. The third wire acts like a floating “shield”. The best point to end the third wire is at the ground plane of the amplifier circuit. Regarding the wirewound potentiometer, I wonder it might cause problem with volume setting as it is multi-turn. Is there any indicator for which turn the volume pot is in?

There are no plans to add an indicator to identify what turn position the pot wiper is at. The concept is for the user to establish the average position they listen to Music at. They then position the indicator on the volume knob to 12 O clock an use the 360 degrees of rotation to “fine tune” their system to establish optimum balance and volume. There really is no reason to turn the volume post off as part of the system’s start up or turn off operations. All the Music sources I am familiar do have a “pause” or mute switch to “turn off” the music…if they have to answer the phone or the doorbell. Long term this same pot will be offered as a motor driven unit to allow volume and balance control form the listening position.

The only other questions/concerns I have are their durability (I don't swap interconnects too often but do need to move things around on occasion) and their long term stability (i.e., resistance to oxidation and other performance degradations). I heard OCCC wire is very delicate?
Thanks for interest. The Chimera Labs Advantage interconnects come with a lifetime warranty, saving unnatural disasters, say a cat, fire or an axe. I have had OCCC wire in operation for over 7 years and there is no sign of deterioration, it has a double spray coating that was developed for magnet wire. When I checked with the magnet wire manufacturers they told me that the coating did not attack copper and has a 15 year minimum life in transformers that run at a 54 degrees Centigrade or 130 degrees Fahrenheit. It handles heat, abrasion and chemicals extremely well, much better than the standard Teflon or PVC insulation's. Since the cables run at room temperatures, I feel it is a "Lifetime" product. The solder joints have been sealed so they won't oxidize, so the sound performance won't deteriorate. The OFC Copper Plugs are very solid mechanically with an excellent fit on the chassis jacks.

OCCC wire doesn't like to be bent in tight radius, tightly twisted or hit with a hammer. No conductor does. This will fracture and randomize the grain structure. Metal does have a memory and a disrupted and randomized grain structure will slowly heal. One of the factors that might account for the superior sound performance of vintage tubes and wire. Actually vintage wire was drawn or extruded from Cast Copper. So it has a superior grain structure to the modern wires that are made by the Electrolysis process.

I was wondering if the lack of shielding makes interconnects more
susceptible to corruption by the close proximity of power cords and other
wires?
No, the unshielded Litz Braid has not proven to be more sensitive to power cords or other wires. It is a good idea to keep all interconnects and speaker cables away from power cords, equipment cabinets and shelf uprights. The semi-rigid sleeving and Isoloss damping grommets at the wire side of the RCA plugs ensures that the OCCC wire can not form a tight bend. Instead you get a nice gentle loop. The sleeving not only protects the wire from abrasion but stiffens it. SO it is pretty easy to run them so they don't contact any of the above items. It is a good idea to run your power cords straight up to the equipment and have the interconnect cross the power cords at a 90 degree angle. If you need to space the interconnect braid away from something, Go to a hardware store and buy some "foam" water pipe insulation for 1/4" or 3/8" diameter pipe. This is a plastic foam tube with a slit running the length of the tube. Slice the foam into 1/2" thick doughnuts and use it to space the braid from whatever it was touching. By the way these doughnuts do a wonderful job of keeping you speakers cables off the floor. Space them about every foot or so and your bass slam and low level detail resolution is much better.

I wonder if you could tell me more about the "Dots of EAR Isodamp SD are used to dampen the RCA plugs. A special low temperature microcrystalline wax..." used to make your Advantage Interconnects?

Working Wax into the Litz braid dampens mechanical resonance. The paraffin wax used to seal Mason Jars for preserves jars or beeswax will work well. Both are low temperature microcrystalline waxes, You gently rub it on the outside surfaces of the braid and use a heat gun to melt it into the braid.

Actually I now use specially modified EAR Isodamp Grommets at the wire exit end of the RCA plugs. This supports and centers the braid in the large exit hole of the RCA Plugs. It also damps the resonance between the Plug Outer and Inner Shells. You can use the foam insulation that is used to insulate water pipes. Use the Outer Shell like a cookie cutter to punch out washers and use a smaller tube to punch out the inside hole. You wan the foam thick enough so that the foam is slightly compressed when the outer shell is screwed on to the inner shell.

I use a Jewelers File and a Small Tool Grinder to remove the Gold Plate on the outer body of the Plug and in the conductor mounting hole in the Plug’s Center Pin. That way I am soldering a "tinned" copper conductor to tinned copper without the gold getting in the way. I also use an alcohol based varnish to seal all the solder joints. Yes, I can hear a difference and the low level detail resolution and instrument voicing is better.
I have been making and refining these interconnects for over 8 years. To be honest, I have listened to sample interconnects made by my wire customers and they don’t sound as good as mine. It is really a matter of practice, execution and very close attention to details.

How in the heck do you keep all that wire organized while you braid long speaker cables?
To keep all the strands organized I tin or solder the ends on the positive wires. That way I can ensure proper orientation. I tried using a permanent felt marker to color code the wires, but it tended to wear off.

I start braiding the cable at the middle not at one end. I take a couple of C Clamps and two pieces of smooth softwood with some rubber tape on one surface of both pieces of wood. I lay all the strands side by side so the mid point of the strands rests on the rubber faced face of the bottom piece of wood. Then I position the top piece of wood rubber face down and use the C Clamps to clamp the pieces together to grip the wires. I use a saw horse as a work bench and an office chair with large casters so I can move away from the sawhorse as I braid.

When I get about two or three inches from the end at a braiding point when all the positive and negative strands are in proper orientation. I braid all the positive leads and negative leads into a short pigtail, looks like a Y. This will allow proper connection to a binding post without stressing the wire.

This way if, for example, you are braiding a four foot speaker cable, you only have to deal with a little over 2 feet of loose strands to braid, instead of 4 feet. I add about 4” to the wire length for every 3 feet of braid. You may end up with some excess wire, but you won’t be short.

I know you highly recommend 4-wire method over 3-wire ones. But at this length of 2" does it matter?
3-wire is easier in braiding, but if 4-wire one still sounds better at this short length, then I'll do it as you advised.

Even in 1” of wire, I would use the 4 strand. I do everything possible to reduce the energy absorption of the signal. I feel the third floating wire, like thick insulation or a “shield” absorbs the leading edge of the signal. The 4 strand is much faster. When I am going to rewire something I braid a 24” length of 4 strand and use a permanent felt marker to “mark” the cable after 8 braids. That’s the point where all the wire lengths are oriented with the strands in the same position as the start of the braid.

I install wire so that the cable arcs(has a radius) from the input connections to the output connections. I feel this reduces mechanical resonance. When the wire is longer than 4 inches. I use a wooden dowel to support the wire for the same reason.
And be it 3- or 4-wires, there should be no "dangling" ground (i.e., ground connection on one end but not the other), right?

For 3-wire one should have 2 grounds, 1 signal; for 4-wire one should have 2 grounds and 2 signals, right?
Again, I do not recommend three wires. But the proper way to install it is for two strands to be connected to ground at one end and only 1 ground strand to be connected at the other end. This is to keep the positive and negative “cross section” the same. The third wire acts like a floating “shield”. The best point to end the third wire is at the ground plane of the amplifier circuit.

I would also like your comments on creating a Balanced Microphone Cable with XLR connectors. Number of conductors? Braid technique? Connection Scheme?
I use two strands on all three connections or pins on the XLR cables I braid. So you are braiding a six strand cable. I have the two positive strands, pin 2 on the left and the two negative strands, pin 3 on the right. I split the shield strands from pin 1 so that one strand is on the inside right and one strand is on the inside left. So there are three left strands and three right strands.

I use the input XLR as a braiding jig. I solder two strands on each pin. I use a permanent felt marker to color the ends, red for positive, green for negative and don’t color the shield wires. I braid the cable to the approximate length I need and when the wire ends are in proper orientation…I cut and tin them to install them on the output XLR.