[et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” width=”77%” width_tablet=”100%” width_phone=”100%” width_last_edited=”on|desktop” max_width_tablet=”100%” max_width_phone=”100%” max_width_last_edited=”on|desktop” module_alignment=”left” custom_padding=”||65px|||” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_gallery gallery_ids=”25935,25936,25937,25938,25939,25940,25941,25942,25943,25944,25945,25946,25947,25948,25949,25950,25951″ show_title_and_caption=”off” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_gallery][et_pb_heading title=”High Fidelity Review | Siltech’s Flagship Master Crown Series” _builder_version=”4.27.5″ _module_preset=”default” title_font_size=”34px” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_heading][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”0px||||false|false” custom_padding=”0px||0px||false|false” border_width_all=”1px” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_accordion _builder_version=”4.27.5″ _module_preset=”default” toggle_font_size=”25px” width=”100%” max_width=”95%” module_alignment=”center” custom_margin=”|||0px|false|false” custom_padding=”|0px||22px|false|false” hover_enabled=”0″ border_radii=”on|0px|0px|0px|0px” border_width_all=”0px” 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sticky_enabled=”0″][et_pb_accordion_item open=”on” _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
Dutch company SILTECH is one of the leading audio cable manufacturers. For years, it has set the standard in the high-end market with its TRIPLE CROWN series, along with a few other manufacturers. However, this May, it launched its new top-of-the-line MASTER CROWN series, priced twice as high. CEO GABI VAN DER KLEY and COO VIKTOR DE LEEUW came to Krakow to introduce this premium series to us.<\/p>\n
No matter how I originally intended to begin, no matter how I tried to think, sooner or later I would come back to the issue of the new cable price. After all, the total price of the signal cables, speaker cables, and three power cords we auditioned was just over 1,200,000 Polish PLN.<\/p>\n
“The law of diminishing returns states that, when other factors of production remain constant, continuously increasing the input of a particular factor will eventually result in a decrease in the output generated by each unit increase. In other words, when the quantity of a factor increases while other factors remain constant, the marginal product of that factor decreases.”<\/p>\n
In short, the concept is that the more we spend on a product (here, I’m referring to audio equipment), the more (better sound) we get, and this relationship can be described by an asymptote. Initially, the curve rises quite rapidly, then the rate of increase slows down, eventually reaching (almost) flat. That is, although each upgrade costs roughly the same amount of money, the improvement in quality becomes smaller and smaller until the curve becomes an almost flat line, where even with a huge investment, the improvement in sound quality is negligible. That’s the definition.<\/p>\n
However, this is a flawed definition, or more precisely, a misuse of it. This is because the economic principle assumes that the observer is always at the same position, their initial “zero point.” However, being an audiophile means constantly learning, growing, and changing; that is, as the sound moves along this curve, each time, our “zero point” is at a different position. This is something many proponents and admirers of the aforementioned principle forget: “It only applies when all other factors of production are constant, while one factor changes over time,” this is the second part of the definition. And the most important addition is: “This is why it only applies to short-run analysis, because in the long run, all factors of production are variable.” In other words, a change in the observer’s consciousness disrupts this relationship.<\/p>\n
Based on experience, I would say that the reality is quite different from what those who, for some reason, defend the law of diminishing returns as if defending independence describe it. For an increasingly experienced listener (the “observer”), he moves along an ascending curve. Each time he spends more money, his zero point is elsewhere, so he views the transaction (an exchange\u2014money for sound quality) from a different perspective. Therefore, each time, the cost to him for better sound is the same, even at that point where the curve seems to have been squeezed dry, because he was jumping from the top high end at that time.<\/p>\n
Now we can finally return to Siltech’s Master Crown series. Because some might think that, considering the price has doubled, the quality improvement compared to the Triple Crown series would be unrealistic. Ladies and gentlemen, before revealing our listening impressions, I must say: Nonsense! The sonic difference between these two series is as enormous as that between the Double Crown and Triple Crown series, and between Crown and Double Crown series, and so on. I would even say\u2014in my opinion\u2014that this is the biggest leap in quality across the entire product line of this Dutch company.<\/p>\n
Siltech describes its new series like this, and I agree:<\/p>\n
“For over forty years, Siltech has been synonymous with uncompromising quality and unparalleled performance in the world of high-end audio. The Master Crown series represents the pinnacle of our relentless pursuit of perfection, setting a new standard of excellence for the industry. Since the launch of our last flagship cable series, nearly a decade has passed, and we finally discovered a new force influencing sound performance, immediately realizing that this was a realm never before reached.”<\/p>\n
The standard is set extremely high, yet Siltech’s PhDs, engineers, and technicians proudly emphasize that their achievements have exceeded even the wildest expectations. Revolutionary technology has achieved what was previously only a dream: eliminating the last hurdle\u2014completely removing the barrier of cable quality.<\/p>\n
Technology One thing you immediately notice when you take the cables out of their elegant boxes is their flexibility. You see, the speaker cables, signal cables, and power cables from the Triple Crown series, which I’ve enjoyed in my system for nine years, have been remarkably stiff since 2015. If you’re just plugging them into your system once and putting in some effort to set it up, that’s acceptable, but in my case, it’s a major problem.<\/p>\n
That’s why, when I once spoke with Edwin van der Kley, head and chief engineer at Siltech, about improving the sound of what was then their most expensive cables, he said something like, “Well, you know, I’ve been doing tests, and if you increase the number of conductors used in the Triple Crown, you can get about a 15-20% improvement in sound.” He added that these cables would have to be bent and permanently shaped using special equipment.<\/p>\n
Another idea to improve sound quality using existing cables was to insert a buffer amplifier with a gain of 1 into the system. This idea was later implemented in Crystal Cable’s Minissimo Forte loudspeaker. It only provides current, not voltage, but makes the speaker’s crossover input largely independent of the cable. As Edwin stated at the time, this was one of his most important developments over the years.<\/p>\n
The development of the Master Crown series took the company three years. These cables use a larger total conductor cross-sectional area than previous flagship models. However, their outer diameter has only increased slightly, while their flexibility is incomparably better. They are based on S10+ single-crystal pure silver, a newer generation than the S8 used in the Triple Crown. It has higher conductivity than the previous S8 while maintaining a single-crystal structure from start to finish.<\/p>\n
The signal cables are constructed with four of these conductors, using a solution the company calls “balanced grounding” and “zero crossover distortion,” and come with redesigned plugs. The first is a new development: not only the conductors, but also their shielding is now balanced, whether in the XLR or RCA versions. The second name describes a topology based on years of electromagnetic interference research, designed to help eliminate crosstalk between positive and negative signals. Finally, there are silver plugs, made with the same type of silver conductors and cold-pressed together, this time also gold-plated. As Gabi states, this is done to make them sound better and more durable.<\/p>\n
The speaker cables are constructed with six large-section S10+ single-crystal pure silver conductors. As the manufacturer writes, they should also have a “perfectly symmetrical hexagonal structure.” They also come with gold-plated plugs. The AC power cables have up to eighteen conductors. Unlike the previous two, it’s a mix of S10+ and G9 conductors\u2014silver with added gold.<\/p>\n
This is interesting because this combination has been used in older Siltech cables and Crystal Cable products. Over time, this practice was abandoned due to the increasing purity of silver conductors. However, gold has proven to be an important component of the new sound. But another surprise is that the contacts in the EIC socket and Schuko plug are silver. The cable also uses gold-plated components on the plug body, which terminate the thicker, mechanically damped sections of the cable, and they look fantastic.<\/p>\n
Sound
Our Listening Approach \u2022 This time, the listening test of Siltech’s new cable took place on the music system of Tomek, the host of the KSS gathering. The cable was brought to us by CEO GABI VAN DER KLEY and COO VIKTOR DE LEEUW (her son). We started with comparisons, and then Viktor gave a brief overview of the most important technologies in the Master Crown series.<\/p>\n
Last time, we listened to three different online streaming platforms on Tomek’s system: Spotify, Tidal, and Qobuz, using an Aavik SD-880 streaming player. What was new to us at the time was the Dynaudio Confidence 50 loudspeaker, which replaced Tomek’s long-standing reference standard, the Dynaudio Confidence C-4 Signature. This time, a custom quartz platform, similar to those offered by Acoustic Revive, was placed beneath the loudspeaker, complete with RIQ-5010 quartz pads and SPU-8 stands.<\/p>\n
The gathering included a complete cable comparison\u2014the Siltech Triple Crown and Master Crown: an XLR cable connecting the Ayon Audio Kronos DAC\/preamplifier to the Accuphase P-7300 power amplifier, speaker cables connecting the power amplifier to the Dynaudio Confidence 50 loudspeaker, and four power cables: one for the Aurender N20 streaming player, one for the preamplifier with DAC, one for the power amplifier, and one for connecting to a power strip (the Power Base High-End 6 Limited Edition played this role). We should add that the signal from the streaming turntable to the DAC was transmitted via a Siltech Double Crown USB cable.<\/p>\n
Due to the complex logistical issues of switching so many cables in the shortest possible time, we decided to compare them in the following way: first, we listened to ten tracks (pre-selected by some participants) from the Qobuz streaming platform using the Siltech Triple Crown cable, then switched to the Master Crown cable and listened to the same ten tracks again. After listening to both, all participants shared their feedback.<\/p>\n
\u00bb Test recordings \u2e1c Selection
\u2e1c ARCHIE SHEEP, The Trill Is Gone, FLAC 16\/44.1.
\u2e1c BOB DYLAN, Man in the Long Black Coat, FLAC 24\/96.
\u2e1c MAHAVISHNU ORCHESTRA, You Know, You Know, FLAC 16\/44.1.
\u2e1c MILES DAVIS, Time After Time, FLAC 24\/192.
\u2e1c HANIA RANI, It Comes In Waves (Live at Studio 1, Warsaw), FLAC 24\/96.
\u2e1c FYSA, Buzz\u2019 Ayaz, FLAC 24\/96.
\u2e1c MARI BONE, D\u00e1nsso Fal Mu V\u00e1hkaran, FLAC 24\/48.
\u2e1c DAVID GILMOUR, Between Two Points, FLAC 24\/96.<\/p>\n
\u2e1c AVISHAY COHEN, Summertime, FLAC 24\/96.<\/p>\n
\u2e1c QUEEN, The Night Comes Down (2024 Mix), FLAC 24\/96.<\/p>\n
TOMEK L. (KSS) \u2022 Connecting the Triple Crown cable to Tomek’s system offered a level of performance. Switching to the Master Crown series, from the very first track, I heard a smooth, silky, and captivating sound. This wasn’t a subtle difference; it was a significant improvement, despite knowing the cost was proportional to the boost it delivered. It was a natural analog sound from a digital source. The music was full of life and energy, all the subtle nuances conveyed effortlessly. I hadn’t expected such a large difference, as the previous generation was already our top reference point.<\/p>\n
But not everything was perfect. Towards the end of the playlist, the bass started to falter. There was too much bass, and a certain resonance appeared, even though we weren’t even playing it very loud. The Triple Crown handled it better, as it didn’t go as low or as deep. But I realized this wasn’t a cable issue, but a listening space problem, because Tomek had been dragging his feet on acoustic treatment.<\/p>\n
I remember the exact same thing happening when we tested the Siltech Classic Legends 680 and 880 speaker cables before. The 680 was better if we wanted bass control, although it was thinner, while the 880 went incredibly deep, but it lost control on some of the songs we listened to. I remember Tomek saying at the time that he wouldn’t “cripple” the speakers; he wanted that kind of low-frequency extension and would handle the problem. After switching the Dynaudio to the newer Confidence 50 with its down-firing bass reflex port and fast woofer, he largely succeeded, but as we heard, it still didn’t work without acoustic treatment.<\/p>\n
Finally, a little surprise. At one of his places, Tomek opted to connect the streaming turntable to the DAC via AES\/EBU, even though it couldn’t transmit DSD signals like USB. In this role, the system consistently used a Siltech Classic Legends 680 XLR cable with an Oyaide Focus plug. During testing, we used the company’s top-of-the-line USB model, the Royal Double Crown.<\/p>\n
During the party, we kept the Master Crown cable in the system, switched the digital connection from USB to AES\/EBU, and listened to a few tracks from the previously playedlist. Unfortunately, the system immediately became more angular, with harsh and digital highs. No one except the host wanted to listen to this connection, so we reverted to the “Royal” USB connection and enjoyed tracks outside the playlist so everyone could leave the party in a good mood.<\/p>\n
JANUSZ T. \u2022 The Master Crown performed significantly better. Not just a little better, but much better. I was sitting in a corner, so I never had a chance to hear good bass, and with the Triple Crown, I felt there was too much bass, which masked some of the midrange, which wasn’t a good experience.<\/p>\n
With the Master Crown, everything calmed down, and the bass separation was much better. The midrange was no longer “covered up,” and more detail emerged. To me, the Master version balanced the entire frequency range tonally. But I missed some of the treble; it wasn’t as “sparkling” as the Triple version, which was more open and powerful. Nevertheless, the Master Crown seemed like a much better cable.<\/p>\n
DAMIAN (KSS) \u2022 What I immediately noticed with the Master Crown was a “darker background,” which is our definition of the effect I was referring to. This made me feel that the sound was more resolved, but not in the sense usually referred to in Hi-Fi audio.<\/p>\n
However, as subsequent tracks played, I started to feel a lack of powerful treble openness, as Janusz has already mentioned. So I didn’t pay much attention to the bass; it didn’t bother me. Therefore, while I initially favored the Master Crown, as it was simply a much better cable, towards the end of the playlist (after listening to ten tracks), I began to question this initial assessment. Despite its superior overall performance, I started to miss the pearly brilliance and openness of the treble.<\/p>\n
RYSIEK B. (KSS) \u2022 I believe this evaluation is incomplete because we only used one source \u2013 a streaming player. I miss listening to CDs and vinyl records, where we had the full picture. But it’s done here, so I’ll address this source, which I didn’t particularly enjoy. Therefore, aside from two recordings, it wasn’t a comfortable experience for me.<\/p>\n
However, I think the Triple Crown is more demanding on the source because it’s more direct, highlighting, to some extent, the differences, variations, flaws, and issues in the recording and production. In this system, the Triple Crown disappointed me somewhat, even though they remain among the best cables I know, and in my opinion, were once the best in the world, and I’ve listened to many throughout my life. It’s now clear that the Master Crown has taken the “crown” from them. The fundamental difference\u2014and I’m exaggerating, but I want to emphasize this\u2014is that the Triple Crown plays “sound,” while the Master Crown plays “music.” With the former, we get many different sounds, while with the latter, we get music, and that’s the key. It makes me sway, it excites me. It’s about some subtle change that makes something move us or not. The Master Crown gives the music that moves me.<\/p>\n
WICIU (KSS) \u2022 In my opinion, the demo volume was about 5 dB lower, which likely altered our perception of sound in both cases. Nevertheless, I seemed to feel that certain tracks sounded louder with the Master Crown, as if everything blended together better\u2014this impression is subjective, but it’s evident.<\/p>\n
I was able to hear the difference for a few seconds or less, then get used to the sound and forget about it. Based on this, I would say the Archie Sheep saxophone played better in the second demo (using the Master Crown cable), and it truly did. I heard a real tenor saxophone, which I didn’t hear on the Triple Crown. This is indeed a significant difference, not a minor change.<\/p>\n
ANDRZEJ \u2022 I agree with Wiciu, and it’s not just because we work together \ud83d\ude42 The sound seemed a bit louder to me when using the Master Crown cables, even though I was actually listening to music at the same level. Everything seemed more open and “sparkling” where I was sitting, meaning my experience was different from Damian’s.<\/p>\n
But after all, both cables are top-of-the-line, and based on previous comments, people might perceive the Triple Crown as a weak “competitor.” I have models from the Crown and Empress series in my system, and I can hear how excellent those cables are. I know the Triple Crown, and I think they are excellent cables. But the difference is there. Perhaps not as significant as my predecessors heard, but it’s undeniable. Tomek’s bass issues were noticeable with the Master series, but that’s because they’re cables that reveal more, have more dynamics, and the bass extends much deeper with them.<\/p>\n
MARCIN OLE\u015a (KSS) \u2022 In my opinion, we’re in a rather strange and confusing situation. This is because we’re doing something laughable. After all, we’re discussing the sound of two top-tier, absolutely top-tier cable series, not just Siltech, and saying, “Well, the Triple Crown isn’t that good because the Master Crown does this or that better.”<\/p>\n
But it’s equally undeniable that Siltech hasn’t wasted time developing the Master series over the past three years. To me, these are completely different cables; the differences are enormous, everything is different. The Master series’ tone is so beautifully differentiated, so perfectly balanced, that when we switch cables, it feels like we’ve replaced the entire system with a much better one. The sonic character is clearly similar, yet the perception of it is entirely different.<\/p>\n
The Master Crown makes the sound more open, more spacious. In my seat, the bass was perfectly controlled with these cables. I understand it might sound different elsewhere, but it’s the Master Crown that balances everything. With these cables, everything feels more real; to me, it’s like taking off a “mask” from your face\u2014finally you can see the expression, the feeling, you can see the personality.<\/p>\n
Compared to the Master Crown, the Triple Crown cables present music somewhat like looking through smoke. They also slightly emphasize certain low-frequency ranges. However, without comparison, we would say these are absolutely top-of-the-line and extremely transparent cables. But the new Master Crown is just that good. For me, it’s a huge leap forward in terms of timbre, balance, openness, and value. The control of the sound is much better, and the slightly lower tonal balance provides better perspective\u2014I would say ten times better.<\/p>\n
ROBERT SZKLARZ (Nautilus) \u2022 This kind of listening event is excellent because perhaps no other place in the world has conducted such a comparison, allowing access to such a complete set of excellent cables simultaneously. However, this comparison, in my opinion, was too brief to objectively assess the differences between these series. It’s an important reminder for those building some of the world’s best systems, but comparisons should be conducted at home, in a specific system, using multiple sources. As Rysiek says, these differences will be greater and easier to understand then.<\/p>\n
Siltech cables, in particular, take a long time to “stabilize” in a system after being removed from their boxes. Many people don’t understand this technology or its complex mechanical structure, where even small changes can produce huge differences. Only after the metal and dielectric expand, and after the signal has run for a while, do cables, whether Triple or Master Crown, begin to perform at 100%\u2014at least three days are needed for a proper listening experience.<\/p>\n
Finally, I’d like to add that Tomek needs to consider the acoustics of the room; those differing opinions on the bass performance are due to the room’s acoustics.<\/p>\n
TOMEK F. (KSS, our host) \u2022 I liked the Master Crown cables very, very much from the very beginning. I have no doubt about it. My attention was drawn to what Damian already mentioned, namely the \u201cvery black background.\u201d So overall, the sound is naturally darker and more beautiful. Like with Wiciu, I only listened analytically at the beginning, because later I listened for fun. Everything was very homogeneous and coherent; I didn\u2019t have any bass issues, although I knew I had to do something about it.<\/p>\n
But I liked both cables, not to say that the Triple Crown performed poorly, as some reviews might suggest. It\u2019s just that it\u2019s an absolutely top-of-the-line cable that \u201chappened\u201d to be compared to the Master Crown, which was out of reach in this comparison. And this comparison is a bit unfair because these cables should be played for extended periods in a system. I\u2019m very happy.<\/p>\n
GABI (IAH) \u2022 First of all, I must say that this was an extremely interesting comparison for us, namely Victor and me, because the Master Crown was also new to us. During development, we listened countless times to music on our own systems, but we always listened to the music we listened to most often. Here, however, most of the music was new to us, making it a truly refreshing experience.<\/p>\n
I really appreciate how the Master Crown resonates with everyone listening. I look at you all and see that even if you don’t completely like something, the music played through those cables touches you, changes something, and I can tell from your body language. This is an important message for us.<\/p>\n
As for the bass, every room has its issues. The issues here are audible, to varying degrees, no matter how many times we’ve been here, but that doesn’t prevent us from having a great time and enjoying the music. Because a system, including the cables, should perform well under any circumstances, even if some things aren’t quite “in tune” for us.<\/p>\n
Here, I heard something I’d never heard before with the Master Crown: detail. These are the cables that better reveal the fingers on the strings, the way Miles Davis plays the trumpet, the hammers striking the piano strings. The differences may not be huge, but they are numerous. It is precisely through their sheer number, through the overall variation, that the new sound of the cables creates an impression so different from what we hear on the Triple Crown.<\/p>\n
After all, the most significant challenge facing any system is something that can be called “presence”\u2014the feeling of participating in a real event. This isn’t to say that the Triple Crown lacks this feeling; after all, Wojtek has listened to them daily in his home for years. But the Master Crown, it turns out, presents the event in a more natural, more believable way. This isn’t because we listened to them second, but because they are more transparent, yet also more transparent about the issues, albeit in a different way than the Triple Crown. They are more explicit in this respect.<\/p>\n
The biggest difference between the two boils down to how they present the instruments. For me, a pianist, Hania Rani’s playing style, which is quite foreign to me, was less irritating with the Master Crown. Not because the cables themselves added anything, but because they conveyed the pianist’s intentions more directly, which was understandable to me. With the Triple Crown, this was less clear to me, and therefore more irritating. But, as I said, I simply don’t like that playing technique.<\/p>\n
The price difference is enormous, but so is the sound. The Master Crown transformed an audio system in ways we never imagined, elevating it to a level it shouldn’t have reached. However, let’s remember that the Triple Crown remains the same excellent cable. In my opinion, they are almost the best cables in the world \ud83d\ude42 But, as things stand, they now have worthy successors.<\/p>\n
VIKTOR (IAH) \u2022 Much has already been said, so I will only focus on the most important observations. This won’t be entirely objective, but I’m in a good position, so perhaps my opinion will ultimately be useful \ud83d\ude42<\/p>\n
This difference, and its importance, became apparent to me after the first few bars. The Master Crown, in my opinion, allows the system to “breathe.” The sound has an airiness that can be heard “between” the sounds, bringing more sound out from the background. I had a similar impression to Gabi that people around me were more excited and moved when using the Master series than when using Triple cables. I also had a similar impression to Marcin’s observation of taking off the mask. The Master Crown removes a thin layer of distortion from the signal, which is why we interpret it as more open, “removing the veil,” and so on.<\/p>\n
It’s fascinating how different listeners’ opinions can vary depending on where they’re sitting and what kind of music they usually listen to. For me, it was an interesting experience because it was completely different from what I’d known before. Before launching the Master Crown cables, we did some listening tests at friendly stores in the Netherlands to make sure we were on the right track and to listen to different music on other systems. This experience also gave us a lot to think about and provided important feedback. I must say, I was very satisfied with what I heard here; it even exceeded my expectations for our new cables.<\/p>\n
GABI \u2022 Moreover, if I may add, this was the first time we’d compared the entire Triple and Master Crown cables outside of our system.<\/p>\n
VICTOR \u2022 Listening to our new cables gives people a “homecoming” feeling. Interestingly, after listening to the first two tracks using the Master series, I started thinking: how should I rate the Triple Crown now? They are, after all, excellent cables; however\u2026 it must be remembered that not many people have the opportunity to compare two complete sets of cables, and the Triple Crown is, after all, only half the price, and in fact possesses almost all the quality of the most expensive series. On the other hand, if someone can afford it, they will get, very simply, better sound.<\/p>\n
Summary I think the best summary of this gathering is what Tomek sent us in a voice message a few days ago. In it, he talked about sitting in front of the system for over an hour and not being able to leave it. We should add that it was a system equipped with Master Crown cables. After playing for a few hours, something Robert mentioned earlier \u201chappened\u201d\u2014the cables \u201cstabilized\u201d in the system. This is a physical change, electrical and mechanical, and at this level, they make a huge difference in sound.<\/p>\n
Tomoek went on to say that the sound was so good that all our previous comments about acoustics and system shortcomings vanished. There might still be problems, but they no longer mattered to him. Perhaps this is what we should talk about when describing top-of-the-line high-end equipment: the \u201cpossessiveness\u201d of the sound, and that’s exactly what Siltech’s new cables do. They allow us to close our eyes and drift along. Not because the bass, treble, space, or anything else is better, although they are indeed better, but because the overall experience is on a completely different level. Floating somewhere in the stratosphere.<\/p>\n
System Setup Used<\/p>\n
\u2e1c Streaming Player: Aurender N20<\/p>\n
\u2e1c DAC\/Preamp: Ayon Audio KRONOS SIGNATURE DAC;<\/p>\n
\u2e1c Power Amplifier: Accuphase P-7300;<\/p>\n
\u2e1c Speakers: Dynaudio CONFIDENCE 50;<\/p>\n
\u2e1c Cables: Siltech TRIPLE CROWN \u2192 Siltech MASTER CROWN<\/p>\n
\u2e1c Power Strip: Base POWER BASE HIGH-END 6 LIMITED EDITION<\/p>\n
[\/et_pb_accordion_item][\/et_pb_accordion][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"
Dutch company SILTECH is one of the leading audio cable manufacturers. For years, it has set the standard in the high-end market with its TRIPLE CROWN series, along with a few other manufacturers. However, this May, it launched its new top-of-the-line MASTER CROWN series, priced twice as high. CEO GABI VAN DER KLEY and COO […]<\/p>\n","protected":false},"author":2,"featured_media":25934,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1920","footnotes":""},"categories":[335],"tags":[],"class_list":["post-27919","post","type-post","status-publish","format-gallery","has-post-thumbnail","hentry","category-review-divi","post_format-post-format-gallery"],"yoast_head":"\n