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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

Excerpted from \u300aAudiotechnique\u300b<\/p>\n

For audiophiles who enjoy playing with cables, the most common saying is probably: \u201cCables are all for tuning the sound.\u201d When different cables are connected to a system, the sound does indeed change\u2014\u201cswap in another cable, the highs open up a bit, the lows get thicker, and the vocals move forward a little.\u201d Using cables to adjust a system\u2019s sound quality is in itself perfectly reasonable. However, when a product reaches a certain level, I think it is somewhat overgeneralizing to understand it purely in terms of \u201ctuning the sound.\u201d<\/p>\n

If we look back at the High-End market in recent years, cable specifications have actually become more and more numerous. Different metals, different geometric structures, and even various shielding and dielectric materials can all become selling points. The numbers on specification sheets are also increasingly impressive.<\/p>\n

A New Milestone<\/strong>
HMS is a German cable brand with a fairly long history. It was founded by Hans M. Strassner in 1975 and has now joined the Siltech Group system. Suprema is the brand\u2019s flagship series. MC2 is not simply a Mark 2 launched by changing to another kind of copper and tweaking the appearance; rather, the conductors, insulation and dielectric structure, shielding method, and so on have all been reworked.<\/p>\n

This time I tried both the Suprema MC2 XLR interconnect and the MC2 LS speaker cable at the same time, and there was a very practical reason for that: if only one of the cables were changed, it would be easy to attribute the result to a change in a certain frequency band; putting both into the system together, by contrast, makes it easier to see the direction of HMS\u2019s overall design.<\/p>\n

Beyond Monocrystal Copper, There Is Still a Whole Lot to Deal With<\/strong>
When most audiophiles study cables, the first question is: \u201cWhat conductor is used?\u201d Suprema MC2\u2019s answer is direct: Monocrystal Copper. However, in my view, if a high-end cable review ends up saying only that \u201cit uses monocrystal copper, so the sound is purer and more transparent,\u201d that is actually equivalent to not truly explaining the design. Monocrystal Copper usually refers to copper conductors with fewer grain boundaries achieved through methods such as continuous casting, but it does not mean that the entire cable is a perfect \u201csingle crystal.\u201d Therefore, I would not treat the word \u201cmonocrystal\u201d as a guarantee of sonic advantage.<\/p>\n

What material the conductor uses is certainly important, but how it is placed inside the cable is equally important. The previous generation Suprema used OFC stranded conductors, while MC2 switched to a Monocrystal Copper solid-core structure. According to HMS, switching to solid-core conductors can, on the one hand, reduce the contact points between stranded conductors that are harder to control, and on the other hand help reduce mechanical movement of the conductors that may occur due to the magnetic field generated by current.<\/p>\n

This is the manufacturer\u2019s design philosophy, and I am willing to note it down. What I find more noteworthy about solid-core construction is that it gives the designer more room to control the position of the conductors. The MC2 XLR uses two solid cores plus one ground; the MC2 LS uses twelve solid-core copper conductors. Twelve sounds like a lot, but please first set aside the idea that \u201cmore material is better.\u201d<\/p>\n

If the sole goal were to reduce DC resistance, increasing conductor cross-sectional area would be a more direct method. What is truly complicated is the trade-off among conductor resistance, inductance, capacitance, and geometric structure. The fact that HMS is willing to separate the conductors and rearrange their positions suggests that this at least involves control over geometric structure.<\/p>\n

Cables Themselves Also Have Electrical Characteristics<\/strong>
It is very easy for audiophiles to overlook one thing: a cable is not a completely transparent channel. Any conductor has resistance; an electric field exists between conductors, thus forming capacitance; and current flowing through conductors also involves magnetic fields and inductance.<\/p>\n

Once a cable is connected to equipment, all these factors become part of the circuit. Therefore, with regard to what HMS has always emphasized\u2014Ultra-low capacitance\u2014I actually think it cannot simply be written as \u201clow capacitance, so the sound is fast.\u201d The interconnect between preamp and power amp faces output impedance and input impedance; the speaker cable is connected directly between the power output and a loudspeaker load that varies with frequency. The operating conditions of the two kinds of cable are fundamentally different. Therefore, I am more willing to understand HMS\u2019s low-capacitance design as an attitude of \u201cnot participating excessively.\u201d This formulation is not as attractive as \u201cfaster, more open highs,\u201d but I think it is more practical.<\/p>\n

This is also why I do not particularly like simply dividing cables into \u201cwarm-sounding,\u201d \u201ccool-sounding,\u201d \u201canalytical,\u201d or \u201cmusical.\u201d If a system has already been adjusted to its proper balance, and then a cable is used to deliberately push up a certain frequency band, is that an upgrade or merely a change? Answers and views differ, but it is very much worth examining in depth.<\/p>\n

The Space Around the Copper Also Has to Be Calculated<\/strong>
Another aspect of the MC2 XLR worth looking at is its dielectric structure. The manufacturer uses PTFE sleeves, Teflon insulating material, and an air dielectric structure, with low capacitance as one of the overall design directions. It is very easy here to understand this as \u201cair dielectric makes the sound more transparent,\u201d but I do not quite agree with that formulation. First, air is a dielectric environment, not a \u201csound material.\u201d What material is placed near the conductors, how far apart the conductors are, and how they are arranged will all affect the cable\u2019s own electrical characteristics. In the past, when discussing cables, many people focused on \u201cwhether the copper is good\u201d; with MC2, even the space around the copper has to be dealt with. It looks very subtle, but in reality this is precisely where high-end cables require the most effort.<\/p>\n

Carbon Shielding<\/strong>
The MC2 XLR uses Carbon foil shielding, and the shielding method is also part of what has been reworked in this generation. It is worth noting that HMS has not directly applied the same shielding structure to the MC2 LS.<\/p>\n

The electromagnetic environment of modern audio systems is indeed more complex than before. Routers, NAS, network switches, streaming transports, Wi-Fi, and even mobile phones may all be placed near the audio system for long periods. But the XLR itself is already balanced transmission and has a certain degree of common-mode rejection capability, so I would not write Carbon Shielding up as some kind of \u201cblack technology,\u201d still less would I directly take \u201cblacker background\u201d as a conclusion simply because Carbon is used. What is more noteworthy is that this time HMS has not merely changed the shielding material, but has dealt with conductor arrangement, dielectric structure, and capacitance together. And when it comes to the MC2 LS, HMS again has not copied the same metal shielding. The speaker cable sits between the power amplifier and the loudspeaker and carries far more current than the low-level signal from preamp to power amp, while the loudspeaker itself is a complex load. Adding a layer of shielding is not simply \u201cone more layer of protection,\u201d because structural changes may also involve capacitance and inductance.<\/p>\n

Twelve Solid Cores Are Not for Piling Up Material<\/strong>
The MC2 LS\u2019s use of twelve solid-core copper conductors is another point that is very easily misunderstood. Many people\u2019s first reaction on seeing twelve is probably \u201cvery generously specified.\u201d But I think that if the sole aim were extremely low resistance, making the conductors thicker would already achieve the goal. What is truly complicated is the trade-off among conductor resistance, inductance, capacitance, and geometric structure. This is quite close to the concept of power supply in an amplifier. The output power of a power amp is only one number. When actually playing music, the load changes constantly; drum hits, bass plucks, and large orchestral tuttis are all transient demands. When the output stage suddenly needs current, whether the power supply can remain stable is what truly affects the whole machine\u2019s sense of ease. The same applies to cables. The value of twelve conductors should not be written as \u201cmore, therefore especially strong control,\u201d but rather that HMS has more room to handle the arrangement of the conductors and the overall geometry.<\/p>\n

The Adjustment Switch Is Not the Same as Voicing<\/strong>
Both the Suprema MC2\u2019s XLR and speaker cable have adjustment switches. This is the most easily misunderstood design in the entire flagship cable line. The market is accustomed to understanding such switches as \u201ctwo sound characters\u201d: one position warm, one sharp; or one position analytical, one musical\u2014but the official documentation does not say this.<\/p>\n

\u201cHMS\u2019s public information only states that the switches on the XLR and speaker cable are used for optimization and adjustment according to different systems. As for exactly which electrical parameters are changed at each position, HMS\u2019s official product information does not explain further, so I will not write it up as a simple choice between \u2018two sound characters.\u2019<\/p>\n

From the perspective of how cables themselves work, once a cable is connected to equipment, its own resistance, capacitance, and inductance all become part of the circuit; the interconnect faces the output and input conditions of preamp and power amp, while the speaker cable sits between the amplifier output and the loudspeaker load. Their operating environments are not the same, so I think it is more reasonable to understand this switch as \u201csystem matching\u201d than as a tone control.<\/p>\n

\u201cIn actual use, I first take the original setting as the baseline, then compare the other position. What is truly worth noticing is not which position sounds more exaggerated, but whether the overall system balance, imaging, and musical flow have improved.\u201d<\/p>\n

Actual Listening<\/strong>
The first track was \u201cSlow Dancing in a Burning Room\u201d from John Mayer\u2019s Where the Light Is: John Mayer Live in Los Angeles. The first thing that caught my attention was the sense of space.<\/p>\n

The distances among the guitar, vocals, and live reverberation remained quite natural. The texture of the plucked strings was clear, but the friction sound was not deliberately pushed to the very front; the vocals had a sense of solidity, yet were not forcibly pulled closer. The C10 itself already provides a considerable amount of recording information, and MC2 did not \u201ccarve\u201d these details out again.<\/p>\n

If a cable\u2019s task were merely to magnify details, that would actually not be difficult to achieve. What is truly difficult is retaining the original proportions of the recording while still having information.<\/p>\n

Pink Floyd\u2019s \u201cComfortably Numb\u201d from The Wall is another matter altogether. After the music enters the larger-scale passages, electric guitar, drums, vocals, and various spatial effects appear at the same time. At such moments, the greatest fear is that everything is separated too much, so that in the end every element has a position but there is no complete stage. MC2 does not do this. The parts remain clear, and front-to-back layering is present, but nothing is deliberately pulled out one by one. The Alumine Two. Five itself already has very good speed and transparency, and the Momentum Z\u2019s control does not need cables to \u201chelp out\u201d again. After the MC2 was connected, these two aspects actually retained their character quite completely. In addition, during the listening period I repeatedly compared the two positions of the XLR adjustment switch: soundstage depth increased slightly, but the sense of the vocals being close\/forward decreased somewhat. In the end I chose the original setting, because the overall proportions were more natural.<\/p>\n

Conclusion:<\/strong>
There is no cable that has absolutely no impact. However, HMS does not aim to deliberately create a highly distinctive sonic signature; instead, it addresses physical structures and electrical characteristics item by item. While the market is rushing to turn cables into “sonic character plugins”, the MC2 reminds me of a simple truth: a cable is not superior just because it has more personality. If a system already has a clear sonic orientation, the real challenge is to preserve its original tonal balance after swapping cables.<\/p>\n

[\/et_pb_accordion_item][\/et_pb_accordion][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.5″ _module_preset=”default” custom_margin=”0px||||false|false” custom_padding=”0px||0px||false|false” border_width_all=”1px” border_color_all=”#000000″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Excerpted from \u300aAudiotechnique\u300b For audiophiles who enjoy playing with cables, the most common saying is probably: \u201cCables are all for tuning the sound.\u201d When different cables are connected to a system, the sound does indeed change\u2014\u201cswap in another cable, the highs open up a bit, the lows get thicker, and the vocals move forward a […]<\/p>\n","protected":false},"author":2,"featured_media":35129,"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-35127","post","type-post","status-publish","format-gallery","has-post-thumbnail","hentry","category-review-divi","post_format-post-format-gallery"],"yoast_head":"\nDo You Have to \u201cTune the Sound\u201d When Playing with Flagship Cables? | HMS Suprema MC2 XLR Interconnect and Speaker Cable - Richcoln<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.richcoln.com\/zh\/2026\/10\/23\/hms-suprema-mc\u00b2_at-vol541-2026-10_p190-195\/\" \/>\n<meta property=\"og:locale\" content=\"zh_HK\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Do You Have to \u201cTune the Sound\u201d When Playing with Flagship Cables? 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