Having allowed the cable three more days to run in using Roon’s “radio” mode on the Grimm MU1, where it continuously plays music, and using the server’s double AES/EBU outputs to run both cables simultaneously, I must confess that the extra time had indeed made a difference again. With both cables connected and switching inputs on the C1.2 DAC, there were still significant differences; however, the two cables were now closer in sound than they were in the first minutes after connection.
In essence, the additional running time has made the muon2 more relaxed to the point where it is more laid-back than the Mogami. However, the Muon 2 is still airier, more refined, and more spacious, and even though it has a slightly less crisp and direct sound, it delivers a more exciting performance with a more tangibly realistic feel. Importantly, the cable is genuinely unique in offering a spacious and free-flowing natural sound combined with rhythmically sure-footed pacing. The music breathes freely without feeling floaty or lacking foundation.
It’s hard to put my finger on it, but every time I switch back to the Mogami, there is a sense of disappointment, of listening to a simpler source. And like before, the Mogami just sounds less natural, both in timbre and in terms of flow. One might argue that the Mogami’s entry-level price point renders it unrealistic competition. To that, I counter that this cable has held its ground against a very wide range of cables in all price categories, and throughout that time, it has not disappointed. Many things are relative (one might argue that everything in life is), but in audio, at least, I find this to be undoubtedly true. Cost indicates a hierarchical ranking, but it is not always a reliable indicator of quality, although the term itself is relative, as no two audiophiles seem able to agree on what constitutes a quality cable. All I will say is that other cables have frequently managed certain aspects better than the Mogami, but apart from the Jorma, it had not yet been surpassed this thoroughly.
I repeated the tests using only one cable at a time. I expected to hear a worthwhile difference, but it was very subtle at best. Enabling an extra Zone in Roon has a greater influence, especially when linking two Zones and using them in tandem, but that’s unrelated to the cables. In any case, I was happy to find consistent results.
To ensure the results remained consistent, I switched back from the Grimm server to the Aqua La Diva M2 CD transport, only to find that the result was precisely the same.
I briefly mentioned the Jorma AES/EBU. This was a cable that not just surpassed the Mogami but also made me switch. However, over time, it became apparent that this cable exhibited an unusually long bedding-in period, during which it continued to develop even after six months of use. Eventually, the cable had become very smooth and mild, which led me to return to the Mogami for its more direct and upfront delivery. This is not intended as a jab at Jorma, as I have also experienced this long-term effect with other products. As a reviewer, unfortunately, it is impossible to take such long periods into account; however, it is worth mentioning to raise awareness of the phenomenon. Whether the muon2 will remain stable in the long run is not something I can foresee. However, as it stands, after several weeks of use and significantly more than the suggested 200 hours, the muon2 is the best-sounding digital cable I have used.
Conclusion
The muon2 Balanced Digital Cable has a light-footed and hugely delicate approach that feels lush and gentle yet positive and upbeat. It has an appealingly spacious and airy sound with immensely high resolution, but unlike many highly resolving cables, it is not dry or over-controlled, but deliciously liquid. What makes this cable genuinely stand out is that, despite its smooth, natural, and relaxed nature, it has a tangibly realistic feel.
External Links
Manufacturer: Network Acoustics
