{"id":30534,"date":"2021-12-31T11:06:20","date_gmt":"2021-12-31T09:06:20","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=30534"},"modified":"2022-01-12T13:41:32","modified_gmt":"2022-01-12T11:41:32","slug":"signal-projects-lynx-and-apollon","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/cables-reviews\/analog-interlink-reviews\/signal-projects-lynx-and-apollon\/","title":{"rendered":"Signal Projects Lynx and Apollon"},"content":{"rendered":"

Review sample supplied by Ultisone<\/a>
\nRetail prices in the NL including 21% VAT:<\/h4>\n

Lynx XLR or RCA 1,0m: 950 euro (as reviewed)
\nLynx XLR or RCA 1,5m: 1.220 euro
\nAdditional 0,5m lengths: 270 euro<\/h4>\n

Apollon XLR or RCA 1,0m: 3.700 euro
\nApollon XLR or RCA 1,5m: 4.200 euro (as reviewed)
\nAdditional 0,5m lengths: 500 euro<\/h4>\n

Company Philosophy<\/h3>\n

Many believe that the manufacturing of audio cable is not an intricate process, basing their opinion on the simplicity of the product itself. In addition to that, the reality where anyone can take a simple wire, a set of plugs, and a soldering iron to make any type of cable, seems to reinforce their opinion.<\/p>\n

Signal Projects believes that cable making is a lot more demanding as a process than it may seem on the surface of it, due to the large number of parameters that have to be considered and controlled in order to maximize the performance of reproduction devices. Factors such as resistance, capacitance, impedance, inductance, skin effect, power loss, proximity effect, propagation delay, and many others, need to be measured and controlled during the manufacturing of high-end audio cables, and in Signal Projects nothing is left to chance.<\/p>\n

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Lynx and Apollon interlinks<\/h3>\n

The Signal Projects portfolio starts with the Alpha, the Monitor, and then the Lynx, which is one of the subjects of this review. At 950 euro for 1 meter, the Lynx is positioned in a segment where cables are still attainable for most and they routinely provide great value for money. The Lynx cable is well-made, sturdy yet supple, and fitted with nice connectors. The cable employs a Tri-Core consisting of two solid-core sections and one stranded section, all copper.<\/p>\n

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Above the Lynx, there are the Silverquest and Hydra, and then Apollon, which is the other subject of this review. At 3.700 euro for 1 meter or 4.200 euro for 1,5 meters, as reviewed, the Apollon positions itself in the high-end segment where the cost\/performance ratio can sometimes be off. But this is also where the boys are separated from the men. This seems to be expressed very clearly in the cable’s appearance. Whereas the Lynx has a straightforward-looking construction, the Apollon has a complex braided construction and is quite heavy. Fortunately, despite its thickness, the cable is still very supple. The Apollon employs a Hybrid construction using Copper, Silver, and Gold for its conductors.<\/p>\n

Above the Apollon are 4 more models which position the Apollon in the center of the product catalog. Both the Lynx and the Apollon have been supplied in the RCA version.<\/p>\n

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Review Context<\/h3>\n

I will be listening to these interlinks using a variation of digital music sources in the context of the main reference system<\/a>. Directly-connected sources include the CH Precision C1 DAC<\/a>, the Aqua La Diva M2<\/a> CD transport, and the Aqua LinQ<\/a> network interface, and Formula xHD<\/a> DAC combo in combination with the Audio-GD Master 1<\/a> preamp.\u00a0Cables used for comparison include the Driade Flow Link Reference 808<\/a> RCA and XLR, the CH Precision Balanced Link, and the AudioQuest Fire<\/a> RCA.<\/p>\n

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Listening – Lynx<\/h3>\n

My normal configuration for listening to digital music consists of the CH C1 DAC connected directly to the CH A1.5<\/a> power amplifier. Because I wanted to also include the Aqua Formula xHD and because the Lynx cable was too short for the DAC to power amp connection, this called for an analog preamp. For these situations, I have the surprisingly affordable yet also surprisingly linear and transparent Audio-GD Master 1<\/a> preamp at hand. And with this preamp, I usually use the Driade Flow Link Reference 808 interlinks (750 euro for 1 meter).<\/p>\n

Connected between the C1 DAC and the Master 1 preamp, the Signal Projects Lynx (950 euro for 1 meter) sounds considerably warmer and smoother than the Driade interlink. It’s the kind of sound that is the antithesis of dry and analytical. In certain ways, it reminds me of stereotypical tube sound. Do note the word “stereotypical” as tubes most definitely don’t always sound lush and sweet! But momentarily putting that reality check aside, the Lynx has big and juicy bass and a relaxed, rich, and creamy midrange which are both properties often found in tube products. However, while stereotypical tube products can also sound rounded on top and perhaps a little dark, the Lynx has open, airy, and well-detailed treble.<\/p>\n

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Upon reading this description, one could potentially conjure aural images of a loudness-kind of sound and that wouldn’t be entirely incorrect. However, while the Lynx definitely sounds warm, loudness presumes a bumped-up bass and treble and a saddled midrange and that’s not how I perceive the Lynx. Compared to several of the other cables in my inventory, including the aforementioned Driades, however, it can’t be denied that there is a measure of smearing in the Lynx’s overall presentation, but arguably most noticeably in the bass. Big and juicy it may be, but it’s not very articulate or precise.<\/p>\n

The Lynx enriches the music with a luxurious honey-coated ripeness and deep tonal saturation.<\/p>\n

While the cable’s rich honey-coated midrange sure is seductive, this makes that the cable is not as expressive or hard-hitting as many of the other cables in my arsenal, but unusually, it still possesses a good level of resolution and detail. It may indeed not be the most exhilaratingly dynamic or most startlingly expressive cable there is, but its rich delivery can quickly become addictive.<\/p>\n

Replacing the Lynx for the\u00a0AudioQuest Water, a long-standing old favorite, makes for a substantial shift. While the Water has a similarly full tonality as the Lynx, and more solid and robust bass and lower midrange than both other cables for which I always used to praise it, it is considerably darker and nowhere near as detailed or as refined as either the Driade or the AudioQuest. In comparison, the Water now sounds ill-defined and even a little muddy.<\/p>\n

As a final comparison, I will add the Vermouth Black Pearl MkII<\/a>. From what I recalled prior to using it in this context, this cable has a delivery that should be very similar to that of the Lynx. And indeed, the two cables are more or less comparable in terms of treble behavior and the overall relaxedness but they are quite different in the bass and the soundstaging. The Vermouth is similarly smooth but leaner in the midbass (less body and impact) and less voluptuous overall. When I reviewed it earlier, I felt that it sounded positively rich and luxurious but the Lynx has simply superseded it in these disciplines, as well as in terms of tonal saturation, overall spaciousness, and flow.<\/p>\n

These comparative tests are very important as they show how relative observations can be. My initial feeling of the Lynx was that it was probably not too dissimilar from two other smooth and rich-sounding cables that I have in certain respects. Yet only upon making the direct comparisons, the true differences are laid bare and they clearly show that no matter how lush and smooth the Lynx may appear, it actually has a very carefully- and almost inconspicuously remarkably well-resolved sound.<\/p>\n

The big upside of using the Lynx in a transistor system such as mine is that it adds a smooth and forgiving quality. The downside is that it rounds off the transients just enough for me to prefer a more revealing cable.<\/p>\n

Still, it’s a little dangerous listening to the Lynx for too long as it will make most other cables sound lean, cool, or matter-of-fact. While the cable is well-balanced, quite detailed, and not slow, I would also not say it is a particularly fast cable. The Driade, for instance, is tighter and faster in the bass and feels more “instant” with its leaner and crisper midrange. But in comparison to the Lynx, the very neutral Driade sounds almost dry and factual. Of course, that’s a relative matter, for as I found during its review, the Driade is as fluid and smooth as the source dictates. It is simply more revealing of what the connected components sound like. And in this case, in the Winter-season, that rightfully unveils a slightly cool-sounding system. But that kind of magnifying glass quality may not be what everyone will be looking for in an audio system.<\/p>\n

Next: Listening to the Apollon<\/p>\n

<\/p>\n

Listening –\u00a0Apollon<\/h3>\n

And now for the Apollon. Three levels above the Lynx and positioned in the center of the Signal Projects product line, this is a serious cable and as such, I will also compare it with some other serious cables. Removing the Lynx and connecting the Apollon, still between the DAC and preamp, makes for an impressive change, or should I say, non-change, for the overall sonic signature actually remains remarkably similar to that of the Lynx. The presentation is still lush, smooth, rich, and warm, but with instantly improved pacing, articulation, transparency, resolution, midrange clarity, and transient snap.<\/p>\n

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Basically, the Apollon improves the Lynx’s sound in every aspect, but seemingly without changing the overall character very much. Remarkably enough, although I can appoint the Apollon with great marks in many of the areas that I value most, it achieved this while staying very far from being analytical or lean sounding in any way. In fact, the Apollon sounds harmonically rich and still forgiving, yet it is not overly warm, nor does it show any signs of rounding.<\/p>\n

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In a direct comparison between the Driade XLR and the Apollon RCA between the C1 DAC and the A1.5 power amplifier, the Apollon again surprised me with its seldomly heard mix of harmonic fullness, articulation, and resolution. The Apollon did not yield to the Driade in any of the cable’s strong attributes, not even in terms of refinement or precision, despite sounding full, lush, and deeply saturated.<\/p>\n

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In addition, the Apollon offers significantly deeper imaging and these differences go miles further than the differences that can be heard between XLR and RCA in the depth of imaging. The Apollon actually provides the deepest, most 3D image that I have heard in my system so far.<\/p>\n

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When switching back after a nice listening session, the Driade sounds comparably flat and even a little gray, even if it also reaffirms its superb refinement and resolution, certainly at its modest price. In these areas, I’d say it is comparable to the Apollon. However, the latter does not sound quite as transparent as the Driade. This is evident especially in the midbass and the midrange where the Apollon is well-detailed and certainly more articulate and expressive than the Lynx but still rather polished. Vocals that I know well seem to swim in the mix rather than being elevated above it. They’re not drowning nor covered up but just embedded enough to make for a slight politeness that reduces the startle factor. On the other hand, the Apollon also makes very nearly everything sound rich and emotionally engaging.<\/p>\n

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Moving on to the CH Precision Balanced Link, we are also moving from a 750-euro competitor to one costing 2.000 euro for 1 meter. Surprisingly, the Balanced Link and the Apollon have similar presentations. Both are smooth and refined and the CH cable is similarly polished or polite if you will, but that’s where the similarities end. Right after switching, the Apollon seems slightly darker but that feeling vanishes almost immediately while making way for supreme liquidity with what is now revealed as an even airier and refined treble, and a creamier midrange. Additionally, and this is what really sets the cable apart, the Apollon is tonally considerably<\/em> deeper saturated. Don’t mistake this for coloration but rather that its shades simply seem to contain a larger bit depth, as if the reach is simply greater from light to dark, if that photo\/video analogy makes any sense. And the more I listen, the more the cable gets under my skin. During the third track, it suddenly hit me: the Apollon lends the two directly-coupled CH components just the right amount of “tube” glow but while largely retaining the sense of speed and, importantly, the dynamics. The Apollon may sound polished and like the CH it is not as direct-coupled or expressive in the midrange as some competitors, but it is not restrained.<\/p>\n

The CH cable does appear more neutral and more linear at first (and maybe it really is) but I’m afraid it’s also grayer and flatter and it feels relatively more restrained, not only in tonality but also in imaging. Musically, at least, the Apollon simply beats the CH cable with a more involving and more soul-stirring delivery.<\/p>\n

Next: adding the Aries Cerat Impera Reference preamp<\/p>\n

<\/p>\n

Adding the Aries Cerat Impera Reference preamp<\/h3>\n

Speaking of soulful, this was my cue to involve the magnificent Aries Cerat Impera Reference<\/a> preamp. I’ve held off using the preamp in this review thus far for two reasons. First, the Lynx cable is simply too short to use with two units side by side, and second, for the Lynx, I wanted to use a preamp in the “attainable” price category. Not that the Impera Reference is extravagantly<\/em> priced, certainly in light of its massive build and superb performance, but at 21.500 euro, it’s very much in the serious camp, more like the Apollon cable.<\/p>\n

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With the change of preamp, I’m also changing the DAC from the CH C1 to the Aqua Formula xHD. And simultaneously, I’m adding the AudioQuest Fire<\/a> RCA interlink to this comparison. AudioQuest? Isn’t that the company that makes affordable cables and tweaks? Yes indeed, but they also make upmarket items, all the way up to the stratosphere. The Fire RCA cable costs 3500 euro for 1 meter and a whopping 5.500 euro for 2 meters, as reviewed. And just as with Signal Projects, that’s nowhere near the top of the range just yet. But for both brands, you could say that the two cables that I have here represent the sweet spot.<\/p>\n

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Between the Impera Reference preamp and the CH A1.5 amplifier, I’m using the Fire interlink because it has sufficient length and also because I found that this combination works particularly well. In turn, the Apollon is connected between the Formula xHD DAC and the Impera Reference Preamp. Because the Impera was already switched on since early in the morning and it was fully warmed up, the listening could resume immediately after changing the cables.<\/p>\n

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Oh boy, this was something else! Of course, the change in preamp makes an enormous difference (which I will describe in detail in the upcoming review) but, clearly, the Apollon was also working remarkably well with the Formula xHD DAC and the Impera Reference preamp.<\/p>\n

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What the system produced now was exceedingly well-balanced, refined, tonally rich, and even more deeply saturated, and still smooth but also well-textured, open, detailed, energetic, and remarkably lively. Indeed, in this combination (the leaner and less voluptuous-sounding DAC helps, as well as the exceedingly lively preamp), vocals now float just above the mix and the Apollon’s remaining politeness now blends in perfectly.<\/p>\n

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I’ll admit that I had a few “gulp” moments, as well as a long and hard contemplation about my system’s performance and whether or not I should take a new turn. I will address that in a future article but for now, let’s return to the Apollon interlink that performs so magically in this context.<\/p>\n

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Going back to the Lynx again confirms the strong family resemblance and a similarly soulful delivery but this exercise also clearly marks the more affordable cable as being quite rounded and less precise, less open, and above all, less expressive and communicative. Although the Lynx works a little better in this combination than in the earlier pairings, it just can’t match the Apollon in terms of incisiveness and expression. And given the large disparity in cost, that’s precisely how it should be.<\/p>\n

The Vermouth Reference<\/a> interlink (760 euro for 1 meter) confirms what I feel the Lynx is missing in terms of bass robustness and midrange slam and it even makes the Apollon seem still slightly laidback after all, but in turn, it also perfectly illustrates just how ultra-refined, airy, and supremely liquid both Signal Projects cables really are. Upon returning to the Apollon, I’m again amazed by the rare mix of smooth richness and deep saturation, and a great level of detail.<\/p>\n

As a final test, since they are in the same price class, I wanted to compare the Apollon directly to the AudioQuest Fire. But I’ve only got one pair, so I connected the preamp and power amp with the Driade cables and freed up the Fire for use between the Aqua DAC and the Aries Cerat preamp. This proved interesting! While the Fire offers what seems to be an ideal midway between the Vermouth’s robustness and drive, and the Apollon’s tonal saturation and refinement, it still offers a very different sonic perspective. First off, the imaging between the two cables is entirely different. The Fire has a relatively narrow soundstage and a forward and rather direct perspective while the Apollon has a wider soundstage and projects much more behind the speakers.<\/p>\n

In part, these differences can be explained by the diametrically different manner in which these two cables are constructed, the Fire using solid core conductors in what’s mostly air insulation versus the Apollon using litz wire in what feels like a soft PVC-like dielectricum. But as I know from past experience, this only tells part of the story. What’s particularly at odds with earlier experiences is how the Apollon manages to sound as smooth and liquid as it does while maintaining such high levels of resolution and precision. The Apollon is airier and more fluid, but in this context, there’s nothing amiss in terms of detail or precision. It’s just presenting the music differently.<\/p>\n

But even in this more ideal partnering, it’s evident that the Apollon and the Fire have very different key performance areas. The Driade and the Fire are closer to being strictly neutral but does that make them better cables? I will leave that question for the reader to answer.<\/p>\n

What I will say is that, no matter how different they are, both cables provide musically beautiful renditions. I will also add that I am becoming notorious for emphasizing articulation and transient attack and I know that not every listener is as sensitive to this as I am. Ultimately, the decision will come down to system synergy and user preferences, in particular the craving for either more seductive liquidity and flow or more exhilarating drive and expression.<\/p>\n

Bonus content – JW system<\/h3>\n

Just before finalizing my work for this article, I paid my good friend JW a visit and decided to bring the Apollon cable along. JW’s system revolves around a Thorens TD1601<\/a>, a Wadia 861, Zesto pre-and power amplifiers<\/a>, and original Apogee Duetta Signature<\/a> magnetostatic dipole speakers. Knowing my audio buddy’s taste, I felt confident that he would like the cable and that proved to be spot on! With the Apollon having substituted the Cardas Clear cable between the pre-and power amplifiers, JW was positively delighted with the cable’s full-blooded bass and its supremely liquid and deeply saturated delivery. And it delivered the goods with the turntable as well as with the CD player. The old 861 can still be dry or square-ish at times compared to vinyl but with the Apollon cable, that effect was much reduced.<\/p>\n

The Cardas, in comparison, is a little dry and staccato, especially noticeably with sustain and decays, it’s not as liquid as the Apollon. However, the Cardas does have slightly more immediate transients and sounds ever so slightly more expressive. Just as was the case with my own CH system (but not with the Aries Cerat preamp and Aqua DAC), JW’s Zesto system portrayed vocals and snare drums in the midrange as being embedded in the mix, rather than just peaking above it as with the Cardas cable. Nevertheless, with its seductive delivery and its supreme finesse, the Apollon made a very compelling case. I could see JW already crunching the numbers. Ultimately, he decided that his aging and rather relaxed “Duetta Ladies” as he lovingly refers to them, as well as his Zesto system, pair better with the slightly more open and articulate Cardas Clear cables. But the Apollon has planted a seed and it will be interesting to see how it grows over time.<\/p>\n

Next: Connectors and Conclusion<\/p>\n

<\/p>\n

Connectors<\/h3>\n

A glance at the company’s website shows black instead of blue shrinkwrap for the Lynx and different connectors for the Apollon but please note that the versions that I am reviewing are the current models.<\/p>\n

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One problem with connectors is manufacturers who deviate from the normal specs and make plugs with thicker pins than normal, supposedly to make an extra-good connection. What this can yield, are worn-out female connectors that can have trouble making a good connection once they are married with a standard plug after years of use with over-specified ones. It’s rare but it has actually happened to a few components during my time in audio so far. Fortunately, the Signal Projects cables’ connectors adhere to the standards.<\/p>\n

According to Wikipedia, the male plug has a center pin that is 3.175 mm (1\/8 inch) in diameter and is surrounded by an outer shell that is 8.25 mm (1\/3 inch) in diameter. As it happens, the Signal Projects connectors adhere to this precisely with respectively 3.1 and 3.2 mm for the Lynx and the Apollon.<\/p>\n

Confusingly, across a wide range of my own components, both used and brand new, as well as with components tried at a friend’s place, I’m finding that the Signal Projects connectors make a somewhat loose fit while the thicker, non-standard 3.3 mm for both the Vermouth and the AudioQuest connectors seem to make a perfect fit. Could it be that the industry as a whole has adopted looser standards in female connectors?<\/p>\n

Both Signal Projects cables have locking collars which means you can easily slide the connector on and then tighten it. I generally like locking collar RCA plugs and the ones supplied with Vermouth and Transparent Audio cables set the example. Alas, the ones provided with both Signal Projects cables don’t make as solid a connection as I would like.<\/p>\n

The ones supplied with the Lynx don’t really tighten around the RCA as well as I would like but they work smoothly and look and feel very solid, and, importantly, they have the kind of quality that I expect at the price. The Furutech connectors supplied with the Apollon also look and feel solid, but they, too, provide a loose grip. And contrary to the Lynx’ connectors, I can’t tighten the Furutechs enough to make them grip the female connector firmly enough. Maybe the conductor material is too strong to be effectively compressed? This, combined with a relatively loosely-fitting center pin makes that, even at its tightest, the plug can still be pulled out with ease from nearly all components.<\/p>\n

The only exception to this was a friend’s Spectral DMC-30 SV preamplifier that employs larger than average connectors and with which the Fire’s connectors even made an overly tight match.<\/p>\n

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The Spectral DMC-30 SV preamp has larger-diameter connectors than all other components but besides checking this, it was not used in the context of this review. More about the Spectral will be published in a future review.<\/em><\/p>\n

With all that said, I should add that I am also not entirely happy with the connectors that are fitted to the AudioQuest Fire cables. While the simpler connectors on the lower-end Water cables make a great connection and have proven to continue to do so after years of use, the massive “hanging silver” connectors on the AudioQuest Fire look the part but quickly lose their grip after having been used for mere months.<\/p>\n

In closing this little rant, I will add that if<\/em> there is a detrimental effect from loosely-fitting connectors, still, it leads to the superb sound as described. So, my grumbly comments are probably best taken with a grain of salt. Also, I should also note that both Signal Projects cables have very well-implemented strain relief. The cables are attached exceedingly well to the connectors meaning that they should easily stand the test of time.<\/p>\n

Conclusion<\/h2>\n

The Lynx has a sound that is the antithesis of analytical. As such, it’s not the most revealing or transparent. Rather, the cable’s liquid delivery is consistently of the forgiving kind, making very nearly everything sound sweet and pleasant. Depending on the individual’s taste or system needs, that will be a desirable or non-desirable quality.<\/p>\n

The Apollon has the almost exact same kind of delivery as the Lynx but with improved definition, linearity, transparency, and expression, to make for a cable that is well-detailed yet also forgiving. The Apollon is exceedingly well-balanced, refined, tonally rich, and even more deeply saturated than the Lynx, and still smooth but also well-textured, open, detailed, energetic, and remarkably lively. Indeed, in the right system, the Apollon provides a hugely seductive sound like no other cable.<\/p>\n

Associated Equipment<\/a><\/p>\n

 <\/p>\n

External Links<\/h3>\n

Distributor for the BeNeLux: Ultisone<\/a>
\nManufacturer’s website: Signalprojects<\/a><\/p>\n

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