When I first wrote about Marohei Cables for almost 3 years, I mentioned in the introductory section how to write about HIFI cables an ungrateful job, because it often entails different and contradictory opinions, divides people and causes frustrating debates. Since then nothing has changed (and will not), but in the meantime Marohei Cables has released a new series of cables – Maduro S. Don Quixote in me, armed with new cables, once again bravely roams the windmills!
The cables from the Maduro S series are the best cables available at this time by Marohei Cables. Below Maduro S (Silver), there are Maduro C (Copper) series, Vortex and the initial Signature cable series. Apart from the design and performance, the batches are not the same as the offer, for example, in the initial Signature series there is only one model of interconnect in balanced (XLR) and unbalanced (RCA) variants.
The Vortex Series offers interconnects (XLR and RCA), 75-ohm RCA coaxial digital cable, USB cable, speaker cables and two power cable models. The Maduro C offers a power and speaker cable, while the Maduro S series includes XLR and RCA interconnects, speaker cables, power cord, 75-ohm RCA coaxial digital cable and ultimately a 110-ohm XLR digital cable. On testing I got all the cables from Maduro S series except digital.
The basis of all Maduro S cables are silver conductors of different cross section, high purity (99.9999%), mechanically machined, several times polished and cryogenically treated in Marohei Cables manufacture. As an dielectric, Mulberry silk was used in several layers. P.T.F.E (Polytetrafluoroethylene) protection and the final layer is a grey polyamide braided sleeving, through which one-ply PVC ‘snake skin’ is coated. In the interconnects and speaker cables, the guides are in spiral geometry, while in the power cords are combination of spiral and braid.
At the ends of the RCA interconnect are the WBT NextGen 0152Cu connectors, while the XLR version of the Neutrik 3XX. Speaker cables include WBT 0610Cu connectors (bananas) on one side, and WBT 0661Cu (fork) on the other. According to the customer’s wishes, it is possible to choose different connectors with the manufacturer, depending on the connection method to the system. As far as the power cable is concerned, the connecting parts are made of cryogenically treated copper coated with 7 micron silver.
What is important to point out is that all the cables are manually made and that there is a possibility of making cables according to their particular wishes or purposes. For example, you can order a BNC or phono cable and cables of different lengths, depending on the application itself.
In the packaging of each cable, there is a registration sheet whereby the customer realises the guarantee. For every praise, the manufacturer guarantees to customers the delivery of technically and physically correct cables made according to their own requirements. If a damage occurs, the manufacturer will repair, modify or deliver a new cable at no extra cost. This applies to all cables in all series.
I used the cables in multiple positions in the system, or as a connection between the preamplifier and the power amplifier, the preamplifier and the DAC, the speaker and the power amplifier, and finally between the preamplifiers and the power amplifier. I tested the power cable connected to the power amplifier, DAC and preamplifier. I tested the individual cables, but also completely connected to the system.
Somehow, the most points were written on balanced (XLR) interconnects. Given the experience with the CT Reference that at one time also separated from the other cables from the Marohei bidding, this is not a novelty. Namely, Maro Filicic, owner of the company and the designer, often points out that he has invested most of the time on interconnect development.
Now, how is the simplest way to describe the sound of the Maduro S interconnect? Some major character differences between the balanced and unbalanced version do not exist, though the balanced is still better in my system. Someone will say that the best cable is one that does not stand out in the system and performs its basic task, which is signal transmission from source to output. And that’s it. If listening to a certain part of the spectrum draws attention to itself, the cable is not good. In other words, a neutral character is required.
Maduro’s interconnects are not only neutral in character but also packed with a huge bonus. And this bonus is reflected in the enhanced sound stage, resolution, richer texture, correct timbre, darker background sound effects, and separation of instruments. The sound of the system in general has been gained with flattery and ease of reproduction. When you hear that, you know that you have largely removed one obstacle on the signal path, and that’s exactly the cable.
Here are redundant questions such as whether this cable should be connected to a system of lighter or darker character, retracted or more pronounced sound images. If you think Maduro interconnect to correct the wrong river, point the search in some other direction.
How worthy of the Maduro S interconnect is, perhaps, the best performing works like Requiem for my Friend, Zbigniew Preisnera (1998, Sony Music). The album is mostly recorded in the cathedral of St. Ivan in Warsaw and Benedictine monastery Eamus in Krakow. Compositions include vocal soloists and choirs, accompanied by organ and classical instruments.
For the experience you’re looking for from launching the album, you need to have very tight chain links, including cables. The Maduro S is here just because it did not go into saturation or fatigue at one time. Quite the contrary, he has been able to excel in space, fine-define instruments, subtly express vocals, transfer the overall atmosphere and maintain homogeneity. The work was gained on streams with a marked holographic effect.
Cables of such characteristics can be parsed without problems with cables such as Transparent MusicLink Super, or cable of your own system. The main difference is a better defined high-tech area that gives more information. More information also means more music.
Even greater value of Maduro’s Interconnect I felt by joining the turntable and line preamplifiers. Here is replaced Marohei CT Reference, a phono cable I decided to keep after the first Marohei cable test. So the progress is sensible, so listening to the vinyl also gained a new dimension. If there is a chance, I will see if there is a trade in variant to replace the existing cable with the new model because there is not much to think about.
As for the speaker cable, only the connection has not passed smoothly. Namely, from the previous description it is clear that at one end there are banana plugs while on the other fork. Due to the direction of the cable and the fact that the Wilson Audio Sophia 3 speakers can not accept bananas, in agreement with the manufacturer, I had to disconnect the connectors and connect the bare wire cables to the speakers. This does not change so much to the sound as to the convenience of connecting / disconnecting, so I advise the manufacturer to put it at the ends of the cable before buying it.
In any case, Maduro S and in this case did not schedule. On the contrary, speaker cables have been shown in fantastic light. Just as in the case of interconnections, here is a very high-fidelity sound image throughout the bandwidth. In addition, there is a noticeably stretched sound stage in all directions as well as exceptional resolution.
What and what the system was getting with Maduro S Speaker Cords, I could hear through the album Speak Low, Tsuyoshi Yamamoto Trio (2001, Venus). Although, in general terms, it is a question of unmistakable musical material, compositions like the Speak Low title may still put a certain obstacle in the system. The composition is very rhythmic and contains a series of micro and macro dynamic distortions that connect the composition and give it fluidity.
Here, it is critical to achieve the good separation of the instruments, in addition to the above-mentioned dynamics, so that the rhythm of the section separates itself from the Tsuyoshi piano and pushed it into the foreground, and he, like the locomotive, pulled the drums and the contrabass, ie the rest of the wagon. If the system is as complex as it is, you have 8 minutes and 21 seconds of unforgettable jazz driving.
On the other hand, if somewhere in the system there is a narrow throat, and in the context of this description it might be a bad speaker cable, you will be left out of critical information because the others are gotten somewhere on the way to the loudspeakers. Fortunately, Maduro S does not mask and deny anything but, on the contrary, broadly opens a sound image and offers plenty of detail.
With the power cord things become more complicated because it is a cable that does not pass the signal. Around the power cables in the audiophile world is the biggest battle since a good part, especially those technically challenged, can not reconcile with the fact that the meter, two cables through which no audio signal passes, can affect the sound quality. In addition, before that cable are miles who knows some power cables, starting from the transformer to which the house is connected, then the current of the installation in the house itself, the apartment, etc. We are talking about the last meter or if you want the first one.
However, it is equally indisputable that the power cable can greatly affect the sound of the HIFI system and millions of audio files around the world, including myself. I tapped them on tithes, some even wrote on this blog.
My experience is that the influence of the power cable depends most on the power supply of the device itself. In other words, the power cords I plugged into the system did not equal all the amplifiers, players or other devices.
For example, the Classe CA-2200 output amplifier I’ve had in my system for years has reacted strongly to the application of the power cable, while the Pass X250.5 output amplifier now found in the system shows inferiority to most of the current cables connected to it. Ultimately, I could not detect the difference between the audiophile cable such as this and the stock cable supplied with the device.
But the Maduro S power cable has managed to make a certain shift in the sound, mostly in the sub bass area that gained strength. It was not a tectonic shift that Maduro S would put to the top of the agenda, but because of that, DAC’s position was drastically applied. Here I literally zipped and I could not believe the power cable managed to raise the sound for several levels. The details went to the surface, the background dimmed, the bandwidth widened, and the whole system was stained. This is not a subtle difference, but a feeling that you have bought a new device.
If you’ve been listening to the composition of Berlin, with the ingenious albums of Pasodoble, Lars Danielsson and Leszek Mozdzer (2007, ACT), you will remember how the composition exudes a darker and more nostalgic atmosphere. It begins with a quiet and shaky bass, but in a somewhat indefinite space from which later the piano and cello go forward and take over the main word. Here Maduro S shared the lessons of good manners because he managed to spread the music over and over and overcome this magical atmosphere of the composition.
Where will ultimately find the Maduro S power cord, it is primarily dependent on the devices of the system itself and there is no general recommendation except to try it out. But be sure to try to keep track of how your device can actually play. What I personally complain about is that I did not have more Maduro S power cables available to connect all the devices. If one of the right speakers has made a significant shift in the sound quality, I’m convinced that it will further boost the quality of the amplifier, amplifier and other devices.
However, I could afford that all 4 cables, that is, 2 interconnects (output/pre and DAC/pre), speaker cables and power cord (DAC), should be put into the system at the same time. This was the most interesting moment for me because in the right light there was a qualitative shift in the sound. Here are children’s illnesses, which can otherwise be tracked by silver wire cables, in the sense of the oversized or grainy high-tech area that has long been overtaken. In addition, the sound is bland and can be listened to longer tracks no matter the volume.
There is no irritation, no bumps of bass, uncontrolled excursions to a particular frequency range, etc. Music in full splendour comes to light because the system is enabled to transmit complete information from the source. As far as Maduro’s configuration is good, perhaps the best one is to describe the moment when I removed them all out of the system. Only then could I find out where the narrow throat of my own system is.
Honestly, I do not know how and how Maro Filicic comes to such results, where he supplies the material and uses engineering techniques. I just know that every time we meet, and when I look at his hands, I see that the wires have gone through the fingers.
I can see that the frets and the warp strings from morning to dark. Many years of effort and effort have been fruitful because Marohei Maduro S cables are truly absolute quality and can handle many manufacturers and even the ones with the longest time in this sport.
At the very end I would look at the prices of Maduro S cables. They are not low, and maybe someone for the price of an intercom can agree on the whole system. However, these are not ready-made products and are intended for the most demanding audio clips. To all those who know exactly what they want to achieve in their system. But if we look in that light, then it costs you and does not go too far, especially if you consider that there are HIFI cables on the market for which you can buy a decent studio in the centre of Zagreb.
Currently, Marohei Cables finds its customers not only in Croatia, but also in many countries of the world, as well as in the Far East. From the conversation with Maro Filicic, I learned that the cables are mostly part of a very expensive audio setups that rounds up earlier. I hope that sales will continue and increase because such audio products deserve attention.
There is another good news. Marohei Cables is one of the exhibitors at this year’s TOO LOUD FEST 2018. It will be an ideal opportunity to get to know not only the production line of Marohei Cables, but also with Maro Filicic. I am confident that you will be happy to meet and offer answers to any additional cable issues. Until then, if you have an opportunity, throw your ear at Marohei Cables, and especially on the Maduro S series. Here, without any suspensions, I can give you the highest recommendation!
Maduro S interconnects (XLR), 1,0 m – 1.850 € (additional 0,5 m – 750 €)
Maduro S interconnects (RCA), 1,0 m – 1.850 € (additional 0,5 m – 750 €)
Maduro S speaker cables, 2,5 m/pair – 4.900 € (additional 0,5 m – 900 €)
Maduro S power cord, 1,8 m – 2.100 €
51000 Rijeka / CROATIA
Phone: +385 91 131 5062