Discovery Cable Discovery Signature 1M Pair Mint Reduced!

One meter pair, mint condition.
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Here are some reviews:
This is a 40" Signature Interconnect from Discovery Cable. It is in like new condition and been replaced by the pricy Discovery Essence Cable. The Signature is a great cable for the money, obviously not as good as the Essence, which has a more extended top end. I'm only selling this cable because I replaced it with Joe's pricy Essence Cable. This cable has a lot of bang for the buck.

Courtesy of The Absolute Sound Magazine:

The Discovery Cable Signature Interconnect

JOE DEPHILLIPS' Discovery Cable Company does not have the name recognition of some of the other major players in the cable business. I hope this review will help change that. DePhillips' Discovery Signature interconnect is one of the most musical products I've tried in my system, giving even the undisputed heavyweight champs of interconnects, Transparent Audio Labs' Reference MusicLink and Siltech's FTM Gold, a strong run for the money. Indeed, if you run for your money, the DePhillips interconnect is a sensational bar­gain.

The Discovery Signature is nothing special to look at. In the "if-it-glitters-it-must-be-gold" world of High End audio, the way this stuff looks is probably held against it. Wrapped in a plain red jacket, it has all the sex appeal of a heavy-duty extension cord. To make matters worse, there are no high- tech tuning boxes attached to it; no silver or gold wires inside its orange peel; no sleek, camera-grade WBTs at either end.

Don't let the utilitarian appearance fool you. Signature interconnect is a highly engineered product—the result of a year's research by DePhillips into the ways and byways of cable design and construction. Knowing there was a good deal of snake oil being foisted on the cable-buying public, DePhillips set out to produce an affordable, low capacitance, high bandwidth interconnect that would reproduce the entire audio spectrum without any of the low pass filtering effects and capacitance-induced signal delays that other phase- and time-aligned cables produce, and with a high level of immu­nity to the well nigh universal contamination of RFI. That he has succeeded, at the price point he has chosen, is miraculous.

Although the Signature comes in a plain wrapper the stuff inside is anything but store-bought. The wire is high purity, oxygen-free copper laid in a symmetrical pattern in which the individual strands of each positive and negative leg are twist­ed in opposite directions, reducing RFI and holding capaci­tance to a minuscule 15 picofarads per foot. The rather odd- looking RCA connectors, with the spring-loaded MBL 101- shaped male plugs, are milled from a solid piece of beryllium copper and then gold-plated (by ClearAudio of Germany, no less) to produce a connector that has less than one picofarad of capacitance! And beneath that plain wrapping are double shields of foil and braid, once again to guard against RFI.

"In a world of blue smoke and mirrors, I wanted to give the audiophile his money's worth," DePhillips told me. And he has, for all this plain-on-the-outside, complex-on-the-inside engineering adds up to a superbly musical interconnect that has the firmest, best-defined low bass and midbass I've heard from any cable, a midrange that has the texture of real music, first-rate imaging and staging, and a free-flowing dynamic ease that makes other, pricier cables sound snarly and congested.

This interconnect has many of the virtues of a superb tri­ode amplifier. There is a bravura quality to it, a largeness of gesture and a sheer beauty of palette that makes listening to music an exhilarating experience rather than an analytical chore. When combined with the pricey as hell Transparent Reference or Siltech cables, a great amp, a pair of first-rate speakers such as the Reference 3A Royal Masters, and high quality sources, the sound is in many ways as good as I've heard.

What this stuff does for the texturing of instruments and vocalists is remarkable. By "texture" I mean the opposite of analytical clarity. Texture is a synthesizing clarity that pre­serves the colors, shapes, volumes, and bodies of instru­ments within the harmonically-charged envelope of air sur­rounding them to produce a continuous, three-dimensional image that is closer to the gestalt of the real thing. Texture is not the same thing as transparency, which is an analytical clarity—born of the recording process, of the microphones that hear the music in gradients of pressure and reproduce it in pressure-staggered arrays. Transparency clarifies per­spective—the numbers and locations of the players at play. Texture adds body, light, shading, color, air, bloom, and con­nectivity to this perspectival picture, turning a thin, busy, dis­continuous, two-dimensional soundfield into something with the marmoreal solidity of a sunlit statute garden.
All too often, on source or in componentry, we get trans­parency alone: images that are easier to visualize precisely because they have been made discontinuous, stripped of surrounding air, bloom, body, and harmonics, isolated in a black space that is solely a backdrop, an "anywhere" that serves as a ground against which the sonic images are defined. We hear those empty, lifeless spaces surrounding the instruments, spaces that should be filled with light and­harmonics; we "see" those flat, sharp-edged images, images that should be robust, bursting with energy and enveloped in a nimbus of harmonically-charged air; and we think because they are clearer in number and locus, we are hearing more. Indeed, some of us have gone so far in our pursuit of trans­parency that when we hear recordings and components that reproduce textures with the density of real life, we are tempt­ed to think of them as opaque or less clear than recordings and components that prioritize transparency, when, in fact, the opposite is often true.

A superb amplifier like the Unison Research 845 Absolute is a case in point. Debate about its too gorgeous tonal palette notwithstanding, here is an amp which prioritizes texture rather than transparency—that turns a busy perspectival pic­ture into a sunlit statue garden. Joe DePhillips' interconnect is another such product.

Now, some will argue (about the Unison, especially) that they are losing information, inner details that stand out more nakedly with other amps and other interconnects. As I said above, I don't hear it that way. The DePhillips' cable, in par­ticular, strikes an excellent balance between transparency and texture, between analysis and synthesis, between parts and wholes. Transparent Reference and Siltech FTM Gold may be the ultimates as far as this balancing act goes; but they cost thousands of dollars per meter. DePhillips' inter­connect is $450 for the first meter (terminated single-ended or balanced) with additional meters costing $140. Without stretching the truth a jot, this stuff is good enough to be called the poor (or less-rich) man's Transparent Reference.
When it comes to the reproduction of the low and mid- bass, Discovery Signature doesn't take a second place to anything, including Transparent and Si!tech. I've used a lot of different interconnects, but none has reproduced the founda­tion with more power, definition, and sheer musicality than the Signature (in combination with the Transparent Reference or Siltech LS 4-240). When used with the Wavelength Car­dinals and the Reference 3A loudspeakers, the bass is phe­nomenally good. I did not think the Reference 3As by them­selves (or the Wavelength by itself) were capable of this kind of foundation; but they are when fed by Discovery Signatures.

The Signature's imaging and staging are just as impressive as its low end response. Stage width and depth and, above all, centerfill rival the ultra-expensive cables. Better still, because of its superb texture and free-flowing dynamism, the Discovery peoples that wider, deeper, fuller stage with images that have a good deal of the solidity, vitality, and continuous­ness of real life instruments. Images sound better focused with the Discovery Signature. I do not mean that they are more defined by virtue of sharper edge (or boundary) lines but that they are more solidly there; their textural being is more fully presented. Images have a denser grain structure with the Signature; their outlines are not as sharply drawn as they are with transparency-prioritizing interconnect, but are more fully filled in or fleshed out.

As I said above, the Signature is most impressive when it comes to dynamics, which they reproduce with lifelike impact and an unfettered ease that contributes to the tex­tures that the Discovery is so good at reproducing. It is not enough to call this dynamic ease "bloom." The Signature breathes with the pulse of the music, exploding with energy when the music explodes and sighing when it sighs. As with transparency, some may think they are losing small-scale dynamic nuances they hear mni-Pi rIPiarly with trancnarpnry­but the isolation of these details, the highlighting of them independently of the rooted-in-their-own-space, full-bodied instruments that produce them. What they are losing is con­tinuousness.

If Discovery Signature interconnect has a weakness, it is the high end, which sounds softer than it does in life. Let me quickly note that, given the profiles of many competing cables (and the sound of real music in a real place), this is not a major flaw. Indeed, other time-and-phase aligned cables have a tendency to tip up the treble a la a moving cartridge, adding a bit of heat where heat isn't needed. As a result, these cables may seem to have an edge in high end detail; but it is a hi-fi edge that comes at a familiar cost in density of texture.

What more can I tell you? If you know the sound of live music, you will love Discovery Signature interconnect. At the price, it is a steal.

—Jonathan Valin

Reprinted with permission from THE ABSOLUTE SOUND ®