Yep, it's true. Of course you don't believe it. Hearing the sound difference be so like what I've heard on some of the best recordings I've found, I suspect this may be a closely guarded secret of some producers, but that's a guess. Just try making one cable that brings sound into or out of an external box, or from a synth to the in of your recorder using no solder. Voila.. the "wouffy" blanket goes away, and the ringing crystal glass appears (cable I'm using is Mogami 2549 which is 2wire and much clearer than the star quad, even when wiring the quad in dual mode). Before this, I'd found Kester 95%Tin5%Silver the best, but man..no solder is the trick. Worth more than thousands you can pay for boxes. My chain is M149 Neuman mike (which has an external box you plug the mike cord into, and and xlr out to the recorder, this is a great place to experiment), then into AMEK channel in a box, to ApogeeSPX100se, to My8AE (aes/ebu card)into Yamaha4416 (derivative of O2R). This is a pretty clean chain,and I'm also feeding the digital signal back out to the DA of the apogee which feeds powered Yamaha MSP10 powered speakers. The difference is astounding. Same applies to guitar cables, synth's. Neutrik has come out with XLR's that don't use solder (NC3FEZY) and I've ordered some, so will get back on those, but have just used crimping (not as good) until now. Also, for male 1/4 inch, Switchcraft makes screw connectors, and Radio shack has them gold plated (that's the ones I've tried, but going to try Switchcraft too.) If you think this is crazy.. remember the xlr to xlr connection is sloderless, so the concept is proven. Most Dsub connectors are pressed, not soldered. Just give yourself the benefit of the doubt, and make one cable before you shortchange your ears for the lack of a little basic science. Paul PS As to previous questions regarding my techniques for A/Bing, When I compare, I always keep everything the exact same, switch the cable, and continue recording on the same channel, only moments apart (length of time it takes to change the cable) Then I can place markers on the different takes at the exact same spots, so that I listen back to both takes instantly at the push of a button for comparison. As for longevity of good sound in a cable with untreated copper, I can't say, but the Mogami 2549 sounds way better than the harsher, slightly duller Monster StudioPro 500, or their StudioPro1000(very unmusical). All subjective, of course, and perhaps even correctable by EQ, but that's a bad alternative in my opinion. By the way, the Monster is treated copper, and I suppose that is better, but for what?