Diamond is the flagship cable in the growing WyWires lineup. Visually, Diamond projects an understated elegance with textured black-mesh jacketing over its silverized underlayer. At each end, its signal conductors are collected in polished carbon-fiber tubing where they exit into high-quality terminations. Diamond is easy to manage; it’s neither python-esque in girth nor overly stiff. Construction quality and appearance are first-rate.
Internally, WyWires characterizes its premium cable as a Litz-wire, air-dielectric design. The conductors are tiny, individually insulated strands of ultra-pure copper. The actual number and gauge of braided strands is determined by the application, in keeping with a proprietary formula that considers voltage output as a primary variable. WyWires use what it considers the ideal insulator—air—but rather than suspend the conductors in free space like the vaunted Tara Labs Zero/Omega of yore, WyWires lightly wraps them in organic cotton which is then encased in a larger diameter PTFE tube, thereby further isolating the conductors.
Alex Sventitsky, president of WyWires, plays the contrarian in some aspects of wire design. The entire lineup, for example, is unshielded, except for phono and digital cables. His belief is that conductive shields tend to smear the signal, and that RFI/EMI are generally non-issues in most homes today. And because of the implementation of very-small-gauge conductors, the phenomenon known as “skin effect” (the tendency for signals to travel along the conductor surface) is virtually non-existent.
Diamond was not the first WyWires cable I’ve encountered. I reviewed the company’s entry-level Blue Series in Issue 235 and found its performance ridiculously good, both sonically and value-wise. However, like any cable built to a strict budget, it had its limits: Its sound veered slightly to the cooler side of the spectrum with perhaps a hint of dryness and minor glimpses of added sibilance.
The Diamond, on the other hand, is a cable of ultra-wide expressiveness. Its sound is settled and calm, fast but not twitchy or brittle, and utterly devoid of histrionics. In tonal character it edges toward the warmer side of the spectrum but only by a breath. It does not offer a forward-leaning presentation like the Nordost Frey 2 (reviewed in this issue), but it doesn’t flinch from piercing sibilances or hard-rock sizzle or flesh-eating dynamics, either. Its approach embodies a softer sell that grows ever more multi-faceted, musical, and transparent when Diamonds are partnered with a system wherein the all the sonic stars are aligned.