Review #142 – Invictus Reference MKII Cable – Ricable

Invictus Reference MKII is the pinnacle of Ricable product line, Ricable stated by the company itself, and represents the most advanced iteration of the Invictus series—the result of years of development focused on conductors, insulation, and shielding to offer a “definitive” solution for high-end audio systems.
The cross-section is impressive (approximately 22 mm in diameter), featuring a hexagonal geometry and 2×7.6 mm² MARC 7N (Multicore Annealed Ricable ) copper conductors, comprising 1,038 strands per pole. This results in particularly low resistance and capacitance values and, in theory, a more linear signal transmission with fewer losses.
​The dielectric is a double-layer R-TEC, accompanied by an internal fiber insulation system (technical cotton in the MKII version) that contributes to both mechanical stability and the reduction of micro-vibrations.
On the shielding front, we find dual protection and proprietary RNR (Ricable Reduction) technology, which involves a germanium-based treatment to reduce background noise and improve signal purity, along with the characteristic cylindrical blocks along the cable.
The RCC connectors are made of gold-plated solid OFC copper, with an expanding center pin that increases the contact surface with the speaker terminal.​
​Beyond the technical specifications—which are highly detailed and not to be taken for granted—many manufacturers omit certain fundamental data; what immediately strikes you when holding it is the combination of physical heft and surprising suppleness: despite its diameter, the cable bends easily, to the point of bringing to mind the metaphor “it looks like one of those giant, chewy licorice sticks” used by some friends and Hi-Fi enthusiasts.
Ergonomics in a real-world setup: in an already full rack and behind high-end speakers like the Olympica III, ergonomics is no minor concern. These MKIIs offer greater flexibility, reduced mechanical stress on the terminals, and easier handling even in limited spaces.
In my system, I was able to runInvictus ample slack on both the McIntosh and Sonus Faber sides without feeling excessive tension on the binding posts, while remaining aware that we are dealing with a physically substantial cable that requires a minimum of planning in routing.
The overall build quality—sheath, finishes, shielding blocks, screen prints—is at the level one expects from a product in this price range: nothing feels like an “afterthought”; everything conveys the idea of a component designed to last and to visually enhance a high-end system. One caveat, however: these cables have a specific orientation for connection; you cannot plug them in any way you like. There is a reference arrow on each connector, but in my opinion it is not intuitive; above all, the packaging does not include instructions indicating the direction or explaining how to connect them correctly. Not everyone is an “expert,” and assuming that anyone knows how to connect a pair of cables is a bit naive.

Low end: control and articulation.
The first noticeable difference when switchingInvictus Reference MKII concerns the bass register. The McIntosh MA352 is known for delivering a powerful and full-bodied low end, at times almost menacing. The Olympica III, on the other hand, produce a full but very controlled low end when properly driven.
WithInvictus perception is that of a bass that gains tightness and articulation rather than quantity: the subjective volume does not increase, but one gets the impression that the energy is better focused. The bass drum hits and the double bass in jazz recordings exhibit a crisper attack and a more clearly defined decay, with less tendency to “blur” into the lower midrange.
In funk music, where the kick drum and electric bass often work in unison, the groove benefits from superior definition: the timing feels tighter, the rumble in the lower octaves is under control, and, above all, the overlap with the vocal range is significantly reduced. It’s the classic improvement that doesn’t translate to “more bass,” but to “bass that sounds more accurate” and allows the rest of the spectrum to breathe more freely.

Midrange: tone and texture.
The midrange is the heart of the system under review: the warm, refined character of the McIntosh and the tonal focus of the Sonus Faber combine to reproduce vocals and acoustic instruments with a naturalness that is one of the reasons why many people choose this type of pairing.
Invictus , when added to this setup, does not upset the balance but refines it. The midrange remains full and substantial, yet gains in micro-dynamic clarity: the pauses between phrases, slight movements of the microphone, and variations in the intensity of the woodwinds emerge more easily, without this resulting in a sensation of dryness or thinness in the sound.
In chamber music and acoustic jazz, the phrasing of the strings and piano appears more sculpted in space: it is not so much the color that changes as the ability to better distinguish the relative position of the sources and their internal “texture.”
We are dealing with a cable that, on an already balanced system, works by subtracting subtle veils rather than by adding character.

High frequencies: effortless definition.
If there is one area where the risk of overdoing it with highly detailed cables is high, it is the high frequencies. In this case, the synergy with the MA352 and the Olympica III works inInvictus favor.
International reviews speak of a very clean, extended, and grain-free high register, capable of highlighting fine detail without falling into artificial brilliance, and this impression is confirmed in this setup as well.
Cymbals, snare drum brushes, high harmonics of acoustic guitar, and woodwinds emerge with great precision, but the tonal “weight” remains anchored in the midrange. There is none of that sensation of cold light focused on the upper end of the spectrum that characterizes many ambitious but poorly balanced cables.
In more heavily compressed pop records, the increased transparency inevitably lays bare the mastering choices. Certain harshnesses and compressions become more evident, but the combination with the McIntosh integrated amp and the Sonus Faber speakers keeps listening fatigue surprisingly low—provided you don’t crank up the volume to concert levels on productions designed for car stereos.

Dynamic range and micro-detail.
One of Ricable explicit promises Ricable this model is improved dynamic range and control compared to the already excellent first generation, thanks to the new R-TEC dielectric, updated shielding, and greater attention to reducing background noise. In practice, I notice two distinct improvements in my system:

• On a macro-dynamic level, transients appear to rise and fall more rapidly, particularly in percussion and piano attacks;
• On a micro-dynamic level, the subtle variations in intensity between successive notes—or between pianos and fortes in an orchestra—become more discernible, contributing to an overall sense of “music that breathes more freely.”

Rather than simply boosting the perceived volume,Invictus seems to expand the usable dynamic range, reducing that veil of noise and “micro-mud” that often makes the loudest passages sound chaotic and the softest passages less intelligible. The result, especially when paired with the Naim NDX2 streamer, is a lively, incisive listening experience that is surprisingly easy on the ears, even during long late-night listening sessions.

Soundstage and three-dimensionality.
It is precisely in terms of the soundstage that the contributionInvictus Reference MKII is most evident. From some friends who listened to the system, the first immediate comment was a perception of three-dimensionality and a much wider soundstage, as if the ambient reverberation in the room had increased slightly, breathing new life into a space that the acoustic treatment had made a bit too “dry.” And I fully agree.
​When I reinstall the old cable, the soundstage immediately collapses forward again, with less depth and a reduced sense of air between the instruments: an A/B comparison that, even with all due caution regarding psychoacoustics, makes it difficult to dismiss the difference as mere suggestion.
​Descriptions from other users and reviewers point in the same direction: a marked expansion of the soundstage, instruments better positioned across the various planes, and vocals that emerge from the mix with greater clarity but without detaching unnaturally from the musical context. With the Olympica III, already known for their ability to “disappear” from the room, this translates into a soundstage that gains centimeters in width but, above all, meters in perceived depth, with better layering between the foreground, center, and back of the room.

Synergy with the reference system.
In any cable review, the central question is always the same: how much of what I’m hearing comes from the cable and how much from the system? In a setup like the one under review—MA352, Olympica III, NDX2, Pearl, Cardas Cygnus—the most honest answer is thatInvictus Reference MKII doesn’t change the system’s “voice”; it refines it. With jazz and classical music, an ideal balance between warmth and detail emerges: the rounded musicality of the McIntosh and Sonus Faber is preserved, but with an added spark and articulation that brings the listening experience closer to what one expects from electronics of this caliber. The Naim streamer adds its usual rhythmic liveliness, well supported by the bass control and transparency of the cable, while the Marantz Pearl brings an extra touch of smoothness, without theInvictus transformingInvictus into something it isn’t.

In other words, the Ricable “correct” the system. It enhances its strengths—particularly in terms of soundstage, micro-detail, and bass control—while allowing the sources and amplification to determine the overall character.