Review #21 - Cable Speaker Invictus Speaker - Try a Ricable
... even before we have "unpacked" the cables. Already the box alone (cardboard packaging - provided with an over-cover - containing the real box - provided with an over-cover also made of hard paper) tells us about the desire to carefully guard a piece that for Ricable is apparently a valuable object. The Invictus, upon opening the box, appear as two impressive bluish-gray snakes of some weight (but also of considerable flexibility), equipped with expanding banana terminations. Unfortunately, the Opus Ceramique, speakers that have recently become stable again in my system, do not accommodate bananas; I am therefore forced to unscrew the connectors to use the simple stripped wires, wires that in any case impress quite a bit with their 7 mm diameter.
At this point, since I am a musician (not that my opinion matters more than another, it simply implies that I am perhaps more used to listening), I am curious to test whether the cables live up to their packaging. To help the burn-in, since the Invictus s are intact, I run Irrational, But Efficacious! produced by Ayre, about twenty minutes of harassing noises - glide tone, white noise, pink noise and more - that do not help the good neighbor. Then I prepare for listening by placing in the player slot (AMR CD77) La Boutique fantasque (BBC Philharmonic conducted by Gianandrea Noseda, Chandos) by Ottorino Respighi, the Italian composer best known for his Fountains of Rome. The cables previously in use were Siltech LS180 G5, certainly not mediocre cables, very detailed, with a very present bass.


Well.
The soundstage is extended, but it was already extended before (the GamuT M200s can do their job), both laterally and in depth. What immediately changes is the air; the sound is much more aerated. Not only that. The "tarantella" is much brighter than I remembered: the piccolo, the trumpets, the indeterminate percussion (the triangle, the tambourine, and even the maracas), all are markedly more present and crisper. Not brighter, brighter. As if they opened a window and a very pleasant breeze came in. This does not mean that the music is softer, mind you. Live music (especially when listened to from the conductor's lucky "armchair") is never soft, it is rather raw, material, sometimes even tiring. A clarinet played softly in its middle register is certainly cozy, as the English say, not, however, a muted trumpet. So are brass and percussion instruments that scream in your face with can-can frenzy. Strong emotion mixed with mild annoyance; that is the trait of live music that sometimes drives audiophiles to hole up in their very personal lair, slowly imagining that the sound coming out of their system is worthy of excellence-even if in no way responsive to truth.
The sound of the bow scratching the strings, the sound of the bassoon keys, the crackle of the brass in the sforzato, the drumstick striking the wooden slat of the marimba, the light coming out of a triangle strike. All "musical objects" that make the difference between the beautiful and the real. And that a Hi-Fi system, to be declared as such, dreams of reproducing. It happens many times that we audiophiles exalt only the "Hi" part, forgetting that "Fi" means fidelity, fidelity to what is being evoked, and which the listener is assumed to know, before hearing recreated. Forgive the outburst. Disc change: Between the Sheets by Fourplay. Track number two, Monterey.
The drumsticks on the cymbals are decidedly textural, just as the sound of the Yamaha C7 piano is anything but insubstantial, bass very full (Fourplay has a tendency to load it up slightly) but controlled, guitar sound decidedly spherical even when voluntarily enervated by touch. And all this always with that very pleasant light we mentioned earlier, which pervades the drums and makes Lee Ritenour's guitar shine on track five: Flying East. If I had to find a negative detail, I would say that they are slightly unbalanced toward the high region, perhaps slightly acerbic, but I think we can talk about that after a few weeks of break-in.
While it is true, however, that cables cannot add, if anything they should not take away, these Invictus are truly remarkable. Despite having just been unpacked. I promise to come back and write a few lines as soon as a few days have passed, so as to have allowed time for the above to properly "burn in" and mold to the rest of the system.


The Invictus played for at least three hours every day. And the result can be heard. The airiness has by no means diminished; on the other hand, the cables have gained in roundness and smoothness, losing little by little that acerbic note we were talking about. The mid-bass frequencies gained in dimension, the bass became more present, but without losing compactness or balance. The Invictus are top-of-the-line cables from Ricable, the build quality is clearly at the highest level; it would be quite difficult to imagine negative reviews about them.
That said, the great strength of these cables lies in their extreme naturalness. Right now the first movement of Lukas Foss's Third Symphony is playing, a piece complicated in structure and orchestral timbre. Nevertheless, the music flows pleasantly, without fatigue. I already had this feeling a few months ago trying out some Ansuz C1s Speaker , a feeling I eventually had to part with - the wallet would have suffered from a really too massive lightening. Congratulations Ricable, a product that fits into a qualitatively high range while maintaining an affordable price definitely deserves; as they would say in "Stereophile" reviews... a "highly recommended"!