Let's move on to the Goebel Lacord Statement XLR. This time I start with the untreated pair - and am fully satisfied until I hear the treated pair. One of Oliver Göbel's favorite test pieces, "Calypso Minor" by Abdullah Ibrahim and Ekaya, is playing: The bass comes in sonorous and full of energy, the skin of the bass drum is clearly perceptible, and the horns have plenty of pressure - all this applies to both cables. The cryo version enlarges the imaginary space a bit, surrounds the snare with more reverb and moves it a few centimetres further into the depths. The grand piano's glassy stops seem even more impressive and the reverb surrounding them resonates much longer. This may seem hasty, but I could already pack my Göbel cables and head for Stanzach.

Not to be suspected of refusing to work, I'll play Mahler's Symphony No. 3 with the Bavarian Radio Symphony Orchestra: Hearing the differences between the two cables is as easy as it is difficult to describe them. But that was already the case with the two versions of the records. Of course, the room seems a bit deeper with the cryo version, the reflections of the brass sounds on the left side of the recording room are now more clearly perceptible, the playback seems to be even a tad louder. These are - perhaps not entirely unimportant - details. But it is much more serious that the orchestra seems a bit more listless with the untreated cables, the performance simply lacks that certain something. With the cryogenically refined cables, the music is simply more fun!