Background

Can you exactly describe the smell of a rose with just words?
Can you give an exact explanation of the flavor of an apple with just words? We all know that we can’t, but with the help of technology, we can feel them in the form of perfumes and additives that are similar to the real ones. However, they are not the same as the original. They are only replicas at most. Why? What do we need to do? There have always been arguments within the high-end audio industry with regard to matters like these—in the world of cables, in particular.

Someone says that great measurement data are necessary, and sufficient cable condition are needed in order to be considered as the ideal. That statement is totally untrue. Those are necessary, but they are not sufficient. To the ears of many audiophiles, LPs sound far better than CDs, and much more like real music, even though they measure terribly compared to CDs. Tubes have to go, too and yet recording studios are full of tube gear—more so today than in the past decades. Still, tube gear also measures terribly compared to the solid state. Real music is surely above the sum of data measurement.

As for the music reproduction industry, technology is very important for companies like us in order to develop “good to great” music cables. But, that’s not all.
Technology is just like words with numbers. It will only make insufficient replicas of a real musical event. To get closer to the real vitality of music, we should adopt a keen sense of musical aesthetics with our senses to the utmost extent.
Acquiring musical sound with well-balanced dynamics, transparency, texture, harmonics, warmth, detail, vividness, air extension, and phase coherence is quite a complicated job because “good tunes are in the details.”

That’s why it takes us a long time to produce Hemingway cables. The tuning procedure may even seem like it’s a work of art as it’s not only a painstaking work using the “naked” ears, it’s also the tremendous amount of data measurements that uses our own state-of-the-art equipment.

Technology does matter. The choice of conductors, connectors, sizes, shapes, insulators, strand structures, sheaths, and jackets is just one necessary consideration; RFI and EMI control, dielectric absorption, impedance vs. frequency or linearity with frequency is also another one.
We should keep in mind that cables are the only part in your audio system that can play the part of an umpire. It reveals how other parts decorate the sound and up to what extent. The process of reading, encoding, decoding, and amplifying may color the original signal because of its nature.

The system-independent cable, which has the widest bandwidth, should be prepared for reproducing “real” music. That’s the cable's job. Hemingway cables are the most complicated and elaborate cables in the world. They are like living organs, thus enabling them to catch any kind of music-related signal in detail. All kinds of up-to-date technology has been considered and in addition, Hemingway’s own FMCF (Frequency Modulation Cavity fundamentals) technology has been applied in various ways. All Hemingway cables are made and remade several times until they finally reach the ultimate sonic neutrality.