Key to performance is preserving all the dynamics, harmonic structure and detail of the music, throughout the system. All too often, it is the connecting cables that corrupt the delicate audio signal. Vertere has fundamentally addressed this issue with its unique conductor design and internal cable architecture.

“Any cable can only degrade the signal. The best cable is the one that degrades the signal least.” – Touraj Moghaddam.

Redline Cables

Redline cable is double shielded with an outer screen braid and a conductive foil. This delivers an excellent screen and a mixed ground impedance for low noise.
Seven independent high-purity copper (not pre-used or reclaimed) conductors per channel of different thicknesses and plating surrounded by low-dialectic constant FEP are utilised per channel. This allows flexibility of different configurations for different uses. The six (two thin and four thick) signal conductors are silver plated. The thicker dedicated ground conductor is tin-plated.

Redline analogue cable connectors are all bespoke and all contacts are gold plated with triple the standard gold plating thickness. Termination includes RCA, DIN, XLR, Tonearm DIN, Mains, Spades and 4mm plugs.

XminiS Speaker Cable – also part of the Redline family – also utilises multiple conductors to provide enhanced signal transmission. With both signal conductor set being identical and shielded, it can be configured for ‘balanced’ or ‘single’ ended use depending on shield management and shield connection to bring optimum performance for both traditional and bridged amplifiers.

Prices

Redline cables are priced at £595, €700, $795 for a 1m interconnect cable, or a 3m pair of loudspeaker cables. Longer lengths per 0.5m are priced at £130, €160, $195. Redline mains cables are £595, €720, $895.

Background to Vertere Pulse cables

Vertere Acoustics range of Pulse cables is subdivided into four series: HB, R, Redline and D‑Fi. HB for Hand Built represents the absolute top of the line and the inspiration for the lower series.

Reducing engineering to its fundamentals, to get you even closer to the original recording.

When aiming to reproduce the complexities of music, it’s all too easy to introduce even greater complication in the engineering of audio equipment, putting in place one element to solve the problems of another until the whole design escalates into something fiendishly intricate – and expensive!

That’s not the Vertere way: coming at the whole problem with decades of audio and mechanical engineering experience, plus close collaboration with the recording and mastering industry, we step back, take a long hard look at the fundamentals, and look for simple, elegant solutions.

That may sound like a simple ‘less is more’ philosophy, but we prefer to look at it this way: the best audio equipment shouldn’t add anything to the original recording. Rather it should affect it as little as possible; bringing the listener ever closer to what the artist, producer and mastering engineer wanted you to hear.