Opinion 1

As I have already mentioned in the editorial of the XACT S1 review, everything indicates that domestic developers are much more confident in the analog domain than in the digital one. In fact, even if they do enter it, apart from the exception that proves the rule, i.e. the activity of Marcin Ostapowicz, they allow themselves to take more or less daring trips into the world of zeros and ones only after establishing their position in analogue. A similar attitude is also represented by our today’s guest, i.e. WK Audio from Plichtow, which, after very successful power cables (The One Mk2, Air, TheRed), speaker cables (TheRed Speakers, TheRay Speakers) and signal cables (TheRed), decided to try their hand at „digital” by providing our editorial office with a pair of crimson connectors with the all-telling designations TheRed Digit Balanced & Unbalanced, to which we cordially invite you to test together with us.

In terms of appearance, there are no surprises. These are the same materials and full compliance with the „red line” of their predecessors, i.e. a textile outer jacket in a color defined by the name of the series and massive coffin-like aluminum splitters that reduce the diameter of the wires to more flaccid and iridescent black fragments, terminated with the top Furutech CF-601M NCF / CF-602F NCF (AES/EBU) and CF-102 NCF (Coax) plugs. It is also worth remembering that their role is to reduce vibrations and it is in them that the final tuning is made, i.e. precise tensioning of each of the cores. The cables reach the end user, as we showed during the unboxing session, in plywood boxes lined with gray sponge.
When it comes to morphology and anatomy, the Digits, similarly to their analog siblings, were built on the basis of silver-plated copper conductors in a proprietary braid, and as I have already mentioned, their „tuning” was not forgotten – tensioned by aluminum couplers, and the whole run is routed in a double screen. It is also worth mentioning that the AES/EBU (balanced) and coax (unbalanced) versions differ from each other in some anatomical nuances, so each of them is braided individually.

Some may consider it a coincidence, while others a sign of evident bad luck, because once again the Plichtow cables have to play in parallel, or directly after the flagship Furutechs. This was the case with the V1  XLRs and it is the same this time, because we barely had time to say goodbye, I mean, I said goodbye while Jacek decided to keep the V1-D-XLR in his system permanently. However, since, according to some conspiracy theories, there is no such thing as coincidence, and in addition the situation repeats itself, we cannot accept these as just being coincidences and a manifestation of a higher force and bluntly ignore them. The more so, as the Polish cables not only got into an equal fight with the representatives of the Land of the Rising Sun, but I dare to say, that depending on the system and individual preferences, the potential winner will be chosen based on some differences of esthetic nature, and not a result of difference of class.
There is no denying that the Digits sound noticeably different and place accents differently than their oriental competitors. And here, before I go any further, let me digress a little and at the same time explain, because during the tests of both interconnects it turned out that they offer sonic qualities so similar to each other, that in the further part it is fully justified to grant them the status of a „collective entity”. While the V-1s focus on organic density, coherence and unforced nature, TheReds offer contagious vitality and no less ecstatic spontaneity. Fortunately, this is not a thoughtless blind rush and pseudo-American pumping of sound aimed at shocking inexperienced listeners with a truly Hollywood-like spectacularity, where quantity is put over quality. Here, everything is in place and without too much exaggeration. You can simply feel energy and freedom based not only on the juiciness of timbres, but also on great resolution and motoric. Regardless of whether the playlist included the iconic „Saxophone Colossus” by Sonny Rollins, the atmospheric „Theoretically Speaking: The Acoustic Sessions, Vol. 1” by Silent Theory, the electronic-laden rock „Greetings From Suffocate City” by The Funeral Portrait, or the squatting, brutal „Age of Excuse” by Mgła, each time youthful enthusiasm and evident joy of playing prevailed. A slight extrusion intensified the palpability of the foreground, but thanks to the precise gradation of the planes and the freedom, spaciousness of the presentation, there no signs of aggression. In addition, the openness and „aeration” of the treble went hand in hand with its proper compactness, so the riffs were not only defined by their cutting edges, there was also the body, and although there was no lack of shine, it was impossible to accuse the Digits of being too analytical, or even glassy. After all, it is one thing to get a „shot in the ear” by an attack of brass players, or the sobs of a pulled string, and another thing to be exposed to a constant, stripped of living tissue, high-pitched clamor. And the Reds do not lack flesh and blood, so this tissue lives and pulsates, making the midrange impossible to be indifferent to. On one hand, we have a slight boost in terms of both energy and saturation, and on the other, a clear compactness and firmness of the shapes, so it is not just a bubbling shapeless jelly, but precisely drawn virtual sources that have, in accordance with nature, not only an outline, but also a variety of filling. Therefore, we are dealing with a crisp and juicy sound, not a dry and stringy one.
And it is also worth mentioning the bottom of the sound band, which can be safely considered almost reinforced concrete. To put it bluntly – if someone has been bothered by slight insubordination, or plushness, or shyness of the lowest components, then the Digit application should turn out to be a cure for all evil. Both „natural” and purely digital instruments, which delight in exploring the deepest recesses of Hades, will finally have a chance to resonate in their full glory and show their true colors – from the very descent, through the continuity of energy propagation to diversity. To dispel any doubts about the above paeans, I strongly encourage you to verify them with your own ears, even on such prosaic material as „Blue Lines” by Massive Attack, or „Cracker Island” by Gorillaz, where in the seemingly simple and monotonous synthesizer parts there is an inexhaustible wealth of nuances, only waiting not so much to be brought to light and to the foreground, because they have their places clearly defined, but simply discovering and getting to know them, what, with the competition treating them with a bit more nonchalance, does not have to be so obvious. On the other hand, to all those who want to check how low their system can go with the tested connectors, I will recommend a much more demanding release – „Through Aureate Void” by the crazy Londoners from Five The Hierophant. I will just warn you right away that the above mixture of doom-metal and dark-jazz leaves a permanent mark on the psyche of untrained listeners, so you reach for it at your own risk. And seriously, it is on such a – non-obvious and confusing, and therefore not necessarily the easiest kind of music – that the Digits catch the wind in their sails, and show in black and white what music should look (sound) like in order to strike the dormant strings of our sensitivity.

And as it turned out, the devil is not as terrible as he is painted, so „knowing how to do cables” does not really matter whether we are talking about analog or digital transmission. At least that’s how it looks from the perspective of WK Audio, which proves that it knows its stuff with both its analog and digital cables. And can TheRed Digit Balanced & Unbalanced be described as universal and worth recommending to all potential buyers? Well, despite the matching color, they are not the audiophile equivalent of the proverbial tomato soup, to have everyone like them without exception. If someone wants a certain kind of oneiric or even blurry sound, they will not achieve this effect with their help. Referring to culinary analogies, Digits can be safely considered an ideal proposition for lovers of dishes prepared al dente, so those who prefer more stickiness can of course take a look, although the Plichtow interconnects will probably pinch their teeth a bit.

Marcin Olszewski

System used in this test:
– CD/DAC: Vitus SCD-025mkII + 2 x Quantum Science Audio (QSA) Blue fuse
– Network player: Lumïn U2 Mini + Farad Super3 + Farad DC Level 2 copper cable + Omicron Magic Dream Classic; I-O Data Soundgenic HDL-RA4TB
– Turntable: Denon DP-3000NE + Denon DL-103R
– Phonostage: Tellurium Q Iridium MM/MC Phono Pre Amp
– Digital source selector: Audio Authority 1177
– Integrated amplifier: Vitus Audio RI-101 MkII + Quantum Science Audio (QSA) Violet fuse
– Loudspeakers: Dynaudio Contour 30 + Brass Spike Receptacle Acoustic Revive SPU-8 + Base Audio Quartz platforms
– IC RCA: Furutech FA-13S; phono NEO d+ RCA Class B Stereo + Ground (1m)
– IC XLR: Organic Audio; Vermöuth Audio Reference; Furutech DAS-4.1
– Digital IC: Fadel art DigiLitz; Harmonic Technology Cyberlink Copper; Apogee Wyde Eye; Monster Cable Interlink LightSpeed 200
– USB cables: Wireworld Starlight; Vermöuth Audio Reference USB; ZenSati Zorro
– Speaker cables: WK Audio TheRay Speakers + SHUBI Custom Acoustic Stands MMS-1
– Power cables: Furutech FP-3TS762 / FI-28R / FI-E38R; Organic Audio Power + Furutech CF-080 Damping Ring; Acoustic Zen Gargantua II; Furutech Nanoflux Power NCF; Esprit Audio Alpha
– Power distribution board: Furutech e-TP60ER + Furutech FP-3TS762 / Fi-50 NCF(R) /FI-50M NCF(R)
– Wall power socket: Furutech FT-SWS(R)
– Switch: Quantum Science Audio (QSA) Red + Silent Angel S28 + Farad Super6 + Farad DC Level 2 copper cable
– Ethernet cables: In-akustik CAT6 Premium II; Audiomica Laboratory Anort Consequence, Artoc Ultra Reference, Arago Excellence; Furutech LAN-8 NCF; Next Level Tech NxLT Lan Flame
– Anti-vibration platform: Franc Audio Accessories Wood Block Slim Platform
– Table: Solid Tech Radius Duo 3
– Acoustic panels: Vicoustic Flat Panels VMT

Opinion 2

And with this optimistic, yes, very optimistic accent, because these were always interesting encounters, we crown the review of the TheRed product line of the Plichtow brand WK Audio. In our test room we hosted literally everything, from power cords through the signal interconnects and finishing with loudspeaker cables. It is a bit of a pity that today’s test closes a series of meetings with this product line, because the distinguishing feature of the products on the above-mentioned list was well-understood clarity, i.e. sounding strong, but without crossing the line of hyperactivity or insistence. What does that mean? Well, this has already been described several times in previous test sessions. However, if for some reason you have not had the opportunity to read them, I invite potential interested parties to read the text below, in which I will try to introduce the distinctive feature of this product line based on the example of WK Audio TheRed Digit digital cabling in AES/EBU and SPDiF versions.

What do we know about the construction of digital signal signals? Not much, but the most important thing came to our ears, that when it comes to the conductor, similar to analog cabling, we are dealing with high-quality silver-plated copper. Naturally, this one was first laid in proprietary weave, then shielded, then stretched like a string between two “cans” close to the plugs, and finally dressed in an extraordinary-looking, iridescent blood-red braid. When it comes to the plugs used, similar to the analog cables, we are dealing with top designs from Japanese Furutech in the form of CF-601M R NCF / CF-602F R NCF for AES/EBU connectors and CF-102 NCF R for SPDiF cables. Similarly to the previously tested siblings, the cables are packed in lavishly looking boxes lined with sponge.

What characterized the tested cabling in terms of sound? I can confidently inform you that the digital interconnects are consistently following the path set by the rest of the products of this line. Of course, it is all about showing music at its best, with the right verve and timing. Without rounding of the edges and exaggerated saturation of sound, which could be the boring in the long run, but with clear imaging of virtual entities and appropriate control over the vivid articulation of the information contained in the material. That is, translating from audiophile into English, with good sense of proportion, they follow the current trends of showing music in the light of unfettered expression. Thanks to this procedure, it was impossible to get bored with literally any music. For example, focused on giving you a peace of mind, the exemplary jazz from Bobo Stenson’s work „Indicum”. It is a rather contemplative material, where, on one hand, the smallest sound is very important, with its delicacy, appropriately dosed energy, vibrancy and length of existence on the virtual stage, but on the other, the definition of strong piano chords or the multi-colored strings and resonances of the double bass player are also important. It is a bit of a combination of water and fire, because all the time we oscillate between sounds that are very delicate in terms of sonority, and blunt in the domain of energy. And when the system is not able to properly define each of them, the record will sound expressionless. Fortunately, the Polish cabling got everything out of it, without any problem. And it was not that it just defended itself, please do not read it as an attempt to defend the cables somehow, as they sounded one hundred percent as I like it and expected, with the right accentuation of nuances important for a given moment.
Stronger music was just as good as jazz. This, in turn, was the result of maintaining a good level of sound weight, which, together with the aforementioned clear drawing of virtual entities, allowed the music to show its proper rawness. And when I recall Rammstein with the recording „Zeit”, which I like, probably no one will be surprised by the fact that these two components allowed the artists not only to hit me appropriately, but also to whip me with a clear accentuation of the attack of each impulse. Without it, this band is simply painfully boring – I had the opportunity to see more than once, that the so-called playing with music smears gave the impression of listening to the musicians as if they were on muscle-relaxants, which is why the same features that helped jazz music, did their job also here. But please note one thing. In the case of Rammstein, you should be careful about the painful exaggeration of its directness, because then the proverbial razor blades start flying in the ether. Fortunately, the TheRed wires do not cross the line of good taste, even in their strong drawing of the world of sounds, so in both cases the test listening sessions went very well.

Where would I see the tested digital cables? First of all, in systems of people who like a specific dose of energy served with good taste. With those cable, there is no chance for boredom, and this is an evident announcement of joyful traversal of literally the entire album collection you own, regardless of the quality of the individual recordings. But this is not the only group of potential beneficiaries of the interesting sound of Plichtow’s designs, as in many cases they may turn out to be the proverbial lifeline. Of course, I mean systems in which dynamics and drive are low, which will certainly be positively boosted. This is such a cool tweak that I would not be surprised if adding those TheRed Digit interconnects would dissuade someone from serious changes in the setup they have. Of course, they will not fix all the evil done by the owner of a given system, but in many cases they can work wonders. And to be clear, real wonders, not the imaginary ones – like those told by TV/Internet fortune tellers.

Jacek Pazio

System used in this test:
Source:
– transport: CEC TL 0 3.0
– streamer: Lumin U2 Mini + switch Quantum Science Audio (QSA) Red
– DAC: dCS Vivaldi DAC 2.0
– Master clock: Mutec REF 10 SE-120
– reclocker: Mutec MC-3+USB
– Shunyata Research Omega Clock
– Shunyata Sigma V2 NR
– Preamplifier: Gryphon Audio Pandora
– Power amplifier: Gryphon Audio Apex Stereo
– Loudspeakers: Gauder Akustik Berlina RC-11 Black Edition
– Speaker cables: Furutech Nanoflux-NCF Speaker Cable
IC RCA: Hijiri Million „Kiwami”, Vermouth Audio Reference
IC XLR: Tellurium Q Silver Diamond, Hijiri Milion „Kiwami”, Furutech DAS-4.1
Digital IC: Hijiri HDG-X Milion
Ethernet cable: NxLT LAN FLAME
USB cable: ZenSati Silenzio
Power cables: Hijiri Takumi Maestro, Furutech Project-V1, Furutech NanoFlux NCF, Furutech DPS-4.1 + FI-E50 NCF(R)/ FI-50(R), Hijiri Nagomi, Vermouth Audio Reference Power Cord, Acrolink 8N-PC8100 Performante, Synergistic Research Galileo SX AC
– Table: BASE AUDIO 2
Accessories: Quantum Science Audio Red fuse; Synergistic Research Orange fuse; Harmonix TU 505EX MK II; Stillpoints ULTRA MINI; antivibration platform by SOLID TECH; Harmonix AC Enacom Improved for 100-240V
– Power distribution board: POWER BASE HIGH END, Furutech NCF Power Vault-E
– Acoustic treatments by Artnovion
Analog stage:
– Drive: Clearaudio Concept
– Cartridge: Dynavector DV20X2H
– Phonostage: Sensor 2 mk II
– Eccentricity Detection Stabilizer: DS Audio ES-001
– Tape recorder: Studer A80

Polish distributor: Audiopunkt
Manufacturer: WK Audio
Price (Europe & USA only): 3 000 € /1,5 m