Slic Innovations Eclipse C MKII Interconnect Cable
- MKII version with even better sonics
- Hi-Fi Choice recommended
- Hi Fi Critic recommended
MCRU are the exclusive dealer for an interconnect that can only be described as the nearest thing to having no cable in your system. The Slic Innovations “Eclipse C” will both shock and astound in equal measures, you will not believe what you are hearing. Invented in Huddersfield!
Here is the Hi-Fi Choice review CLICK HERE
The SLiC Innovations Eclipse C interconnect is hard to ignore once you hear it many cutomers agree it’s difficult to go back to more mundane sounding cables. The SLiC has now been reviewed on HI-Fi Pig and given a recommended badge. Here is the review
Some quotes from existing SLiC cable owners…..
David, I will give you a call tomorrow but my first impression are that the cable makes a greater improvement to my system than all the upgrades I’ve made over forty years put together. Unbelievable. Mr. R. Newman May 2014
Hello David, I know that it has been a while but I don’t get much spare time, and recently I have had to use it all up listening to the SLIC Eclipse. It’s everything that you said it would be. Silent and detailed, it’s a revelation to hear any type of music through it. I love it. Thanks’. Mike from Manchester May 2014
A rather special product, highly recommended, B. Payne May 2014
Full specification not coming soon, why? Because there is no technical babble, no marketing waffle, features and benefits are simple to describe, this cable will allow you to hear detail that is in the recordings you listen to every day but the cables you were using did not reveal them. The SLIC title stands for Super Low Interference Cable, there has never been anything like it.
All cables purchased from MCRU will be burnt in prior to dispatch on our Nordost Vidar cable burner no extra charge.
The interconnect is sold as a 1 metre stereo pair, longer lengths available using the drop down menu. Shorter lengths can be made but cost the same as one metre.
We have detailed 3 user reports below from audiophiles who were loaned the cables to evaluate for us.
Here is my honest appraisal of these “mystery” interconnects:
I will say this is one of the hardest appraisals I have ever had to do, not that I have not been impressed by what these mystery cables offer in sound quality terms, more the sheer inadequacy of the English language in expressing what I am hearing and not falling into using the same all too often used superlatives that have little meaning now due to their over usage, therefore I will leave all the gilding off and use language more familiar.
All I have is a rather nondescript pair of black shrouded interconnects with what feels like a plaited multi-conductor construction. I have been given no indication as to what materials have been used.
All too often I will be impressed initially by a cable on first hearing and then once the initial euphoria has waned, I then begin to find weaknesses that were not immediately apparent at first hearing. It is for that reason that I prefer to wait at least a whole day BEFORE any opnions are formulated.
So, how do they stack up? Firstly, I will deal with the bass registers. I cannot detect any bass overhang with them at all. Bass certainly is fullsome and very powerful with superb definition and timbre. In most other cables I have heard regarding bass performance, it is without exception traded off in other areas like treble or midrange, or worse still, swamps, muddies and overwhelms the other frequency bands. Not so at all with this cable; the bass is almost “detached” (in a positive way) from the other frequencies, so any bass line is easy to follow as a seperate entity if one so wishes, without ever disturbing or imposing itself elsewhere in the audible spectrum. Whatever CD I played I could easily follow the bass lines without bloom or smearing – even the favourite tracks I have heard many thousands of times before over the years. I have just listened to Focus’ “Anonymus II” and it has completely blown me away with the clarity, dynamics a sheer raw energy this track contains, which all too often even high end systems manage to turn into a mushy cacophany. Pink Floyd’s “Wall” album has within the title track a tambourine well back in the mix that most systems allow it to fade in and out, especially when the dynamics get hectic, but this cable allows you to hear that tambourine so clearly and consistently right the way through no matter what else is going on in the music. Get the LP/CD out now and listen out for that tambourine in the background! So just for one moment I will add the typical cliche about hearing so, so, so, so much more from very familiar recordings I have owned for close on 40 years and more, played on some esoteric systems too. From a mere cable? Yep, no doubt whatsoever, it has ‘upgraded’ my own humble system by no small margin and that really is hard for people to swallow I will readily concede, but true it certainly is.
Likewise, the midband and treble registers operate within their own distinct “pockets” within the sound envelope. Treble is so “clean” and truthful with no ringing or splashiness, ambience details are conveyed so crisply and accurately it’s uncanny to say the least. Imaging construction is deep from front-to-back, tall top to bottom and way out beyond the speakers. A struck cymbal sounds exactly like a struck cymbal SHOULD do, full of energy and vibrancy, anyone can clearly hear wooden drumstick against metal, a struck triangle sounds so exquisite it makes you feel like rewinding again and again to simply enjoy that delicious sound! Live recorded music is live in every sense of the word with venue ambience and reverb stunningly recreated and it is shocking to hear that an audience actually SOUNDS like an audience instead of sounding like a frying pan cooking bacon rashers. This is further enhanced by the lack of any background noise, which I think is THE hardest parameter to achieve in a cable design with any pretensions to being high end.
Make no mistake, this cable is certainly no “tone control” whereby you could use it to correct shortfalls or inadequacies in your hi-fi system. It does not have good bass at the expense of a muted or stinging treble, or vice versa. Top to bottom it excels in all areas of the audible spectrum.
Given that there are countless cables available to spend your hard-earned on, where in the great scheme of things would this cable rank amongst the herd? I have had through my hands over the years some cables costing many hundreds of pounds per metre and I cannot think of a single one gone before that had the performance this cable has. Sure, some had bass or treble performance to die for, but SOMEWHERE there was a trade-off, nor can I think of a single one that could match the eerie background silence this cable has and as for picking out the finest minutae in recordings and painting aural pictures in the air, none come even close. The one area where it does get it’s backside slapped hard is the appearance. I quizzed David Brook about that and he tells me what I have here is only a prototype with inexpensive plugs fitted and the production version will get top end Furutechs. That addition would make this cable legendary I reckon.
In conclusion then, in my opinion this cable effectively re-writes interconnect cable design in a radical way and the industry leaders should begin perspiring now. It does not act as a notch filter or tone control, it offers no hindrance to what a hi-fi system is actually capable of, it has no sonic signature of it’s own to worry about and ends the search for “synergy” because there are no peaks or troughs to synergise with. I will finally say that I don’t intend to persuade anyone else to put their hand in their pocket to purchase one on my say-so alone, as I will be doing that myself – no matter what the final price tag is. For more information I would suggest you contact David at MCRU.
When word gets out just how good these cables really are, then kindly remember you heard it here first.
Mr. Mike Scargill writes thus…..
You left with me 3 commercial interconnects ranging from around £800 pounds to £3000 and a sample of the cable you are considering going to market with to gauge my view as to where I perceived it to sit in relation to these cables.
I started with the most expensive of the commercial interconnects and was amazed at the level of detail and clarity, it had a very neutral laid back sound with no hard edges which let you get right into the music. When I compared the cable to the other 2 commercial interconnects you could clearly see why this one cost so much more. I listened to a few different tracks on the expensive interconnect finding it hard to move on as I got more into the wonderful sound which the interconnects produced. I finally managed to pull myself away and decided to try out the other 2 commercial interconnects to see how they compared having settled on a single track test track which would allow me to quickly compare the cables. It became immediately apparent that they were inferior in almost every respect to the £3000 cable which is understandable. So I quickly moved on to the sample cable.
From the moment I pressed play I knew the sample cable was something special, the £3000 cable was wonderful and almost worth selling the car for, but the sample cable was better. The cable had a speed and musicality which all of sudden seemed lacking on the other 3 cables. I was suddenly hearing subtleties and nuances in the music which I had never heard before,. the cable had an astonishing knack of drawing you in to the heart of the music in a way which you suddenly realized was lacking on the £3000 cable and the other 2, it had a sense of timing and rythm which you didn’t realize was lacking, now here was a cable I might consider selling the house for. Going back to the £3000 cable it now sounded flat, dull and lifeless, lacking a seance of timing, speed. detail and clarity. It was quite strange to be seeing a cable a few minutes ago that I just didn’t want to change out it was that good, suddenly sound so unmusical that I couldn’t wait to swap back to the sample cable. Now it was not that the £3k cable was lacking in any sane sense it was simply that the sample cable was that much better at delivering music.
I listened to the same tracks which I had done with the £3k cable each time having subtleties in the music just leaping out at me. The sample cabling is by far the most engrossing interconnect I have ever heard, far out performing the £3k cable. I swapped several times between that one and the sample interconnect and every time I was picking up on sounds on the sample cable I had not heard on the expensive cable and it was not until I went back and specifically listen out that I would detect them on the expensive cable. I think this is because not only does the sample cable squeezes more detail out of the music it draws you in to the heart of the music in a way that the other 3 cables do not.
If the sound rendition of the 3 sample commercial cables are typical of the market for that given price bracket then the world of music is about to undergo a revolution and I can’t wait to see where it leads.
Regards – Mike
The SLIC Innovations Eclipse C balanced XLR cable is a substantial offering, thick and quite resistant to tight bending and very nicely presented and finished in a black braid. The XLR plugs on my sets are Black Rhodium, although various plug options are offered. No significant details of materials used are available but there exists a patent (no. EP 1 509 932) from which construction details may be gleaned. Reasons given in the patent for the cable’s performance include improvements in skin effect conductivity and magnetic field interaction between nearby conductors, although much of it is lost in the usual impenetrable patent-speak.
Two 1m pairs were kindly loaned by MCRU but have now been purchased as a permanent fixture in my system. My two runs are used in SACD Player > Preamp and Preamp > Power Amp runs, giving a fully balanced system path for optical disc playback.
For comparison are my previous Yannis 223.5 ConnectLitz silver XLR cables, themselves high performers which have seen off Kimber Select KS-1121, Tellurium Q Black XLR, Canare Star-Quad XLR and Mark Grant silver plated XLR cables in the past.
There was a small improvement in sound from new over the course of a few days, but not nearly as much as I am accustomed to with, for instance, silver cables. I believe that MCRU burns them in on a cable burner before sending them out.
k d lang – Drag: more space around Lang’s voice. I could hear the studio for the first time. Big dynamics and her soaring voice really tested midrange clarity. Reduced sibilance and the ride cymbal really sounded like metal being struck. I played at a higher volume than I’m used to (a common theme with these cables).
Jeff Beck – You Had it Coming: a real sense of menace to some of the track openings, especially Loose Cannon.
Jeff Beck – Emotion and Commotion: fantastic impact but less harshness when the songs got very busy. Joss Stone’s voice incredibly lifelike in I Put a Spell On You.
Christina Pluhar & All’Improvviso – L’Arpeggiata: wonderful delineation of fine detail. Lovely delicacy to the dulcimer and startling attack on the Spanish guitar.
Dire Straits – Brothers in Arms [SACD]: the drum in So Far Away had metronomic timing and started and stopped very quickly. Some nice left/right swirling that I had never noticed before.
Prince & The New Power Generation – Diamonds and Pearls: the massive wall of sound in Thunder retained the various strands of the music and hung together wonderfully as a performance. This has always been a good test for any harshness in my system.
Damian Rice – O: the drum strikes in Delicate had proper shape in the big acoustic, putting me right there. The cymbal decay went on and on into a whisper-quiet shimmer.
Philip Glass – Violin Concerto, Eschenbach, Houston SO: lovely violin sound, highly vivid and with truly thrilling orchestral climaxes.
Albeniz – Suite Española, Frühbeck de Burgos, New Philharmonia: brass crescendi that took me aback with their attack in Castilla.
I listened to many more pieces but you probably get the general idea by now.
To summarise what I am hearing in my system, the SLIC XLR cables bring the following benefits:
There is more very fine detail, especially noticeable when it was previously buried in the mix. It isn’t just more detail appearing, there is space around the notes improving overall definition. Further listening reveals things creeping into my awareness that I hadn’t noticed before.
Quiet sections of music reveal more cues about the soundstage and recording venue. Reverb around the room, the noise the air volume makes, people shuffling, sub-bass shudders.
The volume seems quieter even when I’m pulling some serious decibels (I was hitting 95dB at my listening position during the Jeff Beck, for instance). There is a sense of the presentation sounding less busy, and appearing lower in volume, because the strands of the music are better separated; overall definition is up and glare is well down. I’m setting the gain 2-4dB higher than I’m used to.
I have not mentioned bass or treble simply because I can hear no enhancement or deficiencies throughout the frequency range. These findings are for my system with my ears. Since cables can only subtract from the signal, the above comments should be seen as saying that the SLIC XLR subtracts the least of any cable I have ever used.
Balanced cables, due to their superior connection and common mode noise rejection, tend not to exhibit the dramatic differences that single-ended cables do. It has therefore been a surprise to hear such an upgrade in presentation over the Yannis. Cable choice is just the final tuning and should not be seen as a tone control or a fix for poorly performing components. However, the greater the system resolution, the more subtle changes become audible and that is what happened in my system. So this is one solid rung up the performance ladder for me. Mr Taylor May 2014
Hi-fi is full of hyperbole, it always has been, so sifting the wheat from the chaff has never been easy. When I started hearing about this cable on the Art of Sound forum I didn’t pay it much mind – the years have desensitised me and I was happy with my Nordost Valhalla interconnects – they’re incredible cables that have continued to impress me with their speed, accuracy and general ruthless “warts ‘n’ all” musical portrayal.
Still, after a while my curiosity was piqued so I thought I’d give them a go. There’s a 30 day money back guarantee – in a way that’s better than a free trial because you don’t have to worry about having to pay for it if you do like it. It’s a lot cheaper than the Valhalla (about 1/7th the price for a metre pair) so my expectations weren’t that high…..
A couple of days later the postie delivered a nice solid box with some fairly chunky ICs inside. They’re sheathed in webbing with silver (plated) plugs and heatshrink showing the directional arrows. I’ve seen flashier cables but seeing as they’re going to live down the back of your kit, what does it matter?
I swapped out the Valhalla between phono stage & pre and put a record on. Realising that the SLIC interconnect was better took about 0.5 of a second. It took ten seconds to really grasp how much better. Nordost Valhalla is astonishingly good cable – I worked my way up through the Norse range a few years back and the final (this is before Odin and I’m not a multi-millionaire) step up was breathtaking. Whether it’s worth it is a relative question. Anyway, the SLIC made this all irrelevant. It is without doubt the most neutral, transparent and revealing cable I’ve ever heard. It makes me want to accost strangers outside my house and say “come in and listen to this!”. Everything I’ve played has had detail I was previously unaware of, nuances to vocals, facets to guitar lines, subtle variations in rhythm. The cable opens the sound so much there’s space for all the elements of the music to do their thing, free from interference. Nordost Valhalla is still an exceptional cable but I’ll be selling mine and buying more SLIC – another pair is already on order.
So, what does it sound like? That’s an impossible question to answer – it’s so even handed it has no “sonic signature”. Cables never improve a signal, all they can do is take away. This interconnect takes away less than any cable I’ve ever used.
REVIEW OF SLIC INTERCONNECTS
KIT : ESOTERIC K-05. FEEDING AUDI RESEARCH DAC 8, VIA CHORD SARUM DIGITAL INTERCONNECT. THE SLICS ARE IN USE BETWEEN THE AR DAC8 AND MY LUXMAN CLASS A INTEGRATED AMPLIFIER. THE AMP IS FIRING A PAIR OF PMC EB1 FLOORSTANDERS, WIRED WITH AVID AUDIO SCT REFERENCE SPEAKER CABLE, WITH DRAIN WIRES BACK TO THE MAINS EARTH.
The kit I have owned for many years is deliberately transparent in delivery and I have always relished kit that can be as natural-sounding as possible. The Class A Luxman excels at soundstage and the mid-range, particularly with cello and oboe (as well as saxophone and lead guitar/vocals) is very sweet, without ever being ‘wearing’ even at high volumes. The PMC’s lap this up and present a wide and deep soundstage that completes the picture.
So, why would different cables make a difference? Well, the sheer transparency of the kit means that cables can make a real difference and this is why I was keen to hear the new SLIC Premier from MCRU.
I now have both balanced XLR versions (between DAC8 and LUXMAN) plus RCA connector version which I use a s a direct feed from the Esoteric analogue outputs to the Luxman.
There was an immediate opening up of dynamics – best described as ‘energy’ and more space between instruments in classical pieces. Sometimes this can happen with cables that are brighter, only to find that what first seemed like a major improvement, became artificial and too bright. Not so with the SLIC – they are not bright-sounding cables, they are very realistic to the recorded sound and, to my ears, provide a very sweet midband, tight (not woolly) bass, a deep soundstage and great rhythm and timing. I have no idea what the component parts are – whether solid core, multi-strand, or both – all I know is that with all the types of music I listen to – and that is a wide range, the SLICs bring something to an already excellent sound. I have not heard any real change after ‘burn-in’ with extended listening, which means that unlike some cables, you don’t have to wait months to find out what the true sound is like! If changes do happen, I will happily write a further review. Finally, they are easy to install, as very flexible – and, if you like deep and wide soundstages – the SLICs provide that in abundance. Although the components are not the most important aspect of any cable – they remind me of the very best single-wire silver interconnects, where brightness does not exist, but clarity and space do.
Some measurements for the SLIC cable……………..
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