he Black Diamond series is the latest addition to Tellurium Q product lineup. The manufacturer, whose heads come from the pro audio world, thereby offers a really expensive system, contradicting the stereotype that audiophile cable folly is nothing more than idiocy. The fact that the system under review is still relatively inexpensive against some of the audiophile cable stratospheric prices may be a lifeline to Geoff Merrigan and Colin Wonfor to save them from the charge of betraying their pro audio unbelief in cables.

Diamond Black cables have been created in response to requests from the customers who complained that the models from the Graphite series sound too heavy and “fat” in some audio systems, emphasizing the low frequencies. That pushed the two gentlemen to further research and experiments with the configuration and materials used, followed be subsequent auditions. As they write about themselves, they love to take on challenges to learn something new, regardless of anything else that happens.
During their research they tested some new material combinations, one of which was a specific copper tellurium compound used in the connectors. It is worth noting that the same type of copper is used by Acrolink in their connectors. Other things have also been changed. Unfortunately, Tellurium Q is extremely reticent about describing the particular configuration and materials used – see below for Geoff Merrigan’s brief statement. Fortunately, some things can be inferred from visual inspection. We can tell at a glance that the Graphite served as the starting point. The cable consists of two very thick wire strands located far from each other. Such designs, resembling flat 300-ohm antenna cable, were tested earlier by Linn and Naim (referred to as the “eights” in Poland). The point was the maximum reduction of cable capacitance, yet at the cost of increased inductance. The result of this quest surpassed the wildest expectations of people from Tellurium Q.
The black mesh-clad interconnects are quite stiff and terminated with screw-on connectors, resembling those from WBT. They are directional. The speaker cables are thick and fairly heavy. Those that came for the review were terminated with banana plugs. The power cord is not particularly thick, and it uses the Furutech F1-E11-N1 (G) Schuko connector.

Albums auditioned during this review

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• Can, Tago Mago. 40th Anniversary Edition, Spoon Records/Hostess K.K. (Japan) 40SPOON6/7J, 2 x Blu-Spec CD (1971/2011).
• Carmen McRae, Carmen McRae, Bethlehem/JVC VICJ-61458, K2HD CD (1955/2007).
• Dire Straits, Brothers in Arms, Vertigo/Universal Music Ltd. Hong Kong 5483572SX, SHM-XRCD2 (1985/2011).
• Massive Attack, Heligoland, Virgin Records 996094662, CD (2010).
• Mike Oldfield, Tubular Bells, Mercury Records/Universal Music LLC (Japan) UICY-40016, Platinum SHM-CD (1973/2013).
• Miles Davis, In A Silent Way, Columbia/Mobile Fidelity UDSACD-2088, “Special Limited Edition, No. 1311”, SACD/CD (1969/2012).
• Ornette Coleman, The Shape of Jazz to Come, Atlantic Records/ORG Music ORGM-1081, SACD/CD (1959/2013).
• Perry Como, Perry Como’s Song Collection, Going for a Song GFS284, CD (?).
• Schubert, Lieder, wyk. Dietrich Fischer-Dieskau, dyr. Gerald Moore, "Signature Collection", EMI 55962 2, 4 x SACD/CD (1955, 1957, 1958,1959/2012).
• The Modern Jazz Quartet, Pyramid, Atlantic Records/Warner Music Japan WPCR-25125, “Atlantic 60th”, CD (1960/2006).
• Tommy Dorsey, Masterpieces 15, EPM 158342, “Jazz Archives”, CD (1935-1940/1995).
• Vangelis, Blade Runner, soundtrack, reż. Ridley Scott, Atlantic Records/Audio Fidelity AFZ 154, “Limited Numbered Edition No. 2398”, SACD/CD (1982/2013).

Japanese editions of CDs and SACDs are available from

After carefully selecting for years my audio system components, cables and accessories in order to hone specific sonic aspects, I have eventually reached a place where I feel happy. It took me many audition hours and even more money. The final effect, however, has more than paid for it. I’m now afraid to change anything in my system, as while I’ve heard better power amplifiers, better CD players, preamps and even speaker cables, each change for the “better” also brought about side changes and it was the kind of “side” that didn’t fully suit me. Hence, although I think about it over and over again, upgrading any of the components is a difficult decision for me, almost a trauma. As a result, my system has been changing pretty slowly, of course taking into account the sheer amount of audio products I deal with. To put this in a proper perspective, let me compare it to the life of creatures, great and small. One of the theories explaining life expectancy claims that every living creature with a heart and circulatory system has a “pre-programmed” number of heartbeats (assuming nothing unexpected happens, like an illness or accident). The classical music lover/audiophile would then be a turtle – a calm, slow moving creature, whose heart does not beat too often. The reviewer such as myself would be more like a hummingbird whose heart beats 500-600 times a minute, with a maximum even up to 1260, which gives him 15 years of life in all. I’m sure that you understand me: my years of auditioning are like “dog” years compared to your “human” years. In the same period, doing tens, perhaps even hundreds of times more listening, and thus changes.

The problems I had to face with assembling my system may be classified into two categories: the problem of sound as such (its quality) and the problem of compatibility. The former is easier to deal with, because a dozen or so auditions and comparisons with what I already have is enough to tell me where I am at. A few control session at Janusz’s allows me even more precisely define the range I refer to. The latter, however, causes no end of problems. Reviewer’s reference system is not only to give pleasure and to listen to music, but also serves as a diagnostic tool. To make it effective and meaningful, it should be compatible with the widest possible range and variety of other audio products. That involves inevitable compromises. It is of course possible to limit its compatibility and to specialize in one type of products. Such choice is mostly rational, as it minimizes these trade-offs. So does Art Dudley from “Stereophile”, focusing on vintage products or those of a similar provenance. So also does Srajan Ebaen of the “6moons.com” fame who favors high sensitivity speakers, preferably with a single full range driver, and who literally loves single-ended solid state amplifiers. I cannot afford such a luxury. Each component of my reference system must be “swappable”, i.e. hooking up any other component I will very likely hear its sound rather than its problems of “fitting” into my system.

No, this is not a fragment of my biography nor is it a review of my reference system. I had to address this problem, however, even if it were to take a large part of the actual review text. Otherwise I would have to devote even more time to explaining the phenomenon of Tellurium Q cables. They partly revealed themselves in my previous mini-review of the Ultra Black speaker cables, but only now did I have a chance to fully look at them in the context of my reference cables.
I was immediately and strongly struck by what is their greatest strength, often absent in cables from other manufacturers, regardless of their price: the ability to bring out system coherence. I listened to the Tellurium Q in a few various configurations and each time, while not as good as my reference cables, they restored each particular system coherence and were a sort of "bypass" around the problems.
Their tonal balance was perfect; slightly different with each next auditioned album and keeping up with their changing nature rather than pulling them along. It was a bit technical on Dire Straits’ Brothers in Arms, with quite a lot of treble and the cymbals clearly shown in the foreground. Perry Como’s album and Schubert’s music surprised me with their absolute lack of sibilance, incredibly naturally conveyed master tape noise and general order. Miles Davis’ In A Silent Way added to that more depth and warm noise.

I found the top end particularly interesting, because while in itself only part of a larger whole and normally not important if not accompanied by something more, like body, texture or weight, it is however key to them all. There was a good deal of treble with the Black Diamond, more than with the reference system, although not as much as with the Acrolink Mexcel 7N-DA6300. Still, that was no brightening to it, not even close. The Tellurium Q simply makes some things, like the cymbals, seem larger and closer to us. An apparently small difference, as the starting point is a strong treble, yet the final point of arrival is completely different. Here we are in full agreement with what’s happening and if that’s the kind of presentation we are looking for (in terms of its type, rather than quality), we will integrate it into something more in our mind.
And that “more” means a strong midrange and average bottom end. At first glance, we should not even talk about it, because if the bass, midrange, and treble are all strong then what’s weaker or withdrawn? In this case only the low bass, but then I should not mention or elaborate on anything that’s above. This case is, however, different – the particular sub-ranges seem strong because they are full of “life” and energy. The sound attack does not seem hardened, and I would even say that if it were to “seem” anything it would rather be rounded. Still, it would only seem so. The attack is simply just the way it should be and not much different from that of the reference system.
The sound as a whole is absolutely coherent. If the manufacturer’s claims about minimizing the phase shift are true (and I assume they are as they are made by serious people), they would manifest in the following way: smaller phase shift = better coherence / internal harmony / easier listening.
And that is exactly how the music sounds with the reviewed cables in the system. They calm down any existing nervousness, without muffling the treble or dulling the attack. What’s more, as I said earlier, they are capable of "attracting" individual audio components to each other, melding them into a real SYSTEM.

Conclusion

The comparison of the British cables to the reference cables shows what we have to pay for if we want to get something more. It will be a better sound definition and deeper, more energetic bass. A slightly less exposed treble, but even more resolving and better integrated into the whole presentation. The soundstage will be deeper still. We get all that with the Siltech Double Crown, the Tara Labs Omega Onyx and the Acrolink 7N-PC9500. The price difference, however, is huge; you could even say astronomical. While the Tellurium Q cables are expensive and definitely not low budget, in the world of high-end they are near the entry price level. Their ability to vividly convey the best qualities of electronics, speakers and recordings is as interesting as it is rare. I have so far associated such colorful yet pleasant sounding cables with the weakening of treble and blurring of many annoying sonic features. The Black Diamond and Black Power don’t do that, and they sound refined and simply good, if that word still means anything. Audio journalists, myself included, are guilty of using superlatives too often. We find certain grounds for doing that, as it is part of the process of translating our emotional and intellectual experience into the medium of language. Its side effect is, however, a transition to a higher level of assessment, i.e. losing the sight of basic concepts. We cannot change that as such is the specificity of art evaluation (literature, music, theater, painting, sculpture, applied art and craftsmanship, including audio). For the purposes of this review let’s assume for the moment that it is not so and that this text exists in a vacuum. I will then simply say this: these are good cables that will consolidate any system, bringing out what’s good in it.

The Tellurium Q cables were reviewed as a cable system (set), replacing the corresponding reference cables in the reference system. A separate audition was dedicated to their operation with the Tellurium Q Iridium 20 power amplifier. In the former, the Black Diamond interconnect was used between the CD player and the preamplifier; in the latter it was used to hook up the preamplifier to power amplifier. The Power Black cord was used to supply power to the Ancient Audio Lektor Air V-edition CD player in the former, and to the power amp in the latter. A separate audition involved a system with the Langerton Configuration 217 loudspeakers. The review had a character of an A/B comparison with the A and B known. The music fragments did not exceed 2 minutes, but whole albums were also auditioned.