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Kimber Kable's Timbre is a three-wire braided copper interconnect from Kimber's Base Series. Kimber says it delivers deep, holographic imaging and can pop a central performer forward in the soundstage. The name is the word for the character of an instrument's sound. It is made by hand in Ogden, Utah.
Other length & termination options are available. Call us to discuss your needs.
The conductors are Kimber's VariStrand copper, each a bundle of strands in several gauges. The three are woven in Kimber's three-wire braid. Kimber calls the Timbre non-shielded: the braid itself does the noise rejection.
Each conductor is insulated in a low-loss fluorocarbon dielectric. For the balanced cable Kimber publishes 45.8 pF of capacitance and 1.0 µH of inductance per meter. The plugs are soldered on by hand under nitrogen, which Kimber uses to keep the joint clean as it cools.
Timbre ends in an XLR plug. Kimber terminates its balanced interconnects with a studio-grade Switchcraft XLR with silver-plated contact pins, and it solders the plug on by hand under nitrogen in Ogden, Utah. The plug latches into the jack and will not pull loose by accident. The silver plating keeps the contact clean.
Richard Black, reviewing for TechRadar on September 2, 2008, gave the Timbre five stars: "this is one of the best interconnects we know of."
Run the Timbre from a balanced XLR output on your DAC, streamer, CD player or phono stage to a balanced XLR input on your preamp or amplifier. Keep left to left and right to right. Line up the pins and push until the latch clicks. Press the latch tab to release the plug.
Then listen.
Measure the route the cable will really take between your components, around shelves and behind the rack. Then add a little slack. As audio legend George Cardas puts it, "A cable that's just long enough usually turns out to be just not long enough." Keep the left and right cables the same length. We recommend a matched pair.
Balanced XLR works when both components have XLR jacks, and we recommend using XLRs whenever they do. If one component has only RCA jacks, use an RCA cable instead of an adapter. You only get the possible benefits of a balanced output with a pure XLR-to-XLR connection.
If your amplifier and speakers sit far from your source, we recommend a long interconnect over a long speaker cable. A really long interconnect affects system performance less than a really long speaker cable.
An interconnect often stays in a system for years, so it is easy to overlook. Look again when something else changes: a new DAC, streamer or phono stage, a better amplifier, or a move to components with balanced XLR jacks.
An interconnect is one link in the chain. It usually joins these categories.
A studio-grade Switchcraft XLR with silver-plated contact pins. Kimber names it on its balanced Tonik, PBJ, Silver Streak, Hero HB and Hero AG. Kimber solders it on by hand under nitrogen.
Each conductor is made of copper strands in more than one gauge. Kimber uses this stranding in every interconnect it makes.
Kimber calls it non-shielded. The three-wire braid does the noise rejection, which is why there is no outer jacket to hide the weave.
Kimber Hero XLR is the next rung. It moves to four conductors in Kimber's quadratic braid, a layout Kimber says suits balanced XLR runs.
Audio Advisor looks at the Timbre with Kimber's Todd Walldorf.
The most popular configurations are shown on this page. If your system requires a different length or termination, call our audio experts. We’ll help you choose the right configuration and arrange a custom cable for your system.
Want to learn more about interconnects, braided cables, or RCA versus XLR? Visit our Learning Center for guides, tips, and expert advice.
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