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Kimber Kable's Tonik is the least expensive interconnect Kimber makes. It is built the way every Kimber cable is built: three conductors braided by hand in Ogden, Utah. Kimber names it after the first note of a scale. The aim is a base that is accurate before it is anything else.
Other length & termination options are available. Call us to discuss your needs.
The conductors are Kimber's VariStrand copper. Each is a bundle of strands in more than one gauge. Kimber says the mix of gauges spreads the signal across the bundle. The three are woven in Kimber's tri-braid field geometry. The braid is the noise control; there is no separate shield.
Kimber insulates the Tonik with what it calls a special-recipe PE, or polyethylene, dielectric. For the balanced cable Kimber publishes 43.9 pF of capacitance and 1.05 µH of inductance per meter. Low capacitance keeps a line-level signal intact over a longer run.
Tonik ends in the plug Kimber fits to its balanced cables: a studio-grade Switchcraft XLR with silver-plated contact pins. Kimber solders it 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.
Art Dudley, writing in Stereophile on November 23, 2011, found the Toniks "offered clarity without brightness, and reasonably good amounts of color, texture, and touch."
The Tonik still appears in the 2026 edition of Stereophile’s Recommended Components, which lists the cables its writers have used and stand behind.
Run the Tonik 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.
There is no separate shield. Kimber relies on the tri-braid geometry to reject noise, which is why the cable has no outer jacket.
Kimber PBJ XLR is the next rung. It keeps the tri-braid and moves to a fluorocarbon dielectric, with the same Switchcraft XLR plug.
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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