Harmonia est discordia concors.

The terminology of Harmony as a philosophical and aesthetic term can be traced back to ancient Greece and Rome. Multiple works by the brightest minds of that time were dedicated to understanding of Divine and Beautiful. Harmony was always perceived as an extension of the divine beginnings in mathematics, architecture and music.


   Ἁρμονία δὲ πάντωςἐξἐναντίων γίνεται· ἔστιγὰρἁρμονία πολυμιγέωνἕνωσις καὶ δίχα φρονεόντωνσυμφρόνησις.

                                                                             Νικόμαχος ὁ Γερασένος


   (Harmony is born out of the opposites, since harmony is a unity of mixed entities and an agreement of opposite voices)

                                                                                1st half of 200 A.D.

Since the ancient times musical harmony was derived from the general (philosophical and aesthetical) perception of harmony and from understanding of completeness of sounds. Harmonically organized sounds were believed to be the highest achievement of artistic expression.

For 2 thousand years that passed since those times the humanity has reached great heights in theory of musical art as well as in mastery of the performing musicians. Great masters have created unique instruments that are able to express feelings and emotions by the means of music.

Today, not only have we learned to create the music, but also we have the ability to record and play music via electronic devices. Home stereo systems has enabled us to get a relatively good imitation of performance in our own homes. However, every time after being at a live concert, we cannot help but notice that our home system is only imitation, illusion of a likeness to a real live performance. Our brain is not fooled by that imitation, it does not let us believe that this is Real Music; it simply does not have enough information. In addition, our Soul feels that physical and emotional component compared to a live voice or an instrument is lacking. It is a paradox. There is a way of thinking, that we could change this by adding another 5 loudspeakers or by changing the frequency of sample rate in digital to analog converter. But in reality it is not true. Those things would change the sound but would not alleviate the problem of harmony between the listener and the music through the means of audio equipment. The problem could be solved by creation of acoustic environment, where the acoustic equipment minimally distorts the musical material and provides maximum resemblance to an actual musical event. From the mathematical standpoint, a home stereo system has to have low entropy and to transfer maximum sound data to our brains. From the psychoacoustics point of view, the home system should closely resemble a live performance’s sound level, dynamic range, clarity of speech and reverberation time.


  The quest for excellence.

Since 1998, we have applied multiple effective methods of acoustic, digital sound and environment correction in our work of installing high-end multi-channel audio systems using expensive high-end audio components form the leading manufacturers. We have been developing multiple acoustic system configurations to meet our parameters. Nevertheless, as a result we have always encountered the very same problem – our desire to get an even more true musical sound, which transfers into the Music. After multiple experiments, we concluded (considering the fact that the sound room environment is properly configured) that the most significant sound loss and sound degradation occurs from inability of a cable to transfer the sound information without loss. Meaning that the cable, which has high entropy and as an element of a complete system worsens the sound. You can say that market is saturated with good and very good cables and that the problem is not significant. It is true. We tried to find an ideal solution. Nevertheless, all our efforts were in vain. In reality, the good cables are few in between and they are very expensive. In parallel to our search for and ideal cable have organized a research and development group that was designed to tackle this very problem. The research team consisted of connoisseurs of fine sound, cable production specialists, specialists in the areas of physics and applied mathematics as well as the sound editors and musicians. Based on our fundamental knowledge and vast experience we defined a set of problems that should be solved to meet our goal:

a)     Exact and full transfer of musical data

b)     Correct articulation for human voice

c)     Transfer of richness and natural sounding for voices and classical music instruments.

d)     Reproduction of sounds in the low frequency range correctly and without delays.

e)     Ultra high frequency filtration for analog cables.

f)      Effective shielding against high-frequency interference.

g)     Positive psychoacoustic and emotional impact on the listener.


    Using those requirements as a set of our guidelines, we started to look for the solution.

Using mathematical and physical calculations, we have developed a series of cables of different types and configurations. After that, our prototypes were compared with different cables from different manufacturers on a variety of sound systems. The quality of sound test, which we carried out in different acoustic settings and their correlation with initial physical and mathematical models were the defining factor in the direction of our development. Some of the results were patented. Slowly inching towards the ideal, we have discovered that a good cable is even more important element of a sound system, than we have imagined before. In addition, all our prototypes had one thing in common- fast and strong sound with natural and uninterrupted sound field. The listener perceived music as a whole entity, and yet there was a possibility to focus on the details, if so desired. The cable worked as a harmonizer, uniting all the components of the system and transforming Chaos into Music. The effect of harmonization was like an effect produced by QRD panels and was pronounced the most in reproduction of classical symphony music. We also noticed great improvement in clarity and dynamic range of vocals. The sound has achieved holographic and three-dimensional qualities. The precision of low frequencies sound allowed identifying instruments from the very first octave. A speaker with a low impedance load and heavy cones better controlled, even when we used tube amps.

This effect of an honest and natural sound reproduction had a great emotional impact o the listeners. We call it — The Atmosphere of a Live Sound

Therefore, by 2011 we have perfected our research of the technology for production of the audio cables to fully meet our quality standards and have produced the first set of sample cables. In 2012, the decision was made to produce the cables commercially and our company, Living Athmos was created.



        Manufacturing technology of low entropy audio cables.

Based on our research findings and our striving to reach an ideal and harmony we have created several cable concepts that were later divided into 3 groups: Standard Line, Preference Line and Ultimate. All cables have a similar character of the sound, but they are different in musical nuances and the degree of emotional impact to the listener. We provide our cable selection recommendation based on the other components of your audio system set up.

All cables are handcrafted due to the complexity of the production and inability of even the most modern equipment automate some of the steps. The crafting of one cable can take up to 24 days. All cables are put through 100 hours burn in period to achieve the final sound, electrical components test and specially formulated listening room test regimens. Every cable is assigned a unique serial number. Some people might think that a cable is just a piece of wire with connectors, but not us! Our cables have intricate construction that by the number of components can be even compared to a high-end amplifier. There could up to 220 components used in a single cable.

The main features of our cables include:

a) The musical sound conductor: Without any doubt we have concluded that mono fibers, made of high purity copper with thermal treatment are the best way to achieve the required characteristics. After that the wires are weaved into strands up to 38mm2 cross grain. Some manufacturers use silver, but in our opinion it affects the sound and the preciseness of articulation of human voice is lost. We use silver only in connectors, soldering and some other elements of the cable. 

b) Dielectric: All our test with different types of dielectric have shown that natural materials produce result closer to a live sound where as modern dielectrics make the sound bleak and lifeless. Manufacturers often use modern artificial materials only due to the consumer qualities, and not for the musical qualities. We have selected specially manufactured paper that is layered over the wires. The thickness of paper layer in some of our models can reach 7mm and only after that, the cable is enrobed in plastic. This step is very important in crafting our cables and although the cable becomes less bendable, the quality of sound attains more clarity and natural sound.

c) Shielding: Cable shielding has a great impact on the final sound. Oftentimes analog cable manufacturers use the shielding as «cold» wire, which is unacceptable from our standpoint. The shielding of the main part of every Living Athmos cable is made of copper ribbons, each of those are also isolated by paper from each other. Different models of cables can use from 2 to 4 shielding screens. This feature provides very effective protection against RFI distortions. The resulting cable diameter could be significant and reach 25mm, but this is an inconvenience we readily endure for the Music.

d) Outputs and connectors: Due to the main part of the cable being somewhat less flexible and large in diameter, we have created the end pieces of the cables as flexible outputs, the length of which have been thoroughly researched and calculated to make them convenient for connections. This type of construction also serves as a natural filter for the frequencies higher than 100 MHz. We use connectors from different manufacturers, so when you order our cables you can choose the type and material of the connector according to the requirements of your amplifier or Cd Player. However, we recommend WBT NEXTGEN connectors, especially if you are unwilling to compromise any of the sound quality. These connectors can be made of copper or silver. In this case silver does not negate the sound quality assuming the connectors on the device are also silver

e) Quality control: All cables are properly burned-In to achieve a final sound and that put through an array of listening test regimens. After that each cable is assigned unique number which is entered into our Certificate of Authenticity. We use equipment manufactured by Concert Fidelity, Burmester, Cary Audio, McIntosh in our sound tests.


These are the main steps of our production process, which contains many more steps that are specific to every series. Each model is unique and different techniques are employed to achieve the best sound quality.

       We don’t compromise. We have a goal:

       The Atmosphere of a Live Sound!