Atlas Ailsa Duo OCC XLR interconnect cable
I had something of an epiphany when reviewing the Atlas Arran Ultra L RCA Grun interconnects in early 2024. These grounded cables proved to be a major step up from the interconnects I had been using for many years, and I have been using them ever since. A more recent discovery was that my Bricasti DAC sounded better if I used its onboard volume control and connected it directly to the power amplifier (bypassing the preamp).
By using the XLR inputs, I could switch between the DAC and the preamplifier connected with the Arran Ultra via RCA. Initially, I used Townshend Fractal F1 balanced cables and got pretty good results, but there was always a thought in the back of my mind: if the Atlas RCA is so good, maybe their XLR will bring me more audio joy as well. When Atlas launched the Ailsa Duo OCC XLR interconnect cable in October, my chance to find out had arrived.
Construction
The Ailsa Duo is built around Atlas’s preferred OCC (Ohno Continuous Cast) copper cable, but in this instance, it is referred to as a ‘solid core’ type. In this instance that means it has only seven strands of copper per conductor — with one in the centre and six around it; by contrast, Atlas Hyper cables have over 70 strands per conductor. Atlas is of the opinion that fewer strands deliver lower distortion and greater consistency of performance.
The ‘Duo’ in the name refers to separately screened conductors for hot (positive) and cold (negative) connections, instead of running both within the same screen. This minimizes the ability of the signals to affect one another and enhances noise rejection, something that is further improved by the twisted nature of the cable. The dielectric used around the copper is PEF (polyethylene furanoate), a foam that according to Atlas allows for wide bandwidth signal transmission.
Design and connectivity
The XLR plugs are Atlas’ own and combine an aluminium alloy body in a dark chrome finish with silver-plated OCC copper pins. The cables are cold-welded rather than soldered onto these pins to ensure the best continuity between conductor and plug. While the nature of the socket you plug these into is unlikely to maintain this continuity of materials, that is beyond Atlas’s control; regardless, few companies offer this degree of material consistency.
The dielectric within the XLR plugs is PTFE, which is generally considered the best option in the field—the exception being air, which is difficult to achieve without significant cost increases. The cables feature a fabric weave in a titanium grey colour, which, alongside the internal construction, results in a cable with decent flexibility. I was supplied with a 1.5m (5 ft) pair that was largely used between the balanced output of a Bricasti M11 Classic R-2R DAC and the unbalanced XLR input of a Rega Solis power amplifier.
Sound quality
The Ailsa Duo XLRs had a tough time following In-akustik’s NF-2405 Pure Silver XLRs – cables that cost three times the price and were shorter at one metre. The Atlas cables could not compete with their smooth finesse, but they did manage to hold their own in the all-important timing domain. Imaging was also very close, only outgunned by the massive resolution offered by the German cables.
In many key respects, the Ailsa Duo is equally as entertaining, offering very solid bass thanks to precise, clean leading-edge definition and superb timing. In every comparison I made, this quality proved superior in the Ailsa Duo, even against some RCA cables where only the source had a balanced connection. In most instances, RCA beats XLR over short runs where one component is not fully balanced, especially with regard to timing.
The interesting thing about its timing is that Ailsa Duo seems calmer and more measured than many cables, which sound rushed by comparison. This is a result of keeping noise at bay and minimizing losses through the use of OCC copper in both the conductors and contact pins, as well as the choice of topology.
Imaging and depth
Imaging is another strength. Where other cables present a relatively flat wall of sound, Ailsa Duo finds depth in the soundstage, creating a genuinely three-dimensional stereo image. This ability to define the position of sounds – both side-to-side and back-to-front – allows instruments and voices to expand within the mix. When everything is forced into a shallow plane, these elements lose character and detail. The Ailsa Duo delivers the low-level sounds that round out each note, allowing the music more space to breathe. I found this particularly evident with Esperanza Spalding’s Ebony & Ivy, which can easily sound congested; here, it was easier to follow the multiple voices even during dense passages.
With truly spacious electronic mixes, you get a massive soundstage and superbly defined bass. Gravitational Collapse by Konx-om-Pax delivered particularly clean, powerful low-end energy out of an inky black background. While the top end isn’t as sweet as the very best (and more expensive) interconnects, the Ailsa Duo remains cleaner at high frequencies than almost all the alternative cables I could muster.
Dynamics
Dynamics, or the sense of life in music, are also extremely well-served. Everything I played was presented in the spirit of its creation; the best recordings sounded alive and inspired real engagement. Even less-than-perfect recordings were highly engaging, which is the real test of any audio gear: does it make you want to listen? In the case of the Ailsa Duo, the answer is a strong yes. You can put the phone down, be absorbed by the music, and let your cares drift away.
After a tough start following an eye-wateringly expensive alternative, the Atlas Ailsa Duo OCC made a very powerful impression. It resolves mountains of detail into a coherent, three-dimensional presentation with nearly perfect timing. Given the build and finish, the price is highly competitive. There can’t be many balanced cables that compete with its imaging and dynamic capabilities. I will be doing what I can to hold onto them!
Pros
Superb timing: Exceptional ability to present music in a coherent, measured, and ‘un-rushed’ manner.
Three-dimensional imaging: Excellent soundstage depth; moves beyond a ‘flat wall of sound’ to a 3D presentation.
Material consistency: Features OCC copper in both the conductors and the plug pins for maximum signal continuity.
Low-end performance: Delivers very solid bass with precise, clean leading-edge definition.
Build quality: Features a high-quality fabric weave finish, dark chrome plugs, and cold-welded (solder-free) joints.
Value for money: Highly competitive pricing given the level of technical construction and musical engagement.
Cons
Top-end sweetness: The high frequencies are not as ‘sweet’ or refined as much more expensive competitors.
Tough competition: Can be outgunned in pure resolution by some high-end alternatives (at significantly higher prices).
Physicality: While flexible, the ‘solid core’ seven-strand design is inherently different from high-strand-count cables.
System sensitivity: Performance may vary depending on whether the connected components are truly balanced.