Introducing C-MARC™. A new generation of high-performance wire and cable, well equipped to deal with todays over polluted electromagnetic environment.

C-MARC™ is a new type of Litz wire. C-MARC’s noise reduction is based on the bucking coil method using two counter-polarised coils. Every strand's clockwise turn aligns with a corresponding counter clockwise turn of precisely mirrored diameter and step. The two, resulting counter-polarised coils are mutually superposed. A second-scale fractal replication of the already bucking coils is then repeated. Through electrical cancellation of the induced noise, C-MARC™ provides an enormous signal-to-noise ratio in today's demanding audio environment.

Choose and purchase your C-MARC™ RCA unbalanced cables here.
NEW: Entropic Process option!


Terminal options

Price: ---
Price is for one complete stereo pair.

Free UPS shipping!Free Worldwide express shipping.
Most deliver in 2-3 business days.

Introducing C-MARC™. A new generation of high-performance wire and cable, well equipped to deal with todays over polluted electromagnetic environment.
[RCA Entropic Process interconnects] I received the RCA cable a week ago. The sound is amazing. Zero Fatigue, Zero Compression, Perfect L-H Balance, Relaxed but Full dynamics. I’m really enjoying the sound of full LessLoss C-MARC loom. Bryston BDP-2 : C-MARC AES/EBU : MUTEC MC-3+ DDC : C-MARC AES/EBU : Exogal Comet Plus DAC : C-MARC RCA : Allnic Int. Amp : C-MARC Speaker cable : Penaudio Legato Sig. (all the power cable are C-MARC Classic E.P. power cables) The more C-MARC cable was added to the system, the more veils that covered the system were peeled off one by one. Thank you for proving truly remarkable products.
I have been involved in the wonderful hobby of High End HiFi for decades gradually improving my stereo as my knowledge, funds and regards for my family allowed. It has given me countless hours of joy and, in the beginning, countless hours of frustration as well. One of the quirks of this hobby is the vast number of variables involved. That is probably the reason one still cannot just order “The Best Stereo”, pay the bill and live happily ever after. It is still very much an art to not just chose the right components but also be able to make them play together and not against each other. One thing I have learned during my long journey travelling the “Stereo Jungle” is, very few people master this art while vast quantities of animals of prey seem to thrive in sewing confusion dressed up as absolute knowledge, amateurs as well as professionals. Little wonder that most of us have been through periods of repeatedly swapping out components of our stereo in an everlasting search for the holy grail. Sadly, frustration and confusion often follow the initial burst of joy over a new component and the search starts over again. But there is a solution to this I found out. My journey took a completely new direction as I, by chance, stumbled upon LessLoss, a company driven by a rare combination of deep insight and experience in both the technical the performing and the recording side of music, look for the credentials on the homepage. Add to that the real time feedback from a worldwide community of satisfied customers. A company that takes pride in always striving for the best, very often breaking new grounds in a spirit where Quality always beats Quantity and getting to the soul of music seems to be the top goal. Fighting noise seems to be the dominant road for LessLoss, nothing our ears perceive as noise but the cleaning up of all kinds of ultrahigh frequency noise, a lot of which was not present a few decades ago. Noise everywhere in our modern world polluting and thereby hindering our expensive equipment in doing what it would be able to do were the pollution not there. My present LessLoss chain consists of C-Marc power cables, digital interconnect and speaker cables, all Entropic Processing. Add to that distributor and firewalls, also the oh so important Entropic Processing. As I like to experiment, learn, and pass on knowledge I presently have a somewhat extreme chain, more or less like a choo-choo train, some of the stuff on loan for the experiment and the knowledge of the lenders: From the Furutech Schuko outlet 2m C-Marc Power Cable (from now on CM PC) hooking up to 2 CM Firewall64x + 1 external CM FW640x + the latest LessLoss distributor with dual 640x firewalls inside, via 1m CM PC Entropic Processing (EP) + another identical distributor + CM PCs Entropic to all equipment. Speaker cable is CM Entropic with Entropic speaker firewalls going into satellites and subs. The result is a setup that can play at very low volume with an intensity and involvement that ought to be sought for by all audiophiles with family sleeping in neighboring rooms at the time of night when stereo sounds its best and genuine audiophiles are active. There’s a transparency and naturalness to the extremely coherent sound that makes it very easy to slip inside the musical event and easily hear just how the greatest of the greatest master their instruments down to the most subtle vibrato or understated attack. Of course, when you play louder things get even more involving and easier to grasp but still with a naturalness and musicality that lets you listen for hours and hours in a row without the slightest hint of listener fatigue. Aggressive music sounds aggressive but not tiresome, soft music sounds wonderfully soft but definitely not uninvolving. Attack and explosions in music sound scary if intended and scale, pace, timing, and rhythm is just present in the coolest and most natural way. In fact, it doesn’t take long before you completely forget the stereo and just hear the musicians or singers. Good live recordings almost make you wanna reach out and touch. “Just one more number,” keeps popping up in your mind until you have forgotten time and place often floating away on an inner travel to wonderful places. Did anybody think Zen? All this LL equipment is not needed to make a genuinely fine sounding setup, but have I yet reached the point where I cannot tell the difference when adding the next piece? Nope, you can never get too many firewalls it seems, but one always seems enough – until you add the next. My guess is, you cannot get too many of the newly introduced BlackGrounds either. In my mind it’s impossible to exaggerate the value of what LessLoss as a company succeeds in doing as music is the universal language and bearer of immense amounts of cultural goods that our generation is lucky enough to have access to through electronic media. The LessLoss vision potentially opens up virtual access to time travel to a plethora of incredible musical performances in a way other brands can only dream of. Getting as close to the very soul of the performers as possible is what that vision is all about. Only LessLoss offers a completely coherent upgrade road that step by step always takes you in the same direction, closer to the natural unrestricted sound of musical instruments and the skill of the performers. Should you ever need help or guidance, Louis Motek, head of the company, is always open to an often humorous always elevated and skilled discourse over this and that when it comes to his lovechild and music in particular. So, how much do I want LessLoss to succeed with their mission of (clean) Power to the People? Strangely, it now goes way beyond just making my own stereo sound stellar, as it almost gives me more pleasure to introduce it to others, passing on what truly cleaned up sound can do for their musical experience. Let me round this up by saying, of all the genuinely many items I have bought into my stereo I have never regretted one single purchase and I would not return one single piece even for a full refund because I was unhappy with it. I have upgraded items but always to the next LessLoss model. I may well do that again cause there’s even a friendly upgrade policy. What can I say but, Less loss, more pleasure.
I have been using the LessLoss Power Distributor since July, 2022. I am very pleased with it. I have felt different/ better about playing music since it has been here. A few weeks ago, I was able to attend small hall rehearsals for some friends about to perform a J.S. Bach and Rachmaninoff recital for piano and violin. My system is now playing in the same universe as this live performance. A perfect audio match? - No! Very relatable - Yes! I now feel there are no significant component differences that prevent me understanding the performers/composers' main intentions. At age 74, this is the first time I can say this. I would like to form a thought about how I now seem to apprehend the gestalt of a piece of music ~ but the thought is still too difficult for me to say in a way that is not too ephemeral. But there is a new sense of some kind of completeness in the presentation of a piece of music. My LessLoss products are - several power cables and interconnects, Firewall for speakers, and the Power Distributor. The result of several orders. I live in Australia, and dealing with LessLoss has been pleasant: without difficulty.
Upgrade C-MARC RCA to C-MARC RCA Entropic In Nov 2021 I received one of the early C-MARC RCA Entropic as an upgrade of the non-entropic, which I kept. Right after plugging it in and listening to 5 songs, I had to call Louis and congratulate for this wonderful new cable. The main findings: More black background … how should that be possible?? A lot more natural timbre of all instruments and voices, way richer especially in the low mids More muscles, e.g. percussion Even more space and stage Even more separation of all sound sources Overall a lot more presence, but smooth. Might be too close for some, but I love it … bathing in music Sound sources seem to be 3D bodies in themselves, which enhances the presence feeling and palpability A lot more details, especially better understanding of lyrics And I love the wooden connectors !!! Always need a flashlight to see the direction of the cable, but it feels and looks so good! Unfortunately for the review, I had another set of LessLoss Firewall for Loudspeakers coming in close to that time, and I could not tell during the burn-in time, what was from whom. So that was the first delay. But now the “critical” part. The richer timbres triggered my room to bloat a lot more especially in low mids. I was sure, that this was room acoustics and not the cable. And I finally decided to get some room treatments. So this took more time … a lot more to get the right things. Highly recommended GIK Acoustics, who even came to my house. And I was right about, it’s not the cables fault. This cable made me finally do an important step further, and I am very happy with the overall results. When I leave the room and come back, I am still shocked how natural and real it sounds. And then I had to compare the non-entropic again to the new babe. It is all still true, but since the first reflection is managed by some ceiling absorbers, the distortion difference between the two is less, but still there. Do not hesitate, this is the best ever heard RCA cable for me. Thanks so much to Louis and his team to produce such wonderful components. So happy, that they announced they will keep on working for our HiFi improvements, even, when it gets very dangerous nearby. All the best!!
The integration of my two JLAudio Fathom F110 subwoofers has always given me problems. I couldn't find them fast enough for the rest of the system. First, I modified the power cable by adding the 640x C-MARC Entropic Firewalls to my existing cables. A very good improvement of the resolution and the firmness of the low frequencies was obtained. But it still wasn't to my satisfaction, I thought I needed to upgrade the RCA interconnect cables for my two subwoofers. I wondered if the new C-MARC Entropic RCA interconnect cables could be used as a cable for subwoofers and if they would provide any audible improvement? I wrote to Louis and he replied that yes, it would improve the quality of the low frequencies. Thought it was a bit pricey for the subwoofer cables. I finally ordered the C-MARC Entropic RCA cables with a length of 4.5m. Well, Louis was right, my "subwoofers" are much more responsive. Now we feel vibrance in the very low frequencies (below 50hz) and we can clearly distinguish the very low frequency notes. It's visceral and more impactful. The stereophonic effect is more apparent and it is easier to distinguish the origin of the low frequencies. Another interesting point is better control of low frequencies. The "boomy" effect on certain double bass passages of certain recordings is much better controlled. Finally my subwoofers are well integrated with the speakers. Thanks to Louis and the team.
I'm happy to concede that the upgraded Entropic Process version has managed to shade my superb top-end waveguide IC. I had it under a full 7 days of burn-in on the 'Cable Cooker' and noticed that there was further improvement even after 6 days. What is most noticeble are the following: there is more 'weight' and solidity to the sound in general; greater precision, definition and clarity; more weighty bass without any 'boominess'; and smoother top frequencies, especially noticeable with female vocals, strings and orchestral music. Spacing and stage presence were outstanding with opera and choral music. Conclusion: very impressed - Now in my main system.
After some extensive listening time with the C-MARC RCA cable, I thought I‘d give you some feedback on what I’m hearing. I’m using the cable to connect a Chord electronics DAC (Hugo TT2/M-Scaler) to the (extremely resolving) RAAL Sr1a headphones driven by the matching amplifier from RAAL (HSA-1b), listening mostly to acoustic music, particularly opera, Lied, piano and strings, Jazz and singer-songwriters of all kinds. I own a number of pricey high-end cables, which I use for comparisons. After a week or so, the sound with the C-MARC cable started opening up quite spectacularly. First off, it appeared somewhat muddled to my ears, darker than I‘m used to, and I assumed that what I was hearing must be a tonal change to the unnatural. I heard „more bass“, but also „less highs“. However, after another week of extensive listening, and after comparisons with other cables (some considerably more expensive), I came to the opposite conclusion: I have never heard such natural sound through my personal audio. Rather than making the sound „darker“, the cable seems to take away artificial sounds that other cables sometimes add, leaving more of the actual music. Instead, there’s slightly more space around the instruments and voices. In my ears, this leads to clarity and precision without any hint of sharpness, while also sounding „fuller“ compared to some of the other cables (e.g. a silver cable of mine that is also very clear but seems to slightly diminish the natural reverberation of acoustic instruments). This effect became particularly evident to me with solo strings instruments, which to me have been borderline unlistenable on highly resolving equipment. Now I can actually enjoy solo cello or violin recordings without any fatiguing effects; sometimes, with good recordings, it even feels like actually being at the recording or concert venue. Looking back at my first impressions, it seems that I used to mistake sharpness for precision or clarity, effectively expecting a different sound from my Hifi than from live concerts (burn-in might have played a role, too; and perhaps the fit with my rig is particularly great, I haven‘t tried it in other combinations). In any case, it feels good to go back to natural :-; In short, the cable delivered on my expectations and more. Based on this experience, I‘m now thinking about experimenting with your other products, too.
I have looked at many designs of high end cables. None of them stand out in sense and simplicity like the C-MARC cables do. All the variables that influence sound (capacity, inductance, skin effect, strand jumping, dielectric constants etc.) are optimised in the most elegant solution I can think of. Having made me very curious I bought some about 3 months ago, starting with one Entropic Process Power Cord, a pair of interconnects and standard C-Marc loudspeaker cables. I was so impressed that I decided it really pays off to feed all the equipment with Entropic Process Power Cords. Most impressive is that all the glare and aggressiveness in the sound I was used to in some recordings completely disappeared. And this without any loss of detail and speed. Violins that are meant to sound fierce, like in Shostakovich’s string quartet no.8, can sound too harsh in a resolving system, even when played with the best equipment. I love the energy of Isabelle Faust but superimposed with high frequency noise it is hurting my ears. Listen to her solo in Beethoven’s violin concerto and you will know what I am talking about. Jimi Hendrix surely would be impressed. During crescendos of large choirs it may sound like the microphones were clipping during the recording, resulting in nastiness in the high notes. Recently I upgraded the speaker cables to the C-Marc Entropic Speaker Cables. They take away that last bit of glare and let you experience the instruments and voices in its pure essence. Music sounds so true to life, it is very difficult to put in words. You can feel the instruments themselves bringing the air into motion. C-Marc cables don’t add or emphasise “a taste” to the sound. C-Marc cables are like Tai Chi masters, they just let the energy pass through without wasting or blocking it. Equipment: Streamer Melco N10, DAC Sonnet Morpheus, Amp Bakoon AMP-13R, Speakesr Bastanis Matterhorn mk2. Other cables: Fidata ethernet, Curious Evolution USB.
Yesterday I purchased my first LessLoss cable. I wanted to put an analogue interconnect between my player and my amp. My stereo system is not really high end category because in the past years I invested more into headphone gear. I could not use the standard C-MARC RCA that you make (with those Large Xhadow silver plugs), because my "cheap" devices have the RCA sockets too near for each other. So my technician colleague assembled a cable for me, using C-MARC bulk coax and these "low weight, nickel-free, gold plated tellurium copper" connectors. Why C-MARC for such entry level gear? Because I wanted to buy one reference cable, that stays in my system even if I upgrade electronics. Also, I wanted something flexible. I hate thick PVC. From the first minute, my system showed a completely new image. Transparency improved and at the same time I started to hear the limitations of my player and the CD discs as well. What I like about this cable is that it's not trying to make everything beautiful like a fairy tale. It makes my system more honest, more straight. At the same time it shows the pure details, the small details in space and time. So I'm happy because now I can listen to my stereo with my wife and I don't have to go always to my headphones. I tested a lot of your products in other systems for the past years and I knew that they are working, but it is always so intense, such a milestone to experience good changes in your own device chain. Thanks again and I will be happy to continue recommending your products.
After many system upgrades with LessLoss products, that all were wonderful, I started to question my choice for my RCA connection. It was the highest level of Lavardin’s RCA cables, who happens to be the manufacturer of my integrated amp Lavardin ITx-20 as well, their highest level of integrated amp. I saw great reviews about the perfect match of the Lavardin amps and the Lavardin cables, had a home testing and found it very neutral, natural, and clean, not brittle or grainy. And it was definitely better more detailed and open than my old MIT Spectral high-end cables from the 90s. Since the RCA is connecting my only source, the LessLoss Echo’s End DAC, to my amp, why not look for a LessLoss matching cable :) Seriously, it was a matter of trust in the LessLoss products! So, off went my order and the C-MARC RCA arrived very soon. From minute one, it was so much better than the old one, that I did not even have to wait for complete burn-in to be convinced. More organic sounds, especially with voices, but also bells or plucking strings and all the rest :) Everything more palpable, widening stage in all directions, better controlled bass and more powerful. And the burn-in … some days better, some days not quite as good, but always better than with my old cable. Too bad, not “entropic” yet. I know, what I am missing, because I checked it on the power cables … see my review from May 21, 2020. And after 5 days I could not continue with my burn-in observations, because there was a big change in my system: the C-MARC entropic speaker cables arrived … see my upcoming review. So now, all cabling is LessLoss!! … Well, the USB cable is not, but unfortunately there is no LessLoss USB cable so far, I probably would buy it immediately. And I am so happy, especially, when I am again shocked how well voices sound. And finally the RCA upgrade made even background voices sound as natural as coming from real humans!! Thanks so much Louis, for allowing me to bathe in my music now :) PS: I am not paid for my reviews, and am not in the hifi business at all, and not related to any LessLoss staff or owner … My only role is being a customer, who has many decades of love for music and hifi and according experience and finds so much happiness with the LessLoss products, that I want to share with other customers. Too bad, that I did not trust this little never heard of abroad company, which I only found by “accident”, when I was just buying the more expensive Lavardin cables, while the LessLoss C-MARC early bird was on … So many hours of better listening lost, and could have saved money. But the Lavardin amp stays!
I can relax again. I have just put back into my modest system the RCA C-MARC interconnect that I have owned for about nine months. I have been trying some different cables since I have been thinking about converting to a fully balanced system. As I have explained to Louis, the longer the cables are in my system, the better they sound. I am not talking a couple of hundred hours -- I mean 750+ hours on the C-MARC cables. Every time I pull them out to try something else, it is always the same when I put them back. Clarity, depth, and an overall sense of calm permeates throughout my system. Now it is time for the Firewall for Loudspeakers...
First of all, I would like to thank you for the excellent cable and speaker firewalls and for the excellent customer service. Now the RCA and triaxial speaker cables are also playing in my music system. Although the cables haven\'t yet played music for long, I am already enthusiastic about the musicality. For me, the cables and speaker firewalls are an absolute must in my music system. Without this, I miss the tonal substance, the timing, the fine details and the musical energy that are so important for my perception of authentic music. The music now sounds even more powerful, dynamic and homogeneous. With these unique cables and FireWalls I have the feeling that I can fully exploit the potential of my music system (LDMS server including Ideon Audio 3R Master Time, Lampizator SE GG 2.5 Pacific Edition including preamplifier, NAT transmitter, Harbeth 40.2, etc.). In addition, the cables and firewalls are very meticulously and precisely manufactured. My eyes are spoiled too. I am very happy that I chose LessLoss! Stay healthy. Thank you very much and good luck. U. S.
I’ve spent the last two decades building up a small-room, small-ensemble stereo system for listening to piano, guitar, folk, country, and chamber music. I had settled on the boxes that suited me at my price point: a Lumin S1 server and L1 hard drive, Coincident Technology monoblocks with Takatsuki 300b’s, two Placette volume controls — one for each amp, to serve as balance controls, and Taksim speakers. Power is supplied by a Wattgate wall outlet feeding a Torus transformer. I wanted the best-sounding cables I could afford, and I wanted to stick with one manufacturer. I decided to try LessLoss’s C-Marc cables because they were priced sensibly, a US dealer had strongly recommended them, the online reviews were positive, and they were easy to handle (i.e., highly flexible). The actual technology is beyond me, but the LessLoss website is exhaustive, for those who want or need to know about those things. I’ve been following a series of steps: Step one: new signal cables. This meant two 1-metre C-Marc interconnects (RCA) and a pair of 2-metre C-Marc speaker cables.The improvement I got from the C-Marc’s was what Louis, and the reviews, told me to expect — more relaxed, liquid, with less grain than I’d been hearing before and also less congestion between notes. Changes in a stereo system tend to show up most obviously in the bass, and regarding that, bass went lower and cleaner, which is what I wanted and hoped for. Overall, C-Marcs were an obvious though not huge improvement. Step two: Two C-Marc power cords. I plugged these into my monoblocks. What I heard, after break-in, was the same as what I heard from the signal cables, but much more of it. I mean MUCH more. My system had already been doing well at filling in between the speakers. Now, between the speakers, the blackness between the notes was even blacker. That erased almost all cloudiness and made for much improved separation between instruments and between instrumental lines. All the while, the sound stayed relaxed. When I played rock’n’roll, the system kept up with it — drums sounded explosive, bass went deeper and cleaner but also was rich in overtones. Treble was highly detailed but never shrill. Louis had told me to expect this — that good sound starts at the wall, which means that the power cables are the foundation of his product line. Step three: LessLoss Bindbreakers. I was impressed enough by the cables that I thought I would try his Bindbreaker isolation devices. The obvious place to start with them was under the Placette RVCs, which still rested on the sorbothane nubs that they had come with. They made an immediate and huge improvement. Basically, they added more of what the cables had added but also expanded the soundstage into the corners of the room behind the speakers. There was correspondingly more space between the notes and each note has more weight to it. Pace, rhythm, and timing all improved. The expansion of the soundstage behind the speakers was the biggest shock so far when using LessLoss products. Even my wife noticed — “Matthew, what did you just do!?!?!?” Around here, that’s the ultimate test. Step four: More Bindbreakers. This time I placed them under the amps and server. I got more of what step three got me, which is what I’d hoped. Again, the improvement was obvious, and along the lines of step three had done, but more of it, though really, the jaw-dropping moment had been when I first put them under the Placettes. Step five: Still more Bindbreakers. I wondered what they would do under my speakers, so, two more sets of Bindbreakers. This is where things got fraught for a while. With them under the speakers, the soundstage expanded well out toward the listening chair, which was wonderful. BUT ... the sound also grew more congested, as if all the notes had got wrapped in fog. The expanded soundstage was a definite plus, but unless I could eliminate the fog, I couldn’t leave these in the system. So I tried two things: (1) Review the speaker placement. That helped, even moving them an inch did that, but not enough. Some of the cloudiness dissipated, but not enough, and bass still sounded muffled. So, (2) I adjusted the settings on my Lumin server. Specifically, after a few tries, I ended up turning off all upsampling/resampling, switching everything to Native, and then turned on DSD. Doing that basically solved the problems that the speakers had first encountered with the BB’s (cloudiness), without weakening the strengths (a much expanded soundstage, a very natural, liquid sound, a wonderful combination of weight and air). Good cables make a difference, and C-Marc’s are emphatically good ones. In the same vein, the Bindbreakers are the best isolation devices I’ve ever had in my system (and previous to this, I’d been using a series of highly regarded ones). LessLoss builds some amazing gear. And I haven’t even tried their Firewall technology yet. Will be saving for that. Some general notes: The cables take a long time to break in, and even once they’re broken in, they react more to the weather and to time-of-day issues than most cables. Live with it ... when they’re at their best, which is almost always, they’re amazing. I demagnetize my system more than I used to with these cables. Specifically, I do it every four or five days instead of every three weeks. These cables seem to benefit from that. Once you’ve installed these cables, don’t move them or even touch them. They’re sensitive to that. So are all cables, to a degree, but these more than most. Good audio starts at the wall. Get a high-end receptacle, if you want to do justice to these cables. Even the very best ones don’t cost that much. The Bindbreakers require break-in as well – a few days, at least. Strange but true. Perhaps because they are partly made of wood. When you change your cables, you’re changing the signal the speakers are receiving, so adjust your speaker placement once the C-Marc cables have broken in. It always helps.
The Less Loss C-MARC range is the most appealing and effective cabling and power treatment I have ever found at its price point and at those 2x or 3x above. To get to the punchline, a complete set — interconnects, speaker cables, digital coax, power cords, and C-MARC Firewall 64x for each component — delivered in my system created (1) more focus and coherence around vocals and instrumentation along with a larger soundstage (2) less harshness around some highs; and (3) rich but controlled and tighter bass. The biggest improvement, however, is in the overall musicality and listening engagement which is MUCH higher with the C-MARC cable set for every genre of music I tried. The cabling allows the listener to shift focus from the cerebral aspects of critical listening in which each part of the musical performance is considered in a piecemeal manner to simply enjoying the music. For any one who values their system and is open to improvement, an audition of the full C-MARC kit is highly recommended and I would say should be nearly a requirement for anyone starting a system from scratch. For those for whom some more detail might be of interest — I currently have three high end systems, each with a different character. Over the years, I have seriously listened to a dozen different brands of cabling and power conditioning at a range of price points commensurate with the level of investment in each overall system. Virtually all sets of cables were above the price of a full C-MARC set -- at times many multiples above. Each set of cables had pros and cons and some stayed in each system and when they did, it would be the full set of cables for coherence. Often moving from one set cables to another in each system usually changed one or two aspects of the presentation of the music. At times, while there was shift, the "net" result was not an improvement in my judgement. Other times, there was a "net" improvement but there remained a weakness in some aspect. The "best" cabling in my judgement lowers the noise floor of the system and "stays out" of the way as much as possible. In many circumstances, the specific character of a set of cables can be used to compensate for the opposite characteristics the components possess. For example, "bright" cabling can compensate for a "dark" set of components. In my experience, this approach always leaves a sub-optimal net result but may be the most practical approach given the components in question. C-MARC’s character is neutral and I could not discern any particular emphasis the cables brought — they were not brighter or darker; they didn’t accentuate one part of the recording over the others; they did not appear to be faster or slower than other cables etc. Their main effect was to increase the effortlessness and fluidity of the music while improving the coherence and size of the soundstage. Imagine a sort of haze around the band or orchestra members that other cables impart or allow — C-MARC simply eliminated the haze (and occasional harness around some highs). In this sense, I believe C-MARC is likely eliminating various types of noise and interference present within and among the components of the system, letting each play its role in the music delivery with minimal negative artifacts introduced. The net result was a notable increase in musicality and engagement with the music. For anyone considering C-MARC one step at a time, my suggestion would be to start with either speaker cables or power cords. If it is possible to audition the whole set, even if finances may preclude the purchase of a whole set at once, I would recommend doing so, so that the full potential of the system in question can be heard with comprehensive C-MARC cabling. For any skeptics reading this, I had no interest in changing the cabling in any of my systems which were all performing well. Konstantin at Atelier 13 in Nashville offered to send me a C-MARC set at his expense just to see what I thought. In the end, the overall effect was so profound I purchased the full set — they were that good. At the C-MARC price level, and at many price levels above, I have not found a better set of cabling that works equally well with tubes and solid-state, high efficiency horns and low efficiency two-way etc. C-MARC lets the inherent quality of whatever you have shine through to its fullest.
The custom LessLoss C-MARC 1m DIN-RCA phono cable they made me is far superior to my Transparent and Purist Phono cables. The Transparent cable is $3,000 retail and horribly noisy. I found out after purchase the Transparent is not well shielded and prone to pickup hum, huge problem in my system which I could never alleviate. The Purist cable is $10,000 retail and better shielded but very dark and slow sounding. In comparison the LessLoss cable is very quiet, alive sounding and creates a 3D soundscape versus Transparent and Purist’s 2D soundscapes... Basically, the LessLoss cable is *intensely* better than both in all aspects. Thank you!
Quiet, relaxed, with a sense of ease, and with a slightly distant presentation of the soundstage, with timing & dynamics that are more natural than hyped. Music becomes emotionally, as well as intellectually involving. Detail is present, in proper context. In other words, instruments and voices sound real, with all the details balanced, and heard as part of the fabric of the whole. Perhaps even better than another very quick set of cables that I use presently, there is immediacy in the strike & start-up of transients, with long trailing decays. Not so much about creating excitement, but rather showing off realistically what is so easily missed; it is the more musically satisfying approach.
Before summer I had an audio session with some of my best audio friends. One of my my friends brought a pair of the new C-MARC RCA Interconnects. we tried it out in many position in my audio rig and we heard right from the start this was a good high end cable with great natural timbre, better holographic and more organic sound. For fun we also tried a single RCA as a digital 75 Ohm cable with great results. It simply blew away all my other digital cables. I emailed Louis and got an Early Bird offer and ordered a pair of C-MARC RCA cables and one single run for S/PDIF. This is a well made, nice, flexible and incredible design. I do not understand how it is possible to produce this complex \"Litz.\" It is a fantastic hum bucking cable that truly works. I am deeply impressed by Your knowledge and development of noise and electro magnetic radiation suppression. Your products are truly superb. Yes it costs some money but I personally do not regret it. This is my best additional high-end investment!
With kind support from Louis Motek, I made an Early bird-acquisition of two pairs of C-Marc RCA interconnects, one meter long. I already have several Lessloss DFPC's and an Anchorwave connecting my tubed pre- and power amplifiers (Belles, Rogue). Signals come from vinyl (Gyro, DV XX-2, Verto, Chinook) and an Aurender streaming through an MX-DAC supplied with diy power (AMB σ11) with an integrated Firewall module. Heavily tweaked ProAc speakers and two ML subs. My listening room is acoustically treated. My setup yields extreme resolution and good 3D, yet the sound has seemed a bit compressed, making it a bit harsh or aggressive when approaching realistic sound levels. Tube rolling has expanded and alleviated, but not sufficiently. For some years I have used van den Hul The First Ultimate carbon IC's to feed my Belles preamp. Brief visits from other IC's (e.g., Audience Au24) did demonstrate a potential for improvements, but a hifi enthusiast with limited fundings needs to make sure his investments are sound, especially when the existing cables already are fairly good. Several brands were under consideration. All the more welcome was the announcement of a new LessLoss line of products. The two pairs of C-Marc interconnects have been in my setup now for a week. Right «out of the box» they gave more mature timbre than the carbon cables, the sound stage became broader and more holographic. After two days I put them in my Hagerman FryKleaner for 48 hours. The development was striking, enabling my setup to render full symphonic orchestras in three dimensions while maintaining control with peak instruments such as flutes and high pitched violins. And suddenly Cecilia Bartoly's voice was rid of metallic harshness, and instead came through with her expert modulations in timbre and expression. Well known benchmark tracks appear as new, and are reproduced with more realistic timbre, better tone balance and control, and with ample yet inconspicuous dynamics. The transients are effortless and transparent. All in all the C-Marc RCA interconnects provide increased holography and insight into the auditive texture, making the music more intelligible and engaging. I will need more time to fully appreciate these interconnects, also in friends' setups, but am already confident my investment is a success! Physically the cables are supple and very easy to handle. The RCA connectors softly snaps on to the sockets making stable and secure connections. These cables have scarcely any bling factor at all – they just provide excellent sound. My hifi setup has undergone a major improvement. The experience certainly makes me consider investing in a pair of C-Marc loudspeaker cables. Thank you, Louis and all at LessLoss! Well done!

C-MARC™ stands for Common-Mode Auto-Rejecting Cable.

C-MARC™ is unlike any other hook-up wire or cable currently produced. It is based on the bucking coil method of noise reduction, used most famously in twin coil pickup designs first developed in the mid-1930s to silence hum from electric guitars.

This type of guitar pickup was called ‘the humbucker’ because it 'bucks the hum', i.e., noise, out of the desired guitar signal through phase cancellation of two counter-polarised inductors. When the inductors both induce a common signal, it is induced in opposite polarities by each coil. These opposite polarities then mutually cancel when the two counter-polarised noise currents are combined through simple electrical summation. Humbucking coils are also used in some microphone designs, as well as in sensitive sensor technology where induced stray noise is not acceptable and the highest signal-to-noise ratio is desired.

LessLoss designs a new type of wire around the humbucking principle.

C-MARC™ wire is a special type of Litz wire. It features all of the known benefits of traditional Litz wire, but without the disadvantage of being formed as an elongated coil (inductor).

Traditional Litz wire has the following advantages over normal 'naked' multi-stranded wire and solid core wire:
  • Litz wire has a greater ratio of surface area to cross sectional area, resulting in less phase smearing between lower and higher frequencies.
  • Litz wire creates no distortions due to so-called “strand jumping” or diode effects resulting from loosely contacting oxide layers of adjacent naked strands.
  • Litz wire is more flexible, practical, and safer than solid core wire of the same large cross-sectional area.
C-MARC™ wire shares all of the above advantages of traditional Litz wire and advances the art with these additional unique benefits:

(1) Traditional Litz wire is bunched and then twisted in only one direction, leading to the formation an elongated group of uni-directional coils (inductors) of differing diameters, its structure resembling elongated overstretched springs of different sizes.

[Fig. 1.: Sketch of typical Litz structure where multiple coil diameters and single coil turn direction resemble several overstretched springs bunched together. This structure allows high speed of production.]

[Fig. 2.: Each long separately insulated Litz wire can be seen as a separate coil of a given diameter and step. The different diameters are a result of the bunching before mutual twisting.]

[Fig. 3.: Individual wires of differing thicknesses are bunched together to form different geometries. Many variations of the Litz structure exist, most of which are based on the main idea of first bunching and then twisting into spirals.]

[Fig. 4.: Some manufacturers offer braided Litz wire, so-called “Type 7” Litz. This wire also is formed from initially bunched and mutually twisted strands before braiding. This type of wire is compressed after braiding the twisted bunches into an overall rectangular shape before tape wrapping and over-extrusion.]

How C-MARC™ is profoundly different

In contrast, C-MARC™ wire goes down to the very fundamentals in a completely mirrored, balanced geometry. It aligns every Litz strand's clockwise turn with a corresponding counter clockwise turn of exactly mirrored diameter and step along the length of the wire. These two resulting spirals are mutually superposed in counter-braided fashion. Noise is thus induced in exactly opposite polarities and in exactly mirrored amplitudes, while the good signal is common to both spirals. The two counter-polarised noise signals mutually cancel when the two counter-polarised currents are combined through simple electrical contact at both ends of the wire. Thus, through auto-rejection of opposing electrical phase through summation at the ends, C-MARC™ wire perfectly counters the noise induction, whether from external sources or self-induced, which normally pollutes every other twisted Litz wire assembly. In this way, C-MARC™ wire achieves signal transfer which is corrupted substantially less than the industry has been able to achieve through other means.

[Fig. 5.: C-MARC™ Litz schematic layout. The clockwise and counter clockwise spirals are mirrored in diameter, step and wire gauge, while at the same time superposed in relation to one another. This results in opposite phase induction within the very structure of a single polarity line. While production speed is substantially slower, the silence of operation of C-MARC™ wire is far superior to standard Litz structures.]

(2) This is not all! LessLoss C-MARC™ wire features two-scale ‘fractal’ replication of the aforementioned mutually superposed counter-twisted layout. This mirrored and nested structure further enhances the mutual cancellation of counter-polarised inductive twists, while at the same time allowing enlarged overall cable cross-sectional designs which serve to further lower resistance without any sacrifice of signal fidelity or flexibility.

[Fig. 6.: C-MARC™ shown in two-scale fractal replication. Everything that occurs geometrically at the core level is repeated again at the larger level, thus further reducing the induction of noise. Just as the initial clockwise and counter clockwise spirals are mirrored in diameter, step, and wire gauge, while at the same time superposed in relation to one another, so too at the larger level. This makes the cable a silent performer without influencing the natural tone colour of sensitive signals throughout the frequency spectrum.]

What this means

C-MARC™ is intrinsically the most silent wire on the planet and provides pure transmission of signal. The degree of silence of the working solution is in direct proportion to the degree of superposition of the counter-polarised twists, as well as in the degree of their mirrored equality in terms of turn radius, step, and resistance. The idea being that in the best of worlds, both opposite ‘polarities’ of a single lead of C-MARC™ wire induce the exact same noise, and a perfect summation to zero will result at both ends of the line.

(3) Because the individual enamelled wires which make up the unique Litz structure of the C-MARC™ wire are so small in diameter (0.125mm), the ratio between total surface area and total cross section is further enlarged for an even better phase relationship across the entire spectrum.

(4) This structure further enhances flexibility and ease of bed on any axis, especially for large cross-sectional cables, without unnecessarily enlarging the entire cable assembly.

(5) The strands used in C-MARC™ wire are covered with the thinnest technically possible colourless enamel. They are solderable once tinned in a soldering pot.

(6) There is no plastic at all; instead, C-MARC™ wire and cables are insulated with tightly braided, 100% natural, gassed, and macerated cotton fibre with double coverage for added protection. This results in a very lightweight, highly flexible, natural-sounding product with today's best performance characteristics for delicate audio applications with an enormous signal-to-noise ratio.

What can I expect in terms of sound?

Well, you won't hear coloration, that's for sure. You will however hear a lot more of the music's expression and true content. Click here for a bunch of reviews which will show you how various people in the press and users have expressed what they have discovered using C-MARC™!

Entropic Process: A LessLoss technology most profound

Pictured below is the new insignia of the ultimate LessLoss achievement. When you see this symbol, you can rest assured that sonics don't get any better than this!

We have been investigating the mysterious burn-in phenomena for the past 20 years, following it very closely and learning ever more about it. Finally, we have figured out a way to actually use it in the design of an actual product. This has been on our creative minds ever since day one when we first experienced burn-in decades ago. But the secret within has remained elusive to us—until now!

This does not mean we have abolished all initial changes in sound quality. It only means we have developed the means and methods to accelerate it—pre-prime it, so to speak—to the point where, in your first two weeks of listening, you might go through some 200 years of regular burn-in. The burn-in process has not been disposed of by us but rather put into overdrive in order to serve listeners even better! This is the genius of our new Entropic Process.

To fully comprehend the concept behind it, prerequisites are in order.

If you have never experienced any strange burn-in effects…you will not yet know that of which we speak. The strange burn-in effect remains, undoubtedly, the most mysterious of all aspects involved in high-end audio. Appreciated, experienced, and accepted by thousands, yet understood by none, it remains an uncracked code of mystery which has represented a strange bottleneck to designers until now. Sometimes it is a cause of ridicule, but sooner or later everyone experiences it…and suddenly that voice of ridicule is noticeably quiet.

What is burn-in?

Burn-in is a strange phenomenon in which newly made gear or cables go through a series of inexplicable initial transitional phases in terms of performance. One day the sound may be brittle and coarse; another day the sound may be rubbery and elastic. One may experience phases of bass-heavy submersion as if one is under water, then periods where one feels the bass is too weak or not in balance with the mids and treble. Eventually, these two extremes converge into a balanced, stable performance, a mature and pleasant tonal balance.

This process is dependent on two things.

First, much depends on total system transparency. If the system has deep flaws, such as being located in a room with ceramic tiles and many exposed glass windows, of course an acoustic echo chamber like that will mask such effects greatly. However, if the system is set up well in an acoustically well-organized space, you'll hear the flaws with ease.

Secondly, it depends on how sonically neutral the fresh product actually is. If it is severely skewed in some arbitrary tonal direction, it will be more difficult to sense just what is going on in terms of this burn-in process. An example of this is found in multi-strand copper conductors with silver plating. But if a product is a sonic giant in terms of its ability to present exactly what is taking place in the recording, without editorialising, one will hear huge burn-in swings initially.

It is most likely that LessLoss products present exactly the same changes that any new wire goes through. The only difference is that C-MARC has such a fantastically low noise floor that one can more readily perceive and experience these large burn-in swings because so much more detail is exposed to the listener than usual. It goes without saying that you simply cannot have it both ways: you cannot expect a totally transparent cable to reveal real data on a recording that won't simultaneously also reveal a much deeper underlying physical aspect of burn-in as it matures and settles in performance. The performance is the ability to show more and more minute changes in signal. This also must mean, at the same time, that it will show more and more minute changes in whatever actually constitutes burn-in (molecular structure re-alignment or something…? sorry, we haven’t solved everything!).

And a mystery it is and remains.

But we have made a HUGE step in accelerating it.

If, before, you experienced the infamous ‘roller-coaster ride’ of settling and opening up, now it will be a supersonic rocket launch with G-forces you had better be prepared for. After the rattling of instruments, mind, muscle and bone, the view, once in orbit, of that rarefied silent cosmos, is really worth the patience. Burn-in time is not necessarily longer or shorter…it is just more intense.

Both the C-MARC™ power cable and C-MARC™ Entropic Process power cables are superb performers. It takes us 18 hours to make the C-MARC™ power cable and no less than 30 hours to make the Entropic Process version.

How does the new C-MARC™ RCA Cable compare to the Anchorwave and Homage to Time?

The tonal character of C-MARC™ is more liquid, fluid, and resolves more detail from any recording. As good as the Homage to Time is, it is still made of plastic (albeit very high quality plastic with excellent characteristics). Over and beyond the improvement in C-MARC™ that it is made entirely of cotton and a very thin layer of clear lacquer instead of plastic, the extremely well balanced counter-polarized coil technique lowers the noise even further than the methods employed in Anchorwave and Homage to Time, so the overall result is one of both lowered noise as well as one of purer tonal character. It is very easy to recognize these improvement straight from the start, even without burn-in.

After about 14 days of settling, the sound quality becomes even more organic and life-like. C-MARC™ is here to stay for a very long time. We feel confident that after a few years it will be recognized and employed in many different manufacturers' loudspeaker and equipment as internal hook-up wire.

One further advantage of C-MARC™ over both Anchorwave and Homage to Time is its extreme flexibility and light weight. Thus, even sensitively placed lightweight gear has the very best conditions to maintain the fine vibration control of even the most delicately positioned special tuning feet. See the following image for an idea of C-MARC™ cable's flexibility.