A very interesting and in-depth interview with Fabrizio Baretta of Faber’s Cables and Faber’s Power, the artisan Italian handmade products backed by years and decades of in-depth research and hands-on experience. Baretta and his son Enrico’s handmade products are well known to music lovers and audio aficionados not only in Italy but all around the world.
How Did It All Start?
It all began with a passion for music, a deep curiosity, and a quest for great sound and listening pleasure.
Although I pursued other things in life, music has been my passion for many years. I spent countless hours listening, searching for the pleasure of good sound as a remedy for stress. Music is one of those rare phenomena that can activate the pleasure mechanisms in us. With live music, this almost always happens. With recorded music, however, it only occurs when the reproduction is of high quality.
As I listened, I realized that I often couldn’t enjoy it for long periods. I had to stop early because I didn’t feel pleasure—I experienced fatigue instead. This realization led me to investigate what was preventing a truly enjoyable listening experience.
Through careful observation, “active” listening, and using senses beyond just hearing, I began to explore the elements that shape sound perception. I moved beyond traditional parameters like timbre, dynamics, and frequency response, gradually uncovering deeper insights into the listening experience.
Any Inspirations?
In the early 1980s, my understanding of “listening” was evolving. I was discovering the third dimension in sound—the soundstage, the precise positioning of instruments and voices in space. I moved away from the standard speaker placement near the rear wall and experimented with near-field listening. My goal was to make the speakers “disappear” and create an immersive auditory experience—I wanted to see what I was listening to.
To achieve this, I had to refine every aspect of my setup, paying close attention to power supply, electrical phase, and other critical factors.
Dissatisfied with the products I purchased, I gradually started experimenting on my own. I noticed that many cables caused a roll-off in the high frequencies and seemed to correct rather than reveal sound. This curiosity led me to explore how capacitance, inductive loads, dielectric materials, and cable geometry influenced the listening experience.
At first, I created cables for myself, then for friends. Little by little, step by step, my experiments evolved. What would have remained a small, personal endeavor thirty years ago grew with the rise of the internet and audio forums. Eventually, I realized that this was no longer just a hobby—it was becoming a profession. In 2006, I officially launched my business.
My name is Fabrizio. In Italy, there was a famous singer-songwriter I admired, Fabrizio De André, whom many called Faber. Some of my friends also called me Faber, and from there, the brand Faber’s Cables was born.
Under this brand, I initially marketed cables in Italy, offering an expanding range of products year after year. Over time, I expanded into other accessories such as power distributors, grounding boxes, and, most recently, a phono preamp. As demand grew internationally, I launched a new brand, Faber’s Power, for these additional products.
Today, Faber’s Cables offers five lines of cables—Level 1, Level 3, ExSolution, Fifth Element, and La Potenza—covering a range of quality and pricing. This allows enthusiasts at all levels to find products that suit their needs, whether they’re entering the world of high-quality audio on a budget or looking to maximize the performance of an advanced system.
Currently, I am updating and reviewing the websites, as significant changes have taken place. My son, Enrico, has taken over ownership of the business, and we have moved to a new, more suitable location.
Would You Define Yourself as an Audiophile?
As I wrote in the introduction, my passion for music and the desire to experience it at its best—even at home—have driven my journey. Through careful listening and a trained ability to discern subtle details, I’ve been able to create my products and understand how to properly set up a high-quality audio system.
This has been a long, step-by-step learning process, but it has allowed me to identify and manage the issues that affect most audio systems. One of the most critical issues, in my opinion, is achieving the correct electrical phase.
You Are a Strong Advocate for Correct Phasing in High-End Audio Systems. Tell Us More About It.
This was a major realization for me, born out of my curiosity, careful observation of seemingly random listening phenomena, and a desire to understand and find answers.
Like many, I initially set up my system by checking the phase of power cables using a tester (as is necessary in countries like Italy, where wall sockets are not polarized). However, I often found the results unsatisfactory. Like others, I tried to correct issues with accessories, cables, speaker positioning, aggressive toe-in, and other techniques to make listening more enjoyable.
During this process, I frequently plugged and unplugged power cables, and more than once, I noticed a dramatic improvement in sound quality. At first, I couldn’t explain it—until I realized that this happened when I had accidentally inverted the power plug of a component.
Through careful observation, systematic evaluation, and a desire to make sense of what I was hearing, I eventually developed a procedure for phasing—not just for individual components, but for the entire system.
I came to understand that improper electrical phasing is a fundamental problem. If it isn’t addressed correctly, it will never allow for true listening pleasure, forcing listeners to compensate with various corrective measures.
This is what happens worldwide: people set up their systems, notice problems (harsh highs, uncontrolled bass, unnatural vocal height, sibilance, a compressed soundstage, speakers that don’t “disappear,” frequent track-switching, dissatisfaction, listening fatigue), and then attempt to fix them with tweaks, accessories, or sound-shaping techniques—essentially treating symptoms rather than the root cause.
My Phasing Procedure
My approach is simple:
- Reduce the audio chain to the essential components—source, amplification, and speakers.
- Unplug everything else connected to the electrical system in the room, as inactive components still influence the system.
- Begin with all components in phase, using a well-known track with solo voice and instruments. Listen multiple times for at least three minutes per session.
- Create a diagram listing all components and their possible phase configurations.
- Invert the electrical phase of the source component and listen to the same track again, noting any changes.
- Repeat the process for each component, step by step, until reaching the optimal configuration—where:
- The vocals are high, focused, and stable above the tweeter line.
- The sound fully detaches from the speakers.
- The soundstage expands in width, height, and depth.
- The bass is controlled, the highs are extended yet smooth, and there’s a strong sense of rhythm.
- Gradually reintroduce the other components, one by one, while listening. If any changes occur, reverse the power plug and reassess.
- The system is in perfect balance when disconnecting any unused component has no effect on the sound quality.
This is not magic—it’s electrical physics. If we measure the voltage of stray currents on the chassis of each component, we’ll see significant variations (sometimes exceeding 100V) depending on whether the component is powered in phase or out of phase. By adjusting power plug orientations, we can minimize potential differences between chassis, reducing interference and ground noise.
A properly phased system delivers an unparalleled listening experience—hours of fatigue-free enjoyment, without the urge to jump between tracks. The ultimate sign of success? Feeling a sense of deprivation when you have to stop listening.
A system with the correct electrical phase:
- Requires fewer corrections and accessories (most of which are used to compensate for errors).
- Is less sensitive to environmental factors (since room acoustics amplify existing issues).
- Remains stable over time with minimal need for electrical treatments.
EQ Curves: Are They Important for the Complete Vinyl Experience?
I grew up with analog audio. While I followed the evolution of digital formats, I never abandoned turntables and have continued to collect vinyl.
Like many, I noticed that some records sounded better than others and that I rarely listened to certain labels. For example, despite their excellent performers and programming, I tended to avoid Deutsche Grammophon records. American pressings from the ’70s and ’80s often sounded much better than their European counterparts, and many enthusiasts—including myself—were willing to pay a premium for imported editions.
Despite careful cartridge alignment, VTA adjustments, and other refinements, something still felt off.
Then, nine years ago, by chance, I made a discovery. I gifted myself an Allnic H-3000 phono preamp, unaware that the model I received—the “V” version—had adjustable equalization curves.
At first, I dismissed this feature, believing (like most people) that EQ curves were only relevant for mono records and 78s produced before 1955, before the RIAA standardization. My collection of 6,000 LPs consisted mostly of stereo records pressed in Europe after the RIAA convention, so I assumed EQ variations wouldn’t matter.
Out of curiosity, I invited a collector friend who owned early mono records. He visited the next day with a stack of LPs. We listened to Decca ffrr, Columbia, Mercury, and His Master’s Voice records using the appropriate EQ curves, and the improvement was stunning.
The next day, I decided to test my own records. I played an Italian singer-songwriter I loved—and to my surprise, I had never heard that record sound so good. It was an entirely new experience.
At first, I assumed this was due to cleaner power or the break-in period of my new preamp. Then, I realized I had left the Teldec EQ curve engaged from the previous day’s listening session.
I switched back to the RIAA curve—and the magic disappeared. The sound became flat, closed-off, and less dynamic. Reapplying the Teldec curve revived the recording.
I repeated this test with other records and discovered that many of them greatly benefited from different EQ curves. Suddenly, I was rediscovering albums I had previously set aside because they didn’t sound right. By combining EQ curve selection with polarity adjustments, these recordings transformed, improving across all sonic parameters.
From that moment on, I became deeply interested in the subject. I researched and found extensive studies on pre-1955 EQ curves but realized that virtually no research existed on what happened after the advent of stereo.
The common assumption is that, after the 1955 RIAA convention, all records were produced using a single EQ curve. However, my experience has led me to believe otherwise.
Through extensive listening and testing, I’ve concluded that:
- The RIAA curve was never fully adopted in Europe, where manufacturers continued using their own EQ curves.
- From 1957 through the late 1960s, almost all records worldwide were cut with the Columbia curve, as the industry-standard Westrex 45/45 stereo cutting head was used universally.
I understand that this is difficult for many to accept. However, after years of demonstrating these findings at HiFi events and to fellow enthusiasts, the evidence is undeniable. The difference is clearly audible when you compare a record played with the RIAA curve versus the correct one.
You Also Recently Released a Brand-New Phono Preamplifier. What’s Special About It?
While conducting demonstrations, I realized that I needed a phono preamplifier that was easy and intuitive to use, easily transportable, and not too bulky (my Allnic weighs 15 kg and has a separate power supply). I wanted all the controls on the front panel, with pre-selected, useful curves only. By chance, a friend of mine—a technician with a passion for electronics—suggested that I listen to and evaluate his prototype of a phono preamp featuring a unique transformer-FET-transformer circuitry. Compared to my reference, the results were truly excellent. When he asked if it could be marketed, I told him: “If you make it compact, with all the controls easily accessible (no micro switches, no soldering resistors, no need to open the cover to change the loads), with at least 70 dB of gain, at least two inputs, four pre-set curves, and polarity inversion… we will sell it.” That was the birth of the first GM Phono V-2.0.
After making several friends happy and verifying that the quality level was high and competitive, we decided to take a step further and introduce a new version: the Faber’s Power GM Phono V-3.0.
Now, it features three inputs—two MC and one MM—each individually adjustable, 72 dB of gain, five preset curves, polarity inversion, balanced and unbalanced outputs, all controlled by front-panel knobs via relays. It is housed in a compact enclosure made from 1.5 cm CNC-machined aluminum plates and is easily transportable in a flight case.
How Is the Designer’s Appreciation for Music Reflected in Their Products?
As I mentioned in the introduction, my deep passion for music and the pleasure derived from listening are fundamental to my experience, and this is reflected in the choices I make.
Ease of use, musical enjoyment, harmonic richness, timbral coherence, engagement, and rhythmic precision—combined with resolution, transparency, frequency extension, and a wide bandwidth—are key aspects of my listening philosophy. I aim to integrate these parameters, often seen as opposites, into a cohesive experience.
This philosophy is also reflected in the products I create. Cables and accessories should not subtract, correct, or act as equalizers; they must transport the signal as faithfully as possible, enhancing the qualities of the system.
Achieving these objectives led me to explore conductors, dielectrics, materials, geometries, and construction methods that align with my concept of sound reproduction.
What Is Special About the Topology and Materials of Your Cables?
In my search for the ideal conductor, I found that material alone is not the defining factor. The best performance, in terms of resolution and extension, is linked to conductivity. In this regard, silver is the best conductor, followed by copper, while materials with lower conductivity result in reduced high-frequency extension.
For the same reason, I avoided solid-core conductors, especially those with larger diameters. I also discovered that the dielectric material is crucial; the best ones are those least sensitive to electrostatic charges and degradation over time and at high temperatures.
Ultimately, I chose military-spec cables made from multi-strand silver-plated copper insulated with Teflon. I also found that cable geometry plays a more significant role than material choice in achieving optimal results. Capacitance and inductive load values are heavily influenced by construction geometry, and between the two, a lower inductive load is preferable.
Made in Italy? Hand-Made?
The geometry I developed is complex, based on a multi-layered Double Helix principle. Due to the difficulty and high cost of automating this design—especially given the small-scale nature of this niche sector—manual intervention is required. Since outsourcing would not be practical, all production is carried out in-house.
We do not focus on mass production; instead, we specialize in tailor-made solutions, personally assisting customers. “Handmade” is a distinguishing characteristic that we value and strive to maintain.
Does Form Follow Function in Your Products?
All my products were initially designed for my own use, evolving from prototype to final design. Aesthetic choices always prioritize functionality. Over time, aspects such as flexibility, size, ease of use, and maneuverability have become increasingly important.
In our Power Distributors, for example, the sockets have different polarity orientations, allowing for phase inversion simply by moving the plug from one socket to another—without twisting the cable. Each individual socket has a red dot marking the phase, and the weight of the distributor ensures stability even with heavy cables. The design and aesthetics also contribute to its appeal.
In our latest product, the GM Phono V-3.0, all functions can be managed from the front panel using knobs that control relays. Additionally, the unit is designed to accommodate future remote control functionality.
Analog or Digital: What Is Your Opinion?
I was born into the analog era and never abandoned it—not out of nostalgia, but because I have always felt that, in certain parameters, it remains unsurpassed. The perceived dynamics, presence, musicality, and long-term listening comfort make it my preferred choice.
Of course, analog playback is not as immediate or easy to use; it requires patience, management skills, and technical knowledge. The “turntable-arm-cartridge” system must be correctly set up, but once properly configured, the results are unparalleled.
That being said, I also appreciate digital audio. I started using CDs in the 1980s and immediately recognized their potential. However, I also noticed that digital playback suffered from multiple issues.
In theory, digital should be the ideal format—offering excellent dynamics, resolution, and signal-to-noise ratio. With streaming, the absence of mechanical components should make it the perfect solution for music playback. However, in reality, this is not the case, not due to inherent flaws in the format, but because of external factors such as power supply sensitivity, system-induced interference, and switching power supply noise from digital peripherals.
When we connect digital devices (modems, routers, PCs, NAS, NUCs, etc.) to our system without proper grounding, they introduce noise that degrades overall performance. This realization initially kept me from fully embracing streaming. Every time I compared it to a well-implemented CD player, the latter always won in sound quality.
Unconvinced, I delved deeper into research and testing. I confirmed that the issue was not data loss (since data transfer protocols ensure 100% accuracy) but rather the deterioration of electronic performance due to interference from digital power supplies.
The high-end audio industry has acknowledged this, leading to a proliferation of linear power supply manufacturers. While these solutions mitigate the problem, they do not eliminate it entirely, necessitating additional accessories such as specialized network switches and reclocking devices.
I chose a different approach—targeting the primary source of interference: digital connections, USB cables, and Ethernet cables. Traditional IT perspectives dismiss this concern, arguing that digital protocols guarantee perfect data transmission. While this is true, it overlooks a crucial question: Where does this data originate, and where is it headed?
Digital information—comprised of electrical impulses—travels through peripherals powered by subpar power supplies before being converted into analog signals. Alongside this data, unwanted noise and interference travel through ground connections and shielding.
Building on my experience with Grounding Boxes, I developed USB and Ethernet cables that intercept and dissipate parasitic currents, electrostatic charges, and other disturbances by grounding them via wall sockets. The results have been transformative. For me, streaming has now become my primary digital source, surpassing my Krell KPS20T transport. This advancement has significantly reduced the performance gap between digital and analog.
Our Sixth Sense Special USB and Ethernet cables are now among our most requested products.
What distinguishes Cables and Power by Faber from other manufacturers?
There are thousands of manufacturers worldwide, and new ones emerge every day. Among them, there are many excellent products and some mediocre ones, but all of them allow us to listen to music.
The real question is: at what level of quality do we want to listen?
Standing out in this crowded marketplace is not easy. Personally, I have not taken the path of official marketing. Instead, for nearly twenty years, I have followed a slower and more demanding route, focusing on direct customer interaction, in-field demonstrations, customer satisfaction, and word-of-mouth.
Distinguishing oneself from competitors is challenging. One could create aesthetically appealing products, invest heavily in a well-targeted advertising campaign, establish extensive commercial networks, or leverage industry magazine reviews. These approaches certainly work, but I first wanted to create a product with its own identity and distinctive character.
As I have previously explained, all my products are designed and built to satisfy my own needs as an audiophile with over forty years of listening experience. I have never stopped searching for superior sound and have developed a precise approach to system optimization.
I know that when everything is properly set up, the key is to maximize the passage of musical information. The more information that reaches its destination, the greater our listening pleasure.
Openness, transparency, body, and harmonic richness—the sensation of opening a window—are the hallmarks I have instilled in my products. This family sound signature is present in both entry-level products and accessories.
I recently delved into the world of digital files and streaming. Until now, I was never able to achieve a level of performance that surpassed a high-quality CD played on a good transport. Since this did not convince me, I deepened my research and testing.
I found that the issue is not data loss (as data transfer protocols ensure 100% transmission) but rather a decline in electronic performance when transitioning from digital to analog. This degradation is caused by interference generated by the power supplies of digital devices.
The high-fidelity industry has recognized this issue, leading to an explosion in the number of linear power supply manufacturers. While these power supplies mitigate the problem, they do not entirely eliminate it, necessitating additional accessories like specialized network switches and reclocking devices.
I took a different approach. I focused on addressing the transmission of interference itself—specifically, digital connections, USB cables, and Ethernet cables.
Discussing these issues can be challenging, as IT professionals argue that protocols guarantee 100% information transfer and leave it at that. While technically true, a broader perspective is needed: Where does this information originate? Where is it headed?
Digital data—zeros and ones—are generated by electrical impulses, passing through digital peripherals powered by cheap, low-quality power supplies before being converted into analog signals. Interference travels alongside the data, moving separately through ground connections and shielding.
Building on my experience in designing grounding boxes, I developed USB and Ethernet cables that intercept and channel interference (such as parasitic currents and electrostatic charges) into the ground via wall sockets using special conductors.
The results have been transformative. Streaming has now become my primary digital source, leading me to retire my Krell KPS20T transport. Digital performance has taken a significant leap forward, narrowing the gap with analog playback.
The Sixth Sense Special USB and Sixth Sense Special Ethernet cables have since become my most requested products.
What type of reference system do you use?
Since listening has always been the decisive factor in evaluating a product, I needed to equip myself with tools capable of clearly revealing the behavior of the items being tested.
Additionally, to understand how my products interact with different types of electronics, I assembled a variety of components, including solid-state and tube equipment, analog and digital sources, single-ended and balanced configurations—all of which share a high degree of resolution.
Over time, I have used various systems, each consisting of the best equipment available in different eras, carefully chosen based on synergy.
Hi-Fi, high-end, and ultra-high-end—what’s the difference?
High fidelity can take many forms and perspectives, but for all enthusiasts, the ultimate goal should be to recreate the emotions of a live musical event. While absolute realism is unattainable, we strive to evoke it—to immerse ourselves in sound and experience the joy of listening.
A Hi-Fi system meets basic fidelity standards, ensuring correct timbre, dynamics, and frequency response.
A high-end system takes things further. Beyond achieving proper timbre, dynamics, and extended linear frequency response, it optimizes elements such as:
- Three-dimensional soundstage
- Precise positioning of instruments and voices
- Silence between notes
- Absence of listener fatigue
- Perfect timing
- Enveloping sound that captivates the listener
An ultra-high-end system goes even beyond, incorporating:
- Absolute frequency extension with perfect dynamics
- Maximum synergy among components
- Dedicated listening environments
- The finest accessories and tuning practices
- Near-perfect electrical, acoustic, and phase coherence
It is essential to note that cost alone does not guarantee ultra-high-end performance. Achieving this level requires meticulous attention to detail and system optimization. Owning the best equipment does not automatically translate to the best sound—just as owning the Library of Congress would not instantly make one the wisest person in the world.
How do you recommend specific cables to customers?
When a customer reaches out, they typically ask for the best. From there, a dialogue begins to understand their actual needs, past experiences, listening habits, and expectations.
Whenever possible, I arrange an in-person listening session at the customer’s home. Evaluating the system firsthand—analyzing strengths and identifying potential issues—allows me to provide the most effective recommendations and ensure the best return on investment.
From experience, I know that achieving a balanced and enjoyable sound requires a well-planned cabling strategy. Often, I guide customers toward optimizing the power cable for the source rather than prioritizing signal cables, as this can yield a more significant improvement.
Ultimately, the goal is always to confirm that the recommended solution delivers the expected results.
How do you evaluate the current high-end audio market?
High-end audio has evolved to meet the increasing demands of discerning listeners seeking peak performance. Manufacturers have continuously adopted new materials, techniques, and designs, creating a niche where quality and cost rise together.
Initially, high-end audio was expensive but still accessible. However, emerging markets, where audio systems serve as status symbols, have reshaped industry dynamics. Pricing, size, and weight have become dominant factors, sometimes overshadowing intrinsic quality.
I believe the industry needs to rethink its direction—returning to offerings where quality remains accessible to a broader audience.
What does the future hold?
Unfortunately, I do not see a bright future. Most of the enthusiasts I interact with are close to my age, and there is little generational turnover. Despite today’s youth having easier access to music and enjoying it more than previous generations, they often listen in poor quality.
The music industry caters to this trend, producing compressed, low-quality recordings suited for earbuds and portable speakers. Even so-called high-resolution files are often equalized for suboptimal playback conditions.
There is a lack of listening education. If younger generations are not introduced to high-quality reproduction, they may never experience the deep pleasure it provides, nor will they have the motivation to pursue it. As a result, high-fidelity listening risks becoming a niche pursuit.
Final thoughts
Those who continue reading and following high-fidelity publications are truly invested in this sector. They observe its evolution, stay informed, and remain curious about both equipment and musical offerings.
This curiosity is crucial. The choices of enthusiasts influence and guide industry trends. While equipment and accessories matter, the most important component of any system is the listener.
Invest in yourself. Develop your listening skills, attend live performances, visit acoustically superior venues, and engage with fellow enthusiasts. The pursuit of high-fidelity sound is as much about personal growth as it is about technology.