Our readers already know quite well about Kimber Kable and many of them are sparingly familiar with some of your cables, but they dont know very much about firm's beginnings and about you personally. What is this what, put you on the way of cable making, and how comes to founding the cable manufacture.
In the Mid ‘70's while working as an engineer for a sound and lighting company, I noticed a lot of buzzing, snaps, pops and crackles in the sound system. This came as a result of the use of high powered lighting systems that in effect acted as a giant antenna array that would feed back the noise from the lighting system.  It was at this time that I started building cables from scratch to see if possibly he could create a cable that might ameliorate this problem. To my great surprise the finalized version of his braided wire concept not only rejected the noise, but allowed the system to sound different, better, musical. It was after this period of discovery that I decided to take a risk and began entertaining the idea of selling my new discoveries.
When and how you get to the knowledge that cables are important part. of an audio system? Is there any special moment that has light the bulb?
My fondness for new discovery and experimentation actually began in the first grade when I built a crystal receiver, tweaked it, without help or knowledge, by adding to it a set of army surplus headphones. It wasn’t supposed to work, but it did! After my experiences in managing a theater, a couple of concert tours, assembling professional audio sound and lighting matrices, and sales of high-end kits, I finaly realized that cable was more than just merely important. If weaving cable could alter the sound so significantly, I figured everything else about cables was on the table for discovery, rediscovery or reinvestigation. Over the years I would test various metals as conductors, assorted manufacturing protocols, assorted stranding sizes, different twist lengths and insulation, as well as methods for adhering insulation to cable. All the time improving, modifying, and expanding upon his original cable concept and design.
Who is responsible for construction of majority of the Kimber cables? You personally or there is constructor team?
At this point Kimber Kable has grown to over thirty employees, the majority of whom are responsible for the manufacture of the cables. I still oversees all facets of the business. Especially the manufacturing, which is performed under tight quality control standards. Virtually all of the manufacturing is done at our facility.
I know that you have very well developed research equipment, and very modern cable plant with a special isolation chamber for sophisticated noise testing. Could you in short describe how this plant really looks like?
The Kimber Kable plant is nearly 30,000 square feet (almost the size of an American football field). The front part of the building is home to our administrative and sales staff, as well as our graphic arts department. The rest of the building is divided among manufacturing, inventory, research and development, special projects testing and listening areas. We have approximately half a million dollars US invested in test and research equipment. And this is current equipment, not a bunch of outdated instruments.
Do you start from scratch when constructing new cable, or you relay on some previous knowledge - yours or any others?
We most certainly rely on our many years of research and experience and I am still a head of the R &D department, but we have engineers and technical people with years of experience in RF technology, chemistry, mathematics, materials science and the audio industry. Some projects dictate that we should start from scratch to ensure a solid basis from which to engineer. Other projects are extensions of our previous very advanced and sophisticated research and design.
Is it cables problem related only on how good is implemented Ohm's Law or there are some secrets related on parascience. Precisely speaking, is the quality of the cable predictable in advance, or it depends on qualities and construction of the gear that they connect? Is it possible to construct cable that will sound good, independent of components it connects?
Ohm’s law is certainly applicable. However, of much greater importance are capacitance, inductance and frequency response. We also execute very special proprietary sets of measurements that reveal a great deal more regarding cable performance. For example; a couple of years ago we started testing the impact of various pigments on insulation and how those pigments affected signal propagation through a cable. In our tests, we discovered that a pigment can alter the dielectric constant-which will affect the sound. So is the performance of a cable predictable based on measurements alone? For certain applications the answer is now yes. However, we don’t take that approach. We constantly correlate measurements with listening. And what we have learned is very exciting. Our products are also designed to perform on all systems. We don’t take the “tone control” for your system approach. Our products also do not suppress information or natural electrical phenomenon. In other words our cables are very conductive, or to put it more correctly, are very supportive of energy.
On what users should pay lot of attention when using cables - on temperature of the environment, preserving them of influence of vibrations, putting them away from mains leads or from each other, sources of magnetically radiation... Or is there something much important?
Any system that is set up properly and with great care is going to perform better. We certainly don’t require that our cables only work in absolutely perfect environments. After all most audio systems have to be adapted to our living environment. Most people aren’t able to adapt their life to the fickle needs of their audio system (however, I’ve known many audiophiles who have).
What is much important part of a cable - conductors material, dielectric material, insulator... or is it construction and precise of manufacturing? Could you briefly explain why?
They are all extremely important. It all starts with the conductor. We have spent a great deal of time researching and implementing different conductor materials and combinations. Like mentioned above, the dielectric (and even it’s color) are key. Geometry may be the biggest factor of all in our cables. Our research into the geometric relationships of conductors has yielded us enormous technological dividends. Precision of manufacturing is a must, or you lose all the advantages you have worked so hard to obtain.
How these specification influences on some important sonic characteristics: frequency and transient response, sound staging and imaging, speed and punch, attack and control, dynamic range or transparency? With which of these characteristic cables has the biggest problem to express them?
The very advanced and sophisticated testing that we do allows us to correlate the different sonic characteristics of a cable with the myriad of different electrical parameters. It’s difficult to say which sonic parameter is the most difficult to reproduce. One that comes to mind is the ability for a cable to have incredible transparency, clarity and ambience retrieval with no hardness, harshness or glare. I feel that we have achieved this in many of our designs.
Which part of the frequency-response makes the biggest, problem for cables to reproduce it?
The ability to reproduce all frequencies evenly and in proper time and phase is the most difficult and most important.
Kimber Kable cables has the simplest geometry of all other quality cables on market.
I don’t believe that our cables have the most simple geometry. To simply twist wires together could be termed the most simple. When you see our many braiding machines at work, and realize the time, effort and technology that went into refining these machines you would probably re-state the question. On the other hand one could say that our geometries are “simply” the most advanced.
Are these problem bigger when cables are connecting transistor or tube based products?
 A correctly designed cable should work well on all properly designed audio equipment, regardless of it’s tube or transistor origin.
Which cables are much critical for the sound quality, speaker or interconnect? How much important is their length?
Remember the saying “your system is only as good as it’s weakest link?" I believe in that saying you have your answer.We design our cables for extremely low loss, which makes allows them to maintain their performance at longer lengths.
What will you say, in which sound element(s) Kimber Kable cables outperform other great cables on the market?
A number of cables on the market have a sound which could be characterized as “different” or “easily distinguishable” from the rest. Are these cables presenting a true and accurate representation of the signal fed to them, or are they simply different?  We aim to make our cables the most honest, accurate, neutral and correct products available today and in the future.
Which of your cables you personally think is the best you've made till now?
I’m sure our customers would offer various opinions as to what they feel is our best cable. Our Kimber Select line is the most advanced product we offer today. A lot of what we apply to those products was a direct result of what we learned from our Black Pearl project.
Some of our readers made the power cords out of your 4TC or 8TC speaker cable, and they states they were very satisfied with results. What do you think, do they really did a good job?
I cannot recommend the use of speaker cables for home or commercial AC mains power applications. Our Kimber PK series of power cables was created for this purpose.  And only for use between the wall outlet and the audio/video component. 
Many of them buy the cables from reel and soldered them at home. Can you suggest them how to terminate them, both interconnect and speaker. When terminating speaker cables some of them do not solder all the wires on both sides - on the amplifier side they leave few wires in the air, because of "damping" the EMF. Is this correct or not?
We do sell some of our speaker and interconnect cables in bulk. Space and time do not permit us to address every interconnect and how it should be terminated.  Our speaker cables are connected equally on both ends. If customers are unsure as to the proper way to terminate a cable, we suggest they buy the product factory terminated.
Are the Kimber Kable cables safe from RFI no matter how the environment is polluted by them?
Our cables have greater RF rejection than any we are aware of in the audio industry. As for complete safety...it is possible for RF to become strong enough that no person or object would be safe.
What actually really affect the sound of the cables?
RF interference definitely affects the sound of cables in most applications. In most stages RF rejection is crucial.
Do you prefer single ended or balanced termination?
Both single ended and balanced termination have merit when executed properly and used within the correct context of the circuit in question.
Is only conductivity the reason silver and cooper cables sounds so different? Many people think that silver cables sounds very open, bright, analytical. My experience with quality silver cables (including KCAG) isn't the same. So, what about your experience? And, why they have this kind of experience?
Silver cable does have slightly greater conductivity. But, the greater issue is that silver has greater speed and bandwidth. Silver is also more sensitive to mismatches of impedance, etc., and is therefore less forgiving than copper. When designed correctly into a cable, and used with the right system, silver is glorious indeed.