Anything as " fast" as SPECTRAL gear?

Great post just above, ZD. I agree completely.

Regarding your post just above that one, I think that Ptss's comment you quoted was addressing my post, not yours. I don't have first-hand knowledge of recording industry practices, or of the design of the elaborate mixing consoles that are commonly used. However my understanding is that the widely held notion that a recording stands a 50-50 chance of having correct polarity, and that inverting the signal will correct the polarity of those recordings which do not have correct polarity, is a misconception. Especially in the case of recordings having many performers, and given that the majority of recordings (both classical and popular) tend to be heavily multi-mic'd.

My understanding is that the pickups from each of those many mics will typically be subjected to processing in the consoles which differs from mic to mic, making it likely that in the final mix some of the instruments and/or singers on the recording will have one polarity, and other instruments and/or singers will have the opposite polarity.

Unless, that is, the recording was produced using "purist" techniques, i.e., a minimal number of microphones and minimal post-processing. That being the exception rather than the rule, in most genres including classical.

Best regards,
-- Al

FWIW, my understanding of the "50/50 rule" is that it basically means that, on the average, the ultimate polarity of the recording (or any single track in it) is essentially random due to the many factors that Al and others have elucidated. That does not mean that some people hear a difference between inverted and non-inverted polarity. If it increases your enjoyment of the music, then feel free to flip whatever switch you want (even that nasty old Fletcher-Munson loudness contour). If it stresses you out, ignore it. ;-)

ZD, nicely put, I agree completely and appreciate you taking the time to elucidate. I think you are one who really contributes to this forum.

Hello friends.
Our differing perceptions are addressed,circumspectly, in an interesting way, way out of our field, in these BBC news articles. I hope you find them interesting. I include the one on memory so you understand me better. I had a head injury in 1989,and, 26 years later, am still learning about it's effects and how to work with them. Suffice to say that I live in the present-(with no choice in the matter) :-)
http://www.bbc.com/future/story/20150225-secrets-of-alice-in-wonderland
http://www.bbc.com/future/story/20120719-awoken-from-a-2d-world
http://www.bbc.com/future/story/20120209-do-we-all-see-the-same-colours
I will submit more; however, do not think polarity or absolute phase is non-existant or irrelevant; as I've said, it's something you may not see until someone points it out; but, after that you will be aware and will appreciate it "can" or 'may" add to your listening pleasure- your appreciation of the composer or player---and your equipment!!! (and electricity conditioning--who will put regular gas in a Ferrari??? Hint; no one who pays for one.)
Cheers, I've survived my 3rd heart surgery--yahoo!!

02-05-15: Jmcgrogan2
Spectral gear is about as fast as anything I've ever heard, as in I couldn't get out of the room fast enough. ;^)

That is why it is often mated with slow, rolled off cables, like MIT, to balance the sound.
I would not take his word, ask Him if he ever owned spectral equipment before, or if he has ever used other cables with spectral in his home?, I doubt it!