Same question for Al: do you think the polarity issue is bunk or only George’s list.As I alluded to in my post of 4:27 p.m., I believe that for the majority of recordings there is no polarity that is "correct," although one polarity may in some of those cases sound "better" to some listeners with some systems than the other polarity. I also believe that in the case of the relatively few recordings that have been mic’d and mastered with purist techniques (just two or three microphones and minimal post-processing), that there can be a polarity that is correct, and a polarity that is incorrect. Can you point to any recordings on George’s list that are R that you think should be N Or vice versa?Just one of the preamps I’ve had over the years included a polarity switch, and I did not do a great deal of experimenting with it. Regards, -- Al |
geoffkait, And bad news for Rogers claim that his amp, the way it preserves the speed of sound, is the key to getting "live" sound, since statistically on 20% or so of recordings are in correct polarity.Are you saying that your own system is not right 80% of the time but you still enjoy it - yes? Food for thought... If you can't tell the difference when you switch the phase then it [the system] is not clean enough to expose it. |
Roger wrote, "geoffkait: And bad news for Rogers claim that his amp, the way it preserves the speed of sound, is the key to getting "live" sound, since statistically on 20% or so of recordings are in correct polarity." -- First, please note my statement you quoted doesn’t imply or claim that your amp doesn’t address the speed of sound issue or perhaps even solve the speed of sound problem. What I am saying is rather different. Roger wrote, "Are you saying that your own system is not right 80% of the time but you still enjoy it - yes?" -- No, I’m not saying that at all. Why are you putting words in my mouth? Strawman arguments are something I’m not find of. Lol What I’m actually saying is that no matter how well your amp addresses the speed of sound issue - assuming that a more "live" sound can be achieved, as you claim, I’m giving you the benefit of the doubt - if the recording is statistically 80-90% R (as George claims) I.e., the sound waves are going in when they should be going out, then Mach 1 consistency in the amp can’t save you! Hel-loo! There are a lot of things I don’t like about recordings, especially CDs. Frankly I think CDs straight out of the jewel box generally sound thin, compressed, two dimensional, metallic, rolled off, bass shy, like paper mâché, congealed, blaring, irritating, generic and bland. How much of that is caused by the R nature of the CD, who knows? And I’m even willing to admit that some of all that might possibly be caused by Mach numbers being out of whack. Roger wrote, "Food for thought... If you can’t tell the difference when you switch the phase then it [the system] is not clean enough to expose it." That’s what I just got through telling Atmasphere is the likely explanation why George Louis was unable to hear the difference between R and N in the Atmasphere room at the show. The show is perhaps the worst possible venue to try to demonstrate anything, including the very speakers and amps and cables that make up the exhibit; exhibitors shoot themselves in the foot by not bringing along electonics or speakers that are ALREADY broken in. geoff kait machina dynamica |
Al wrote, "Hopefully Roger will provide further clarification, as a claim that "the speed of sound in air should be preserved by the amplifier" (that being Geoff’s restatement of Roger’s position), or to use some of Roger’s words earlier in the thread, "emulating the properties of air" and "addressing the delivery speed" are statements that have no meaning as far as I am concerned." Al, go to this page on the N. American Products thread for Roger’s discourse on the subject of the speed of sound in air issue, https://forum.audiogon.com/discussions/has-anyone-heard-the-new-north-american-products-preamp-and-a... cheers |
