Neutral electronics are a farce...

Could this be a major reason why many listeners prefer analog to digital?**

Such a Red Herring! We don't even know that such is even true... sheesh. Anyway, we let George hear the CD (so this was not an analog/digital thing at all) but he couldn't make the call on that one, despite telling us initially that the room sounded fine other than being the wrong polarity. Can you see the problem?

I'm sure that is why he left so quickly- it must have been as obvious to him as it was to us.

Atmasphere wrote,

"Such a Red Herring! We don’t even know that such is even true... sheesh."

what you mean "we", Kemo Sabe?

Atmasphere also wrote,

"Anyway, we let George hear the CD (so this was not an analog/digital thing at all) but he couldn’t make the call on that one, despite telling us initially that the room sounded fine other than being the wrong polarity. Can you see the problem?"

I already explained all that.

No answer to my question yet, I duly note.

geoff kait
machina dramatica

almarg,

I agree with Ralph’s comments in that thread to the effect that the claim of "velocity countermeasures" ("countermeasures" meaning "corrections," as I understand it) in the area of 700 or 800 db seems nonsensical.

What do you suppose is the percentage of errors in an actual living ear-brain connection? Parts per million, billion, trillion?

Every single time I added another 100 db to the velocity detectors what do you think happened?

A) didn’t notice any difference.
B) far superior projection.

Most designers can’t even contain that much raw gain in one place without it going up in smoke.

It is used exclusively for the detection and preservation of velocity.

I use custom devices (built at my factory) that you won’t find on the shelves at Digi-key or Mouser because nobody makes them. I had to design a special circuit board to handle the auto-focus system housed in a Faraday cage and buried in pure copper.

You are welcome to your own opinions but don’t tell me it can’t be done.
Its already been done.
The results are self evident.

The answer is B.

Roger

Roger, I of course don’t question the innovative nature of your design, or the quality of the results. But to provide some perspective on the numbers that have been cited:

A million is of course a 1 followed by 6 zeros.
A billion is a 1 followed by 9 zeros.
A trillion is a 1 followed by 12 zeros.

The human brain contains approximately 100 billion cells (a 1 followed by 11 zeros), according to various references on the web.

800 db, as used to represent the ratio between two quantities of voltage or current or sound pressure level or various other variables, corresponds to 1 part in (1 followed by 40 zeros). ("Other variables" does not include power, for which 800 db corresponds to 1 part in (1 followed by 80 zeros)).

As cited in various references on the web, the number of atoms in the planet Earth is roughly in the vicinity of (1 followed by 50 zeros).
1000 db, expressed as a ratio, corresponds to 1 part in (1 followed by 50 zeros), and therefore corresponds to the ratio between the number of atoms in the planet Earth and a single atom.

As cited in various references on the web, the number of atoms in the known universe, extending about 13.8 billion light years in all directions, is roughly in the vicinity of (1 followed by 80 zeros).
1600 db, expressed as a ratio, corresponds to 1 part in (1 followed by 80 zeros), and therefore corresponds to the ratio between the number of atoms in the known universe and a single atom.

(1000 db and 1600 db have of course not been previously cited in this discussion, but I include those figures to provide additional perspective on your 800 db figure).

Regards,
-- Al

No answer to my question yet, I duly note.

The industry does not pay attention to absolute phase. As a result, 50% of all recordings might be incorrect phase. The problem you have thought is that about 99.3% of all recordings employ more than two mics, often with tracks recorded in entirely different rooms. Sometimes these tracks are in phase with the rest of the project and sometimes they are not. This can result in out of phase bass which requires in some cases a special processor when mastering LPs. Otherwise the stylus can get knocked out of the groove. This does not happen with digital of course, but the point is that there are a lot of recordings that really are not absolutely in phase or out of phase.

Because of these factors inverting the phase is often not audible. You need a purist recording; everything has to be right in order to hear it. We included the phase inversion switch on our preamps on account of the fact that its a real pain in the rear to reverse the phase at the speaker terminals for each recording!