Questions about Resolving Systems

I know this will be subjective but what makes a resolving system?

Does it mean it has great detail?

How do you know if you have a resolving system?

Is that only for system that employ high end components?

I am just trying to get a better understanding.



Here’s an example. I listened to Joan Osborne’s ‘Radio Waves’ live album the other day. It’s a compilation of live recordings over her career. In each song, I was able to hear clearly the difference in mics, soundboards, mixing, instrumentation, and in many cases the placement of instruments on stage. It was an interesting experience. Because live bands are mostly recorded from the inputs, not necessarily from the stage or audience, it’s a very different sensation than hearing a studio recording. Qobuz, Roon, iFi Zen Signature, Linn Akurate, AV5125 and Keilidhs.  


One thing that made me realize that my newer system were more resolving was the fact that I had listened to Too Old to Rock & Roll by Tull many hundreds of times over the years and really never read all the liner notes. I recently got my 40 year old album back and played it to hear a second voice throughout the track. Maddy Prior is singing along with Ian.



A truly Audiophile resolving system ,1st will take $$ on average at least $50 k

minimum , by many standards

We need to talk, I can put one together for $10K or less. If you use a headphone system for $5K. You need to checkout Benchmark:

Audio components (and the systems they are connect to) can commit errors of "commission" and "ommission". Which is to say they get things "wrong", injecting sounds (distortions, phase anomalies, etc) that trigger our ears & brain to believe that something just isn’t right. Errors of ommission relates to leaving out information, or attenuating it (micro dynamics, trailing vocals, detail, space between the notes, etc). Then there’s the whole balance and coherence thing, and placing things in space where they belong.

When all the stars line up and the "suspension of disbelief" kicks in -- where we reach the point when we "disbelieve" were listening to a mere facsimile of a live performance but rather we’re there WITH the musicians, we have assembled a "resolving system."


Steve, I really appreciate that you brought in the Helix design concept for the speake cable and audiophile diyer who experiments your idea gives a really favorable comments/reviews. I am inspired but wonder / not convinced one aspect of the design concepts. The principle is simple, twist the negative polarity wire around the positive one (preferrably at 90 degree) so they do not run in parallel to create the proclaimed noise / distortion. Usually, the twisted negative wire will run 2-3 times longer to achieve an ideal geometry. I am therefore concerned with the potential adverse effect (e.g. out of phase, etc.) due to the fact that negative polarity signal travels much longer than the positive signal. How legit is that concern? Second, in that regard, would the "mutually" twisted cable that is commonly available in the market (given the copper purity / annealing is in high quality) works better, since now the negative signal will travel the same distance with the negative while preserves the non-parallel property?