Anything as " fast" as SPECTRAL gear?

Also. I don't dispute That the recording process isn't often flawed; but I find the majority of classical and jazz very good. The people doing the recordings are serious about doing a good job.

"02-25-15: Ptss
Also. I don't dispute That the recording process isn't often flawed; but I find the majority of classical and jazz very good. The people doing the recordings are serious about doing a good job."

Sorry if I wasn't clear. I didn't mean to imply the recording process was flawed. The way I've always understood it is that its like a coin toss. About half of the recordings are one polarity, and the other half are the opposite. But that doesn't mean that there's anything with the recording, and the "fix" would be to just hit the polarity button on your preamp or source.

"02-25-15: Ptss
ZD. Again, perhaps for you to easily appreciate the difference you should invite me to tune up your system."

I don't doubt at all that this issue is something that you can easily hear. But we don't all perceive what we hear the same way. For example, we can both listen to the same system and have very different opinions on it. It doesn't mean one of us has more skill, or is a better listener, etc..., or anything else like that. We develop different priorities as to what we hear and don't hear, and if we like it or not. For me personally, I'm very sensitive to high frequencies. If the highs are not just as I like them, I can't listen to it. But, I know people that are just the opposite. They're not so picky about HF's, but they are with low frequencies. If the bass is not just right for them, they can't listen to the speaker. If I listen to that same system, though, I probably won't hear anything wrong with the bass. Or if I do, I would probably be able to tolerate it.

So, going back to our discussion on polarity, that may be one of the qualities that you're sensitive to. When we both listen to the same system, we can only focus on so much, but what we focus on may be completely different. The funny part of it all, is that we're not always aware that this type of thing is going on. And that's exactly why you really can't "force" recommend components to others like so often is the case. (Not accusing anyone here of that. Its just a general comment from what I see on this site overall.)

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. ;-)