Neutral electronics are a farce...

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!

Actually I think that exact answer was given a ways back in this thread. But nice of atmasphere to repeat it anyhow.  

You'd think such a high precision device like that if truly possible  that would cost more than a few grand.    

Atmasphere wrote,

"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!"

I participated in John Curl and Bob Crump’s room a couple times at CES way back at the turn of the century and (of course) the Curl/Crump/Thompson Blowtorch preamp used in the room had a polarity switch. A very expensive one I might add. And Bob brought a lot of his own CDs with him to the show to demonstrate that polarity is audible. Very audible. Also in the room was another audio insider, Clark Johnsen, who, as you probably recall, wrote the book on absolute polarity. The CDs that Bob used for the demo were actually not purist recordings. They were good recordings but not purist recordings. Maybe you need a better polarity switch. ;-)

Clark Johnsen in Positive Feedback:

"For that sorry state of affairs, you can blame the commercial audio press. For whatever reason, hardly a whiff of this vital phenomenon ever appears in those precincts. Ultimate Audio, with two feature articles, became by default an exemplar of polarity awareness—quite so, as ultimate audio cannot be achieved without it! A personal disclaimer: I have often called polarity the sine qua non of correct audio practice. As author of the only book on the topic (The Wood Effect: Unaccounted Contributor to Error and Confusion in Acoustics and Audio, ISBN 0-929383-00-1), which explains everything, I naturally applaud the renewed attention. And I remember how Michael Gindi, an Ultimate Audio contributor, once toured the Stereophile Show chanting, "If you can’t hear the Wood Effect, you can’t hear!" I expect he still stands by that, though nary a peep recently."

geoff kait
machina dynamica