Why bi-wiring is bad


From a link at the Chris Van-Haus website:
THE DISADVANTAGE WITH BI-WIRE

One thing that happens when you biwire your loudspeakers is that the input of the high- and the low-pass filters are fed with different input signals. The difference is a result of the high frequencies and the low frequencies being forced to travel different paths, perhaps through different types of cables, but under all circumstances through cables who have seen different loads (a tweeter with a high pass filter has a completely different impedance response compared to a woofer with a low pass filter!).

What happens is that the drivers will work less good together than when their filter halves were fed with equal signals. The result is a generation of more static and stochastic phase error sounds at different directions from the loudspeaker. The stochastic phase error sounds appear because there may be different types of unlinearities in the low- and high-frequency paths.

What does this sound like? Well, usually, just as you may expect from physics, it appears as a change in the reproduction of space and sound stage. Often, the first impression is that the "biwired" sound presents extended "dimensions", more "air", and is more "living". The impression after a week or month, however, is that all recordings sound very much alike, and the "airiness" appears on all records. It does not even sound like air anymore, instead more like a slime that pollutes every record you play. No wonder, since it is not a real, recorded quality but a "speaker characteristic" added to all reproduced material. "Sameness" is another word for it.

I just went back to bi-wiring over the weekend. The first thing I noticed was cymbal-like instruments shimmer much more. Secondly the bass now seemed to be less perhaps due to the greater high frequency information.
On orchestra music the orchestra is now well behind the speakers instead of right at the speaker. Like the article said, this may be a phase or time shift error and the depth may become wearing over time.
Finally there is slighlty better separation between instruments. It's easier to pick out each instrument.
cdc
When I had more mid-fi products, I was a big fan of bi-wiring. Now, bi-wiring robs my system of musicality. I feel with higher quality equipment, bi-wiring reveals a lot of incoherencies that can otherwise be negated by simply single-wiring with an adequate jumper.
Well maybe my stuff ain't good enough. With no less than 5 different wire purchaces--Where I bought the single run;used the jumpers--latter got the second run of the same wire,EVERY_TIME big improvement.Reminds me of the article about a pre amp designer saying an aftermarket cord did nothing for his pre.He was probably hearing-challenged. I've also read some ludicrious opinions from Roger at XLO. Hey,these guys may be great designers of equipment----But in the end they learn more from the end user. Why do you think there is a MK1/2/3/4?---Some of that comes from user feedback.
Just thought I'd add: While the designing part may be rocket sceince----The listening part ain't.
That's what I'm initially finding Viggen. With the emphasis on ADEQUATE jumper.
If it was rocket science, I'm sure we would have the thing mounted upside down, asking if it looked right and whether we should try it, then half of us would say, "I prefer to mount it this way" and we would all be dead.