Phase inverting problem

Tbg - dunno how many or which players invert polarity. I dunno why either, but I don't think they do it on purpose. Maybe they are like recording engineers and just donl;t think about it.

Some speakers must be made on Monday since occassionally you find a speaker with one or more driver miswired. I strobly suggest checking for correct polarity of drivers, sep. if you exhibit any equipment at a show.

"All the testimony regarding recording engineers?" You mean the same meticulous recording engineers that compress the sound?

Just a question......I guess I'm in that mood.
BUT, do recording engineers ruin music by CHOICE or by ORDERS from above to 'liven it up'....???

If they do it by choice, they all need ear exams, but if by orders, you could sort of understand them wanting to stay employed.

Tbg - dunno how many or which players invert polarity. I dunno why either, but I don't think they do it on purpose. Maybe they are like recording engineers and just donl;t think about it.

There are three reasons why a consumer audio product would invert phase:

1. Ambiguous or no standardization on hookup of balanced interconnections (i.e. the XLR pinout conventions that Atmasphere mentioned)

2. Error in design, manufacturing, or nomenclature

3. Preference for circuit design topologies/combinations for which inversion is a side-effect. An example would be a two-tube line preamp where the first stage is a plate-loaded voltage amp, and the second is a cathode follower . . . the signal will come out inverted, unless another stage is added to flip it back around. These types of circuit designs are increasingly eccentric and anachronistic in modern equipment . . . and pretty unusual even in the field of enthusiast audio where eccentricity and anachronism is widely respected.

Reason #3 is especially uncommon in CD players and DACs, given that the overwhelming majority of high-quality DAC chips have balanced current outputs and/or on-chip signal inversion capability . . . meaning that the designer can just as easily preserve signal polarity regardless of the design of the output stage. That's why I used a CD played from a Pro Tools recording/mastering process as my "good bet" example.

Recording engineers are seldom the reason for high compression on recordings. It is usually the producer or artists that want there products to sound the loudest. Since the engineer is payed by the artist or producer he does what he is asked even though he hates it.

I have a Manley Steelhead which I run full tilt into a Lightspeed Attenuator and then into a pair of mono blocks.
I assume everything is phase correct.
Cd is run directly into the LSA and to the amps.
To my ears the cd sound is much fuller,which bothers me, because the lp sound is thinner by comparison.
I am thinking there maybe a phase issue with the phono stage added to the mix.My memory is going, but I seem to remember somewhere in the past that when you have 3 stages, it puts the system out of phase and you need to switch at the speakers.In my case I will try reversing the leads on my cartridge as it is less full and perhaps out of phase.
Any thoughts on this?