Yet the cable tweak seems so logical to so many who don't understand how it actually works.....big part of their success in selling silly cables.
Yes, exactly. Lay intuition about electricity involves a tsunami of electrons rushing through wires at tremendous speeds, in one direction, so naturally the wire might have a negative effect, if it's rough or scratchy inside, or has too many connections, or whatever. The customers drive the market as much as the sellers. Maybe more.
The distortions we are talking about on the website are those that are not measurable with test equipment. They are rather distortions that affect soundstage, musicality, realism, etc… the musical presentation. Another example is the 3D roundness of the images within the sound field.
There are many things that are yet understood, how the ear/ brain works in deciphering the music.
Somehow, with our cable design, the difference between recording and the live event becomes less.
I propose to the reviewer that he test all cable reviews in a real, properly set up stereo system.
That's mean' that the current flows 50% of the time in one direction <- and 50% of the time in the other direction ->.
The statement above is a nonsense. The signal propagates as an electromagnetic field along the cable. Not 50% time in one direction and 50% time in other direction. If you send a sine through 100 m of a cable it will take about 500 nanoseconds for the signal to travel from the beginning to the end of the cable. One directional signal transfer.
They can, if you know how to do it: Subtractive analysis shows any difference in the signal not matter what type (and no matter what signal). Assuming a competitor cable with very similar LCR-parameters you are saying there is a difference with your cables, right? If so, it would show up immediately in a differential residue test, using the same (synthesized) speaker load and (precision) amplifier. There might be minor linear differences to start with (mainly from the LCR values not being exactly the same) but those tiny differences, showing up as miniscule frequency response (mag&phase) deviations, can be de-embedded so that only any non-linear stuff dominates the residual -- and that non-linear stuff is what is claimed to make the difference, right? A few 1/100th of a dB of frequency response change (or level) plus a single digit phase deviation at most sure don't make a difference here in perception (this can easily be tested seperately).The distortions we are talking about on the website are those that are not measurable with test equipment.
And yet you make specific apparently scientific assertions as to the reasons behind insulated strands in your cables. There is a whole section of psuedo-scientific BS that asserts physical properties to the wire and justifies its magical audio capabilities as being due to these effects. Yet you can't measure the claimed physical properties. Somewhere there is disconnect in honesty or competence.The distortions we are talking about on the website are those that are not measurable with test equipment.
One wonders if you have the slightest clue about acoustics and the recording process. In particular the manner in which venue acoustics are managed in the recording process and why the effect you note exists. It is hardly anything new. Just about any introductory source on recording will deal with exactly these issues.Here is an example… When attending an audiophile trade show, one walks by rooms where stereo systems are playing. For the most part, as you approach the room, you know that it is indeed a stereo system. Now, when you are in the lobby, which also contains stereos, you hear something different, you know that it is live music. As you round the corner, you discover that it indeed is!
Sort of. It doesn't say what you paraphrase it as saying. It most certainly does not contradict the idea that AC current flows back and forth 50/50 in a conductor.
The size of the appendages being compared.
And if I am completely honest with you and myself, the biggest challenge is the time needed to get over the disappointment that no matter how fine or expensive the replay equipment nor how well damped the room, reproduced sound is like looking down a pipe into the recording studio or the venue. It's a totally different experience to 'being there' and one has to set ones expectations of what the home hifi system can actually deliver realistically.
Since it's impossible to reproduce the scale, dispersion, airiness and dynamics of live sound in any meaningful way at home, it's madness to set that as an all-consuming goal, despite the teases in HiFiUpTheGardenPath monthly that it's just another cable, power conditioner, amplifier or DAC away. That is untruthful. They know it is, and in your heart, you (or more objectively) your wife does. It's an wholly unrealistic goal and wholly unachievable at any price.
Mistake No.1: Reading and trusting the subjective opinions of folk that you have never met nor are likely to ever meet and who are wholly non-technical, and have an agenda that is opaque
Mistake No. 2: Self doubt about your existing system (seeded by Mistake No. 1)
Mistake No. 3: Believing that spending money can solve all audiophile aspirations
Mistake No. 4: Expecting the salesman to deliberately restrain your spending when he is not a psychologist and cannot know precisely what you are seeking
Mistake No. 5: Believing in manufacturer's advertising. Frequently, the biggest advertisers have the least viable sets of financial accounts (public information)
Mistake No. 6: Being a victim of limited physical product availability - your product choice on any high street is merely a sub-set of what is available in that market. Conversely, it does not imply that if you expand your search to nearby cities and regions that you will necessarily make a better selection; you may be even more confused
Mistake No. 7: Not making enough personal effort to investigate brands and create a short-list before entering the retail environment
Mistake No. 8: Comparing audio equipment without controlling the loudness and using poorly recorded, low resolution knackered old recordings from your youth where your emotional involvement inhibits proper objectivity. You wouldn't buy a fancy camera by comparing one camera image quality pointing out the window onto the high street and another in the store room in the gloom would you? You'd surely compare them under the same lux level - the equivalent of comparing audio equipment at the same dB level
Mistake No. 9: Undervaluing the importance of a proper after-care service by the manufacturer and the long-term availability of component parts over many years or decades.
Note, current flow is not the same as signal transmission
The posting you claimed was wrong specifically said current, not signal.And it is the field that carries the signal, not the electrons
The sine signal has a positive half wave and a negative one. The negative does not flow back but still into the speaker but with the opposite polarity (the whole thing is a bit more complicated).Directional cables:
As you know, Audio signal is A/C and basically can be translated at any complexity, into a series of sine waves (Nyquist theory).
As So, lets look at one sine wave, lets assume of 1kHz at 1V p-p.
You can see that it is absolutely symmetrical, and 50% of the time it's positive (above the 0V line) and 50% negative (below the 0V line).
That's mean' that the current flows 50% of the time in one direction <- and 50% of the time in the other direction ->.
If a cable is directional (No such thing), in which of the 50% the directional feature is doing "Good" to the signal, and in which 50% it ruin it?
Anything below AP's measurement limit will be well below any hearing limit, bats included.