Several people have strongly objected to that line of reasoning, though absent anything pathological in the signal path, it's a perfectly valid point. Apparently the hundred wires and several dozen connectors (not to mention tapes, disc cutting, cartridge transduction, or A/D-D/A) between mike and loudspeakers aren't nearly as important as that one wire that the religious audiophile can play with.
OhNo!
Other than the woofers, my speakers don't have voice coil wires. Nor do my speaker wires. What shall I do???
As far as the baseline argument, why then shouldn't the switchbox also be "part of the baseline"? This discussion just goes in circles, doesn't it. Kinda like the wiring to and from the power plant, thru your reproduction equipment, and back eh?
Great, enjoy your voice coil wire speaker cables then.
Other than the woofers, my speakers don't have voice coil wires. Nor do my speaker wires. What shall I do???
As far as the baseline argument, why then shouldn't the switchbox also be "part of the baseline"? This discussion just goes in circles, doesn't it. Kinda like the wiring to and from the power plant, thru your reproduction equipment, and back eh?
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Well most studios are run with a patch bay which means they usually will use more than one cable (one for each room). There is plenty of evidence that 99% of the recordings the general public has access to is laced with euphonic distortions via compressors (generally 2 on the mastering end and countless on the mixing end) that 99% of mixing and mastering engineers use. If you are mixing hybrid analog/digital then there can be more DAD conversions than you might think - in order to use an outboard compressors or effects. There are exceptions but don't be fooled these ARE exceptions and there aren't many.
How many studio photos do you want? Start with the ones in Ashley Kahn's "Kind of Blue: The Making of the Miles Davis Masterpiece," documenting an album with great sonics. Given that I live in the heart of music country, where thousands of recordings are made each year, I would have no problem giving you any number of photos of modern recording setups. Big mixing boards full of wires and chips. Mike cables. Mike preamps. Whatever will horrify you.
And, while you're here. have you come up with anything on your claims of RF and ground loop problems with ABX boxes (excepting home-made unshielded ones)? Or is that still an article of faith?
Keep waving your hands, I need the breeze.
I record my band on double resolution DSD (Kork 100) with a pair of Microtech Gefell 910 ORF staight into the mashine with 2.5m of balanced Kloz cable. The amount of microdetail like birds singing and people talking dothend of meters away is obvious. "Natural" recordings exist. Kind of Blue is an extremely problematic record by modern standart and i love the "flaws".
Is everything in your chain DSD compatible? If you need to use EQ or a Compressor is it a 100% DSD signal path? Have you had any problems with ultrasonics and DSD? I have read a white paper from Sony where they tell you that you MUST use EQ on the ultrasonic content if it is above a certain measurable threashold or else it will cause players to malfunction.
I play the Kork directly into my preamp for listen. I do not know if any conversion takes place in the mashine but i can send Korg an e-mail to find that out. There have been measurements in a German professional magazine that convinced me of the quality. As far as i remember the filtering takes place over 80kHz. remember this records with double sampling rate of standart DSD. When i burn a CD on my MAC with the supplied software the CD sounds different in the lower reaches subjectively to my own surprise. Some "wamth" seems to be missing. Excuse my use of that word but geman musicians use "warmth" to describe the "body" and "gestalt" of their intruments.
They way it "penetraits" or "comunicates" so it is not neccesarry a term for "slow", "Fatt" or "sluggish"
They way it "penetraits" or "comunicates" so it is not neccesarry a term for "slow", "Fatt" or "sluggish"
Joachim, this is also often reffed to as "musicians emphasis", the subtle and sometimes not so subtle, inflection to both time and timbre to make an artistic statement about the internal structure of that particular artists gestalt, as the musical experience passes through and out into palpable space. Much of the argument about cables revolves around these subtle inspirations, either their lack or their clear portrayal.
Bud
Bud
Cables can certainly make a difference. In my experience most audiophile cables have a negative impact on signal transfer and this can be fairly audible. And that is because a lot of them are simply made incorrectly (braided conductors, hanging shields, batteries, and all sort of other nonsense).
Try using one of these so called audiophile cables to measure time and phase distortion at higher frequencies and see how far it gets you.
Good quality cables most certainly have to be of coax design that are well shielded and have a low capacitance and inductance design. A properly terminated cable (with a load resistor) can indeed spec and sound extremely well. If you can get the timing and phase right, sound becomes extremely lifelike to the very sensitive human ear...
Try using one of these so called audiophile cables to measure time and phase distortion at higher frequencies and see how far it gets you.
Good quality cables most certainly have to be of coax design that are well shielded and have a low capacitance and inductance design. A properly terminated cable (with a load resistor) can indeed spec and sound extremely well. If you can get the timing and phase right, sound becomes extremely lifelike to the very sensitive human ear...
Other than the woofers, my speakers don't have voice coil wires. Nor do my speaker wires. What shall I do???
Upgrade.
As far as the baseline argument, why then shouldn't the switchbox also be "part of the baseline"? This discussion just goes in circles, doesn't it. Kinda like the wiring to and from the power plant, thru your reproduction equipment, and back eh?
You are right, it does go in circles, all this were discussed a while ago but it seems like some just like to stir the **** here.
To me a good system worthwhile of good cables are one with minimal influence on the signal, the more you tamper with the signal, the more information get lost, the less detail provided to the cables to show what they are capable of.
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