No, there are reasons.
Look, a several months ago I would have completely agreed with you. Your position is perfectly understandable.
Also, agree there are a lot of way-overpriced junk cables sold to audiophiles. It is very unfortunate, but people can't be protected from every stupid thing they might do.
Regarding the audibility of cables and the reasons for it, it is all explainable by conventional physics. Its just that the models we use to think about cable physics are sometimes a bit too oversimplified.
Benchmark Media sold star-quad mic cables for awhile, don't know if they still do. There is physics to star-quad cable that measurably improves its performance in some ways. There are other physical changes to cable design that are possible too. Don't want to go into it any more deeply since there is IP of Jam's involved and it is and not mine to share.
Also, I didn't want to restart this whole subject, Evenharmonics is just trying stir things up and get people fighting in order to deflect attention from his ongoing agenda of harassment.
Only reason I ever mentioned it in the first place was because I found the discovery personally stunning. Maybe like you would if you happened to visit here and swap all the different cables around, measure for oscillations, do whatever. All there is to find on that subject is that cables do have a sound. Look out though, if you ever describe what you found here in this forum, expect to take a lot of verbal flak for it.
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I hope it is a joke ?
Not that an expensive device imply better sound quality, but because all depends of the performances VS application.
If snobbery has limits, so does miserabilism
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When you design a studio, you have to take decisions about the cables, and, indeed, it is an expensive part.
Several criterias to be considered. depending on the applications. For fixed cables, it depends if they are welded or pinched with a special tool. Good shielding, reliability, ease of making strands, rapidity of work (fast and clean stripping). (Belden is my prefered brand).
For moving cables (micros) flexibility, resistance to stretching and microphonic effects are to be considered in a different way.
Cable for patches is a special purpose with special requisites.
To be sincere, "sound of cables" is the last of concerns, apart some special situations like dedicated cables for some everyday microphone, like Neuman.
I believe we all have our own preferences.
ATC aren't that expensive by audiophile standards. More than I can afford but not hyper stupid money and it's a clear no-BS proposition with them. I've always admired their speakers.
Ref cable swaps. If someone took some identical lengths of interconnect to make 2 sets and terminated one set with normal Neutrik and one set with the EMC series and could hear a difference I would not be totally suprised, but would tell them something was very amiss in their house and system to need the extra supression. But for well screened STP on std XLR I would raise an eyebrow.
I prefer balanced interconnects for peace of mind. But that's just me being irrational.
Ref cable swaps. If someone took some identical lengths of interconnect to make 2 sets and terminated one set with normal Neutrik and one set with the EMC series and could hear a difference I would not be totally suprised, but would tell them something was very amiss in their house and system to need the extra supression. But for well screened STP on std XLR I would raise an eyebrow.
I prefer balanced interconnects for peace of mind. But that's just me being irrational.
Yeah, you have made it plain on multiple occasions that there are a number of things you 'hate,' 'can't stand,' etc. Anything that annoys you catches your ire, and that includes people that disagree with you without providing proof to your satisfaction that you are wrong. Of course, it annoys you to be wrong.
I have found him to be quite a gentleman in admitting of being wrong. But he only listen to reason in engineer's lingo.
Take a drum kit for example, at what distance and room size would you expect dynamics at that level?
Having been in a small room with a live drum kit with a zealous drummer (call him bam bam!) many times, I could just about reproduce a drum solo with my previous setup.....new setup should (hopefully) be on the money. Basically doubling down on cone area and wattage....
Pro speakers is where it’s at for dynamics.
Pro speakers is where it’s at for dynamics.
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Mostly right , but 35% distortion is BS.
"Apply power (music signal) & the voice coil jumps to 120°C and the resistance rises to approx. 7.5 Ohm….Now the resulting current flow through the voice coil drops by approx. 35% ….So does the SPL….This is a 35% distortion!
Well stated, Richard!
The studio firm I work with is an ATC dealer and properly set up SCM 200/300s with subs can play above 100 dB average without any noticeable strain, with peaks above 120 dB. Too loud for me, but clear proof of excellent dynamic headroom, which is the whole point: before mixdown, compression and limiting the dynamic range of individual channels is pretty amazing, and very high headroom is needed to properly set up mics, levels and the rest. Here is an example of a studio complex we built a while ago: The Tracking Rooms - Manifold Recording
The last time I was there checking out the new music for film editing suite, Branford Marsalis had just left and his band's music was still on the stands. I heard some playback and I can't say enough about how great he and his band are...plus hearing his sax channel soloed gives you the mic's perspective of how powerful sax sound can be. YouTube
The very best sound I have heard has been in various recording studios, I don't think people appreciate how much limiting and compression go into a final mix in almost all recordings...
Cheers,
Howie
Please, all clubs are different, and where you stand, how many people are around, and even the time of evening, all make a big difference.
I doubt anyone with a deep understanding is involved, look at the Hawksford debacle. I said the other day I missed DF96 only to find out he has passed away, truly sad.
I would never listen anywhere near 92dB average level possibly not even 70dB. The numbers here are not making sense, there are speakers with 90dB/W sensitivity, at 6 Ohms DC resistance that's 400mA. So at 1W in I could boil water with a voice coil?
But once you put into the formula that he (affiliated with jam's audio business) has gone into the full blown shill mode now (was in sleeper mode when he joined this forum), then it makes sense.
Sure, anyone can if they want to try a pseudo objective comparison of live vs recorded sound.
Then that would be called "alleged audio professional".An audio professional would be someone who uses audio professional gear? Usually to generate an income, ie, T........... allegedly
What kind of comparison method did you use? Please share the details of the setup so that others can try it too.
Thermal time constants have been completely ignored in all these numbers the heating effect is not instantaneous.
Too bad you didn't even mention a thing about the room acoustics which is one of the biggest hurdles in the audio reproduction.
Try not to push him too hard or he will threaten to put you on his ignore list.
You shill for jam's audio business. I'm just calling that out for those who aren't aware yet.
From a player's point of view, the effect is rather fast, maybe a bar (musical bar) or less, a couple of seconds max, before the compression sets in.
There's another angle to that: when we're talking about that sort of SPL (LOUD!!!), the ears also compress and change the frequency response.
Saith the guy who can't hear a difference between mp3 and wav
I'm not worried, everybody over the Internet knows I am stone deaf and that all non pathological cables sound the same to me. What can I do, I was not blessed with Golden Ears.
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