Another joke? Im just suggesting a simple experiment where anyone can hear how the distance from two sources effects the SPL reaching your ears. Which (if your not in the exact center) translates into different comb filtering for each ear which can effect soundstage etc.
Ag No Doug you missed this one:
"Good, they use trained listeners, wonder why." 😀
I have a little background in electronics, build my first amplifier in 1977. 🙂
Let's just say I've designed and build my own amplifiers, pre-amplifier and speakers, currently playing around with the idea of building a CD player. I've probably done more comparative tests than you want to know of, it were done for myself though, some were blind (although maybe not blind enough according to some) just to confirm my sighted tests. The more you do it, the easier it get. Cables were only a small part of it.
That is just where you are mistaken, I'm here to learn also, luckily there are a few here with very informative posts. If only we can get out of this fighting mentality and search for real answers.
the question bugging me for a long time now is that, how can a gage12 cable help a speaker whose voice coil used gage 30 to gage24 wires?
in the same token, how can a 6 foot gage14 power cord help a transformer with primary winding of gage20 running a 100feet of magnet wire?
how is that?
in the same token, how can a 6 foot gage14 power cord help a transformer with primary winding of gage20 running a 100feet of magnet wire?
how is that?
This is easily corrected by using differential signaling, hence its use in AES3, the pro digital interconnect standard. Since it looks at the difference between two lines instead of an absolute reference above ground, the slope of the signal on each line is relatively insignificant when recovering the pulse train. Ethernet uses twisted pairs for that very reason to allow the use of much longer cables than a single-ended scheme would permit, for example.
Most cabling problems (such as they are) allegedly solved by high end stuff could be sorted out by looking at how pros solve their problems under much harsher conditions than any consumer gear. Just as an example, consider that concert sound works in close proximity to several hundred kilowatts of light dimmers and their RF emissions, with microphone level signals running through cables a few hundred feet long, yet noise pickup is a rarity because the signals run low impedance balanced. External noise gets canceled out at the mixing console input since it's common-mode on both lines. Moreover, the signal's frequency response isn't affected because the low source and sink impedances mean cable parallel capacitance is insignificant.
Long story short, the interfaces are wrong if wire affects the signal to any degree. That applies for analog and digital both, because I believe SPDIF is a crap standard designed more for cheapness than reliability (there, I just made a bunch of new friends).
Thanks DSP-Geek, I agree with that, unfortunately we are still stuck with that format on many hi-fi equipment.
Tony the function of the voice coil are different than that of the cable, both will have a different optimum dia wire. The purpose of the speaker cable is to get the high current signal with as little loss as possible to the voice coil, thus thicker wire (up to a point according to me) while the voice coil must present a certain impedance to the amp, I guess weight would also be an issue.
Same perhaps for the power cord.
I did in grade 8 science. The dist is half a wave lenght, about .6 inches at 10 khz. (wave lenthg= speed of sound/freq) Actualy, all you listen to is a bunch of time varying tones. (look up Fourier)
I think most mastering engeneers would disagree.
Whats your definition of detail?
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I guess I did.....the results are meaningful but I guess only if they support someone's belief.
Fair enough and thanks for a little history on yourself.
Im 20-1 in fights during 15 years of hockey 😀
btw, I have followed your posts and you have a slight of hand in your appoarch. You simple discredit everything that doesnt appeal to you so far. Thats mathematically impossible for that many studies, that much data to be invalid because you say it is.
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This thread has zero to do with musical enjoyment IMO. Very little online opinion has anything to do with musical enjoyment. Musical enjoyment is not found while posting on any forum either, its found in your own room with your own setup and your own content. Learning how to build a better setup and increasing one's enjoyment is found online and again its science that is helping us all improve the experience.
On the other hand opinion online should have either facts to back it up or atleast history and experience of the person with the opinion should be considered. Andre was kind enough to post that stuff even though it didnt have too.
Also DIY audio means more about science/audio then subjective listening actually. I do not rememer that last speaker that was built purely based on subjectivity I could be wrong but there is a TON of science involved with DIY.
I not sure why you hang out here actually, there are enough extremely subjective forums for someone like you to be among others with common interests.
That wasn't the question, the question was about having ultra-low DCR wire running to the speaker. Now given that I use pretty hefty wire, it's clear what side I come down on, but diminishing returns set in VERY quickly.
Disagree strongly. I think that until one of the advocates of "magic" wire or components show some verifiable results, it's not worth throwing a lot of effort in that direction, but when it comes to more complex systems (speakers, for example) which deal heavily with psychoacoustics and far less with simple input/output engineering, subjective testing is king. And the best practitioners do their subjective evaluation in a controlled environment.
I used to have a Krell KSA250 I bought secondhand from a friend.I have replaced it with a Leben CS300 2x15W integrated.Does this answers your question somehow?
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