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In Reply to: RE: Absolute Polarity, Asymmetric waveforms and clipping effects posted by BigguyinATL on March 09, 2016 at 14:20:48
and simple distant coincident or near coincident recordings would be sufficient.
Because they are and have been for me, for several decades.
It does require that your understand how we 'get' timbre, expression, nuance and interplay.
And, it has SFA to do with 'the harmonics on the continuous tone'.
Why? Because lots of instruments just don't have continuous tones, but we still get timbre and expression from them.
Skeptical Measurer & Audio Scrounger
Time or phase coherency is not what were talking about, however, as important as that is. Were also not referring to the phase shift that speaker crossovers mightier might not produce. Abosoute polarity is either correct or it's not. If it's not it's reversed polarity and is 180 degrees from correct polarity. Thus, your speakers can be time and phase coherent but the system can still be out of absolute polarity. An component can be inverted polarity for example.
Another way to look at it is if your system is measured to be in correct polarity using a test CD or record and the source CD or LP is reverse polarity you can correct for that by reversing the + and - at the amp output for both channels or at the speaker.
music, and that simple stereo recordings of acoustic music are far more likely to reveal polarity, and pointing out that time and phase coherent speakers ought to be, and IME are essential as well.
I have been using speaker-level absolute polarity switching since the early 1980s. Initially by hand, but since I went with bi-amping in the late 1990s - using a 24V AC powered set of a 4PDT relay per channel, wired at my listening seat. Through speakers with minimal odd-order crossovers.
It seems to have passed you by that I might have some experience of its validity and audibility. Viz.
"Were also not referring to the phase shift that speaker crossovers mightier might not produce. Absolute polarity is either correct or it's not."
I partly disagree - IME IF the speaker isn't capable of letting you hear correct polarity then the issue is moot.
That is, IME it is not consistently audible through speakers that have steep even order crossovers. Yes, where the polarity of the relevant driver has been swapped, as usual.
IME, using time and phase-coherent speakers since the late 1970s, polarity is plainly and consistently audible (per recording) on the sort of recordings I referenced. Simple real stereo (aka 3d image) ones including multi-channel sound-field recordings, whether re-encoded to 2Ch stereo or not.
Further? That polarity switching is of little value - to me - on multiply close-mono-miked mix-downs, variously phased, Eq'd, flanged, delayed, compressed, Aphexed, .... etc, and often made over several weeks of sessions with individual singers and musicians. Bang goes ensemble playing.
Noting that I have a large collection of pop-recordings of this type. And still enjoy all but a handful which I've been too lazy to sell. I did begin to lose interest - in the genre as a whole - somewhere in between disco, punk and hip-hop. :-)! Not solely because of the damage done to the music in such recordings, but because of the shift in values that the recording technology is just one symptom?
Do you understand my points about the cruciality of attacks and decays, and the relative un-importance of 'the overtones on the continuous tone', to our getting timbre, nuance and expression?
Skeptical Measurer & Audio Scrounger
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