DVD-Software.info

[Ed Huber]

The reason that cables (and electronics) affect sonic performance has to do
with the fact that music is presented in a time-space contunium. When a
piano is played, the musical notes are presented over a time-space. That
means that the notes and their harmonic structure arrive at the ear in a
pictular sequence. If this sequence is disturbed, some harmonics will arrive
late. That means that they are not there to harmonize with other notes so
some harmonics wind up cancelling out other harmonics and information is
lost. Harmonics that are late can also harmonize with other notes, creating
harmonic structure that does not exist in the note. When there is
significant timing errors, we call that"jitter". Earlier digital recordings
had audible "artifacts" in reproduction. Cables play in important part in
preserving this "microtiming". To understand this space-time enviroment
easier, one can look at the notes on a professional digital recording
display such as ProTools. (it looks like a seismograph) and expand it down
to milliseconds to see how harmonics interact. This is my theory, and I
welcome any input on this discussion..........Ed Huber

[Gary Eickmeier]

Ed Huber wrote:

[chung]

Ed Huber wrote:

[Guest]

Ed Huber wrote:

[Gary Eickmeier]

chung wrote:

[jav]

I think timing errors in cables are unlikely. If electricity travels at the
speed of light (or close to it) that's 186,000 miles/second. The timing
differences by frequency over the course of a 1 meter interconnect or 8 foot
speaker cable are infintesimally small, certainly below the threshold for
humans to detect without instrumentation. Jitter in digital sources has
been documented as an explanation for the difference in sound from
sources such as the LP and that may be plausible. I don't dispute the
difference
in sound among electronics and cables, I just don't think your hypothesis
explains it.
" Ed Huber" <eahuber@cox.net> wrote in message
news:dk0srq01s0a@news4.newsguy.com...

[Chung]

Gary Eickmeier wrote:

[Guest]

Actually, electricity travels far 'faster' in a cable than in space.
The analogy of a cable is water in a pipe. Water goes in one end, and
out the other, but depending on the length of the pipe (which in the
case of a cable is always 'full'), it may be a considerable time that
water put into the north end of the pipe actually reaches the south end
of the pipe. However, the receiver at the south end perceives the
delivery of 'water' as being instantaneous. However, water sprayed
through free air must travel the full distance from north to south
before the person receiving the water perceives it.

A cable has some inherent losses. Spraying a hose has much larger
inherent losses. So FM tuners measure reception current in microvolts.
Audio transducers (Speakers) get volts. As to cables affecting
performance, sure. Always. Every item every step of the way affects
performance. The question remains as to whether this is measurable,
significant or audible in that order. Why the hierarchy?

Measurable: Many things may be measured to a fare-the-well, but have no
significant and/or audible affect on the result.

Significant: Listener Fatigue is a very real phenomenon. Some systems
create fatigue in some listeners, others do not. Some of these very
subtle artifacts from components, bad recordings, bad whatevers
contribute to listener fatigue, but may not be overtly audible. For
example, were you to listen to a recording with a ~22khz sine wave
imposed on it at a high enough volume that your tweeter would reproduce
it even down as much as 10dB from your average signal, you would be
acutely uncomfortable in a relatively short time, even if normally
stone-deaf at that frequency. The subtle harmonics set up would set
your teeth (if any) on edge, even if you could not discern why.

Audible: In an A/B comparison, you would immediately pick out the
difference one-from-another, more than say.... 66.667% of the time.

This is important. Lots of things like phase distortion, like poor room
acoustics (standing waves, poor speaker placement) and other rather
simple items can REALLY screw up a listening environment, leaving their
victims blaming the innocent rather than focusing on the real problem.

Examples: A cryogenically treated receptacle will make an audible
and/or significant difference at the end of several hundred miles of
power-lines, transformers, switches, fuses an circuit breakers, and
imposed-noise from tens of thousands of other users on the same main
power source. Or a super-heavy-duty line-cord made from gold-plated
cold-drawn silver wire will make a difference feeding into ~20gauge
transformer winding wire.... or a cadmium-plated tube pin.

Peter Wieck
Wyncote, PA

[Guest]

pfjw@aol.com wrote:

[stealthaxe]

pfjw@aol.com wrote in news:dkh1k20dnd@news1.newsguy.com:

[Guest]

Yes, I run all four of my active audio systems on dedicated circuits.
It is not so much that the load on those circuits is not well within
the limitations of standard household wiring, but it does significantly
reduce any imposed noise on the system from local sources... the worst
of which are some brands of lighting dimmers favored by several
neighbors.

8/3 stranded is a bit of overkill, but over 70 feet that does reduce
line-loss considerably. 8-3 TW stranded is rated at about 40 amps, and
if it is 8/3 thhn, and in metal conduit, it can be upped to 50A. So
running it at 30A is even better. The only question I have is your
statement "the ground is supported with the two different wires"....
That is NOT the point of the ground, current carrying capacity. What is
the point of the ground is to provide a separate path for the current
should the primary path fail, or should the equipment leak. What you DO
NOT want to do is connect the ground to the neutral WITHIN the
receptacle. Really. Now, if you are in some parts of Europe where both
the hot and the neutral (as commonly called in the US) are floating
with reference to ground, you need to be VERY careful with what you are
describing. If you do not have a separate ground, GET ONE RUN. For
purely safety and functional purposes, it need not be the same gauge as
the main conductors, nor even run on the same path in total (although
this configuration DOES violate several parts of the code!!). But for
your health and those of others, a good thing to get in place. At the
very least, get a dead-front GFIC Device in place. With this you are
able to violate code and get some (relative) safety at your equipment
without a separate ground.

I really hope I am misunderstanding what you wrote, and that you are
saying that there is a separate ground from the "old" power run, the
8/3 being only for the hot/neutral connections to the receptacle (and I
will not even get into the potential for 220V residing within the wall
box).

Peter Wieck
Wyncote, PA

[hubert pellikaan]

Ed Huber wrote:
When there is

[Stewart Pinkerton]

On 12 Nov 2005 01:31:39 GMT, "hubert pellikaan" <hubert@feyecon.com>
wrote:

[Guest]

I think the term you are working towards is "headroom"...

And a very powerful SS amp as you say of "decent" design will blow the
socks off of _any_ low-power amp, no matter how clean when actual
demands are made on it, such as peak-to-average sources of 20db or
over.

Is this where you are going? Certainly the system interconnects unless
they are extreme examples either in length or composition (50 feet of a
single 30 gauge strand of unshielded copper, for instance) will not
make one whit of difference at the ear.

This is assuming no corrosion, good connections, and
all-other-things-being-equal, of course.

As to 'single driver'... YIKES. Unless one is assuming a pretty massive
electrostatic driver with an unusual amount of possible excursion, any
'single driver' is incapable of reproducing the entire audible range of
frequencies. Flatly. Pun intended. A 12" standard-design woofer has a
surface area of R-squared x 3.14158, voice-coil diameter neglected.
That comes to ~113 square inches. Give the coil a one-inch excursion,
that allows the movement of ~65 cubic inches of air per 1/2 cycle.
Pretty good for bass, Now, a 1" dome speaker has 0.79 square inches of
surface area. Assume a 1/4" excusion, that allows the movement of 0.20
cubic inches of air per 1/2 cycle (the inherent design of a dome has no
fixed edge as a cone does). Good for treble. But to make a single
driver of _any_ size handle the entire audible spectrum with any level
of fidelity and volume is simply idiotic. Period.

As an aside, Bose speakers have this premise, all frequencies from a
single-sized driver.... with exactly the level of success one would
expect from such a design.

Peter Wieck
Wyncote, PA