Experimenting with reversing polarity to speakers


Using a single pair of Clear Day double shotguns terminated with bananas feeding Totem Forest speakers. Am using Audioquest’s diagonal connection recommendation for bi-wireable speakers (see page 4 at link below;

"Using Full Range Cables On BiWire Capable Speakers"). Jumpers are also Clear Day wire.

http://www.audioquest.com/resource_tools/LearningMods/UndrstndgBiWr.pdf

Came across some comments on the web about experimenting with reversing the polarity of speaker cables at BOTH speakers...i.e., connecting red to negative and black to positive. Am NOT talking one speaker out of phase w/respect to the other. Both speakers are in phase with one another.

Having made the change, I did think stage depth immediately increased and imaging focus was improved. The improvement was on the order of installing better cabling, I’d say. I am NOT asking for explanations for the effect. I started the thread merely to suggest an "experiment" to those that might not have considered it before.
Cheap fun.

This topic has been discussed previously on A’gon and EXTENSIVELY in the 2010 thread below:
https://forum.audiogon.com/discussions/polarity-mystery-can-you-help-me-solve-it?highlight=sound%2Bi...

I readily admit it could be placebo (i.e., my imagination). Another well-regarded explanation relates to countering the effects of "out of phase recordings" (See Clark Johnson’s, The Wood Effect discussed at length on the Steve Hoffman forum and elsewhere). BUT the effect does seem to me to persist across multiple recordings (listening to various ripped CDs played off hard drive through Aries Mini>>Gungnir DAC>>Preamp>>Amp).

I’m inclined to think it’s related to some kind of room interaction and distance to listening point. More listening is needed to decide how consistent the benefit is. Of course, whatever the reason for it, the proof of it being a real improvement will be switching back to "proper" polarity after a few days and hearing a degradation in sound quality.

Best regards.


128x128ghosthouse

Showing 5 responses by geoffkait

What makes the whole polarity issue almost moot is the fact that most CDs are not in the correct absolute polarity to begin with. There are no standards for polarity in the industry so you get what you get. According to the Polarity Pundit G. Louis, around 90% of CDs are in reverse polarity right out of the box, including most audiophile recordings. In fact, ironically, the sound that reaches the listener's ear in a system that has been determined to be in the correct absolute polarity will be almost always in reverse polarity since most CDs are reverse polarity. As I recall LPs suffer the same fate as CDs in terms of polarity but not to the same degree.
Excerpt from Clark Johnsen's landmark article on Absolute Polarity in Issue 1 Positive Feedback Online:

"Oh, the Wood Effect. Discovered by Charles Wood at the Defense Research Laboratory in 1957, it was first reported in 1962 in the Journal of the Acoustical Society of America. "Wood used as a signal a sinusoid partially clipped during half of each cycle. The resulting sound had a different timbre when the flat-topped portion was presented to the ear as a rarefaction, than it did when leads were reversed and the flat-topped portion was presented as a compression." There you have it, ladies and gentlemen: An asymmetric sinusoidal signal, presented those two dissimilar ways, with no other distortion, was proven to sound very different each way. Let’s see, what else in the sonic realm generates asymmetric signals? Well, ta da! That would be musical instruments! Which explains how polarity permeates our entire audio world, albeit through negligence, because we hear normal and inverted polarity (more accurately, compression and rarefaction) so very dissimilarly, ,yet rarely are they differentiated by us in playback.

The abstract to The Wood Effect says it best: "Masked by random combination with other distortions in the music reproduction chain, an unsuspected major contributor has lain hidden: Aural sensitivity to ‘phase inversion’ — the Wood Effect."

"Music normally creates compression waves. Electronics, however, often invert that natural, positive polarity to unnatural, negative rarefaction, thus diminishing physical and aesthetic impact. The term Absolute Polarity uniquely describes the correct arrival to the ear of wavefronts from loudspeakers, with respect to actual musical instruments."

"Wrong polarity, when isolated, is obvious to everyone. Its present neglect results from habitual disregard for phase response, especially in loudspeakers."

But as to why I’m on the case again, there are problems in those Ultimate Audio articles by Mrs. Herron and Fredell—and elsewhere too, notably in an e-zine, in a piece authored by Doug Blackburn, outstanding for its wrong-headedness. These writers (and many others, too) confuse small-case polarity with Absolute Polarity. Also, they use "polarity" interchangeably with "phase." Phase could mean any degree, while polarity denotes precisely the 180° condition. Third, they all seem to think that the Absolute inheres in recorded media, whereas in truth it occurs only at the final impingement point: your ear. To quote Mr. Herron: "Absolute polarity can be lost... and again restored in many places in the recording and playback chain." No, Keith! You mean, simply, polarity. And not "lost," either: polarity never disappears, it only reverses itself, time and again."





And there is this little jewel from Clark Johnsen's article in Issue 75 of Positive Feedback,

"A corollary finding was that some LPs and most CDs at that time exhibited a fascinatingly anomalous behavior, viz. that tracks or cuts would actually alternate in polarity. Those LPs were mostly from Japan although the affected CDs originated from all over. This came as a revelation: that certain agencies in the industry did know! And had evidently developed automatic means to detect and systematize polarity to produce discs and records that because of the admixture could be enjoyed more or less throughout, on any system of indeterminate but fixed polarity, with no one the wiser to the subterfuge. (This particular claim has been repeatedly challenged, but facts are facts.)"

cheers
"Many of you graduating today from Acme Audio Engineering School will go on to big things. The rest of you will become recording engineers." 😛
jsrtheta wrote,

"It is certainly best to keep polarity correct and consistent throughout the recording chain, and it is also recommended. But given the number of processes and amount of gear in modern recording it is difficult, and not a priority, to police polarity. Why not a priority? Because recording engineers don’t find polarity issues to be audible or important. I’ve never heard of an engineer listening to playback and leaping out of his chair yelling "Stop!" because the polarity was reversed. They can’t tell any better than anyone else.

See below for a random snip snip ✂️ from George Louis’ Polarity list of non inverting polarity N and reverse polarity R CDs and CD labels. You tell me, does this look random?

I hate to judge too quickly but it appears they are not "keeping the polarity correct and consistent throughout the recording chain." Obviously polarity must not be a priority. But then neither is dynamic range. I hate to,judge before all the facts are in but there appears to be quite a wide gap between what audiophiles consider good sound and what recording engineers consider good sound.

London N
M*A R
M*A Recordings – Bruce Stark, piano – Dream song R
MAD-KAT Records – Kitty Margolis – Live at The Jazz Workshop R
Mapleshade N
Mark Levinson – Red Rose Music-– Volume one R
Maxell Studio Series headphones R
MCA GRP – Rob Wasserman (etc.) – Trios R
MCA Zebra* – David Grisman Acousticity R
Mercury Living Presence R
Mercury R
MHS Musical Herritage Society N
Milestone –The Kenny Drew, Jr. Trio – Winter Flower R
MOBILE FIDELITY MFSL (Polydor original R) – Eric Clapton Slowhand R
MOBILE FIDELITY SOUND LAB ORIGINAL MASTER RECORDING ULTRA DISC UHR GAIN 2 –(hybrid SACD) Patricia Baber – Café Blue R
MOBILE FIDELITY SOUND LAB ULTRA DISC II (original Verve – R) – Getz/Gilberto R
MOBILE FIDELITY ULTRA DISC II SAMPLER – (multiple original CDs) MP
Mode 26 (Records) R
MOTOWN – Diana Ross – Lady Sings the Blues R
MSFL Original Master Recording – Jim Hall – Concierto R
Music from BMI*- BLUE NOTE – Patricia Barber – Live a Fortnight in France R
MuSick – Evan foster – Instrumentals R
N Coded Music N
Naim – Charlie Haden & John Taylor R
Nakamichi Bridiging Adaptor BA-100 N
Narada R
Narada Collection Series R
Nature Recordings R
NAXOS R
NEC CD-730, CD-830D CD players N
NEW WORLD RECORDS R
Nimbus Records English Stsring Orchestra – Mendelssohn Complete String symphonies R
Nonesuch R
Nonesuch – Mandy Patnkin – Oscar & Steve R
NOVUS (BMG RCA) – Marcus Roberts – The Truth s Spoken Here R
Oppo BDP-95 CD, DVD, SACD, DVD-A, Blu-ray player R
Opus 3 R
Opus 3 – Depth of Image Test Record 1 R