preamp inverts polarity

@geoffkait 
You make no sense. What you're saying here and up above makes no sense. What's more, you can't come close to proving it this or that was mastered in one polarity or another. The polarity of the fundamentals make no difference whatsoever. The problem of polarity lies in the the overtones and distortions generated by the instrument and the recording space. If you don't have those in proper phase/polarity, it completely changes the sound and it's pretty freaking obvious to even a sophomoric listener, much less an engineer who does this stuff for a living. If you're listening to stuff recorded and mastered by engineers that can't hear the difference between polarities and phases, you're listening to some real garbage. The polarity and phase of the spacial and distortion information goes a long way in defining the presence of the sound. Generally, positive polarity even order distortion gives the sound a crisp, clear, forward pop while negative phase distortion extends the depth of the sound field and presents more smoothly. That's the going theory on why odd order harmonics really stick out. They add a stiffness to the peaks of waveforms that sounds inorganic, because it is. 
I'm certainly no SET lover myself, but at least I know why people like them. And unlike you, I've sat around and listened carefully to positive and negative polarity distortion and I'm very aware of what it's characteristics sound like. 

No offense, Costco, but I’m filing your post under Whatever. 

@geoffkait 
I figured you would since it's WAY over your level of comprehension. 

Three things i don’t believe were mentioned.

Some folks don’t hear phase reversals - even those with golden ears. You might be one of those lucky individuals.


Secondly, do we know that your amplifier doesn’t invert polarity? You might have two inverting components which net out to non-inverted.

Finally (and building on the second point), you need to take the entire signal chain into consideration - your digital front end as well as your phono section.
For each source selected, add up the total number of gain stages. An even number means non-inverting and an odd number means inverting.

It could end up (for example) that running through your digital front end, the signal is inverted and through your phono section, it’s non-inverted (or vice-versa).

BTW, I’m one of the lucky ones ;-)

Cheers,
Thom @ Galibier Design

Look, first establish whether your system is in correct Polarity or reverse Polarity using a Test CD such as XLO Test CD. Then you have a baseline. Otherwise, you’re just shooting blanks in the dark. 

As I pointed out previously, it actually doesn’t matter whether your systemis in correct or reverse Polarity since at least half of CDs are in reverse Polarity anyway. If the percentage is much higher than 50% then wouldn’t it make more sense to place your system in reverse Polarity to begin with? Obviously, if you have a Polarity switch you can determine the best sounding position of the switch on the fly. But unless you have established whether your system is correct or reverse Polarity you won’t know whether the CD you’re playing is correct or reverse. Follow?

Oh, incidentally, the out of phase track on the XLO Test CD is the same track for determining the absolute best speaker locations in the room. The best stereo image is obtained when the sound is in correct Polarity after you have found the precise speaker locations that produce the most diffuse sound using the out of phase track on the XLO Test CD or any test CD that has a similar track.