"Nousaine" wrote in message
...
"Wessel Dirksen" wrote:
wrote in message
...
My questions stand as is, if there is no reason to think otherwise, the
wire is as good for it's purpose as it gets, possible exceptions being
such things as the gauge is too small etc. , but this would be revealed
in
answering the questions. If one thinks the wire lacks the majic
ingredient
known only to exist in wire other then that used in the speaker, well
what
can one say; and how exactly does one not know it does not exist in the
existing wire and in spades. The manufacture would have to be very
desperate for cash to skimp on a few inches of wire gauge, in which
case
the entire design would be suspect and support for tossing the product
well considered. A more likely diagnosis in this instance is audio
nervosa.
I agree with this :-)
All factories for all kinds of products, excepting exotica, scimp all the
time to bring their product into budget which is a must in a competitive
economy. The production cost of a speaker is typically about 15 to 20% of
its MSRP which doesn't leave much room for splurging. Then the designer's
proverbial woody from his proud concept usually gets limp when the bean
counters tell him to make it 25% cheaper. The crossover and connecting
wire
is exactly where loudspeakers tend to scimp almost without exception.
But you can't save much money on a few inches or feet of internal wire.
And
even if you could don't forget that some internal wiring, like apparently
too
small wire or inductor with same, may actually contain a "hidden" resistor
and
your wire substution may actually be compromising a given crossover
function.
Another interesting side of DIY modifications is that while I heartily
endorse
such IF they actually improve the product. But you practically never see
engineering verification of improvements.In the latter regard I guessing
that
the most common at-home "upgrades" to speakers simply involves replacing
parts
(wires, caps, inductors, resisitors) with more expensive parts that
weren't
sound qualilty limiting in the first place.
You can never measure the difference at this level. Even with the very best
24bit/192 kHz equipment and the most modern method of analysis, you are
measuring with very, very elementary and crude waveforms which will never
simulate a complex musical waveform. Let's suppose that from the factory the
speakers look really flat, say +/- 1 dB (although this is never the case).
After even a thorough tweeking they will still look just as flat but may
sound much, much better. The improvement in this theoretical scenario is not
in the flatness of the curve but in the preservation of the integrity of the
signal getting to your ears. Many speakers can also be hugely improved by
optimizing the diffractive properties of transmission, inside and outside of
the cabinet.