It's always been hard to describe what we hear, but Bud always used live, un-amplified music as the only valid standard to audition by. As his articles point out, (unbelievably) many audio designers have never heard live, un-amplified music. If it sounds like a glorified PA system from the next room, its a waste of my time and I walk away. This applies to everything from the really cheap stuff to the mega-dollar gear. I'll admit to being biased enough to dismiss all large dipoles, line arrays, and MTM designs out of hand as flawed concepts (as per Bud). Granted some of the $$$$ pieces make really good artificial sound that deliver all kinds of audio goodies (high spls, big dynamics, detail, sparkling highs) that is entertaining for the short term and somewhat livable longterm. But if it sounds like a xylophone, saxophone, kettle drum, violin, or human voice (with the right tone, texture, body, and a realistic soundstage) without exaggerations I'm hooked. As an old Fried fanboy I admit to having preconceived notions. As Bud wrote, I'd take every time a well designed but modest speaker (that does right what little it does) versus a big, expensive, mistake ridden monster that is trying to conquer the world.
In trying to follow Fried, have you Jim, Paul, or Dennis ever heard any of his speakers (I've read no such reference)? This thread is littered with what Irving could never have done (ditzing his work while using his name) without really mentioning (even on the website) what exactly is inspiring this latest resurrection of his name. There might just be more to the Fried sound than formulas or specifications can predict (true science never assumes, doesn't sit on laurels, but always questions). I have an old friend in Ann Arbor who may still have his Model C's in working order (stand mounted truncated pyramid, 2-way MLTL) that were one of his later, greatest (IMO) achievements. They would give a good taste, PM me for contact info if you're interested and I'll check with him.
