[Tyson]

   Actually what are we all trying to achieve ? For me and my customers it would be emotional impact. The feeling of singing or dancing when a cut is played.
  There are a multitude of reasons how the reproduction is achieved. We all can argue which one or ones contribute the most. At the end of the day we need to listen to such achievements and judge for ourselves if in fact it boogies.
    For me tonality, harmonics and timbre are key in sound reproduction in our homes. Dynamics and the ability of the system used to imitate the natural sound we hear live in either acoustic or electric music.
    If we have an educated consumer who frequents live music events or plays an instrument we make more sales. We all can assume that most all Hi end gear is well engineered and designed. When said component or speaker is inserted ito one's system only then can a determination o that piece be evaluated. Yes perceived sound is a personal matter to us since it is our system being used.
   Some systems get really close however not the whole deal. Presence and dynamics elude us the most. so in the intrum stick to whatever gives your system more natural tonality and harmonic structure.
charles

I agree with what you posted.  Emotional impact is sort of the whole point of music   How do you achieve those things in a design?  Is there a certain set of measurements that correspond to things like tonality, harmonics, timbre and dynamics?  If we hear it, it seems like we ought to be able to measure it.

[Folsom]

You conjured all that from my quote to Goskers?
Miss Cleo's got nothing on you man.

Well, good to know you fancy yourself a loudspeaker designer (won't insult you with engineer) now. Or maybe you stayed at a Holiday Inn Express last night?

I would apologize if you were just directing comments at thin air, but if one follows context you are referencing me. If you truly meant not to you should specify the change since I provided the claim/description that is the subject you've challenged and scoffed at in conversation with George.

Right now I'd consider myself more of a tuner of the complex-impedance within speakers (which can require some physical adjustments). But I'm working on becoming a loudspeaker designer with continual education and due diligence for proof of concept to engineering deployed. All of the factors are inescapably connected, and the path has been set to make some speakers that will become a commercial products at some point. I'm sure you're acutely aware that there's a lot of testing involved with speakers, so no claims of overnight savant status would be coming out of my mouth. But I'm thrilled with the results of progress.

[poseidonsvoice]

 

https://www.youtube.com/watch?v=zyVDASOhC7o

   

Anand.

[Folsom]

I agree with what you posted.  Emotional impact is sort of the whole point of music   How do you achieve those things in a design?  Is there a certain set of measurements that correspond to things like tonality, harmonics, timbre and dynamics?  If we hear it, it seems like we ought to be able to measure it.

Some... there are connections. But what do you do when the measurements don't seem quantifiably different and the sound is totally different?

Maybe if we could collect enough data and subjective feedback we could rent a super computer to micro analysis it all? I've been dreaming up a "subjective" measuring device, or devices, for a bit. Who knows if it's be helpful, it'll certainly be a little goofy.