Your advice to speakers designers

Loudspeaker design is done in the physical world, so it’s a set of balanced out trade offs, like most other endeavors.

No single magic bullet of knowledge, just a set of skills and lore and raw talent ---applied to a problem that is in front of the given person.

Billions of set of individually crafted hearing mechanisms and ear/brains, with vague commonality between them, thus the thousands of speakers which are considered ’excellent’ or ’bad’. No mystery with the more correct question in hand to see it for what it is.

The idea of a single best speaker is just the ’body politic’ trying to assert itself and socialize behaviour patterns so the clan can keep itself safe, over the long term -- from the lions in the tall grass.

Ie, the big loudspeaker on the cover the glossy magazine is the end point in generalization of social/cultural function, the masses standardizing themselves into a set pattern for the benefit of the whole or the benefit of the given ’leadership’ of the clan. The evidential trail or markers/indicators of human physiology and psychology.

Individualism is exactly that: individualism. And everyone’s got themselves some of that. We are lucky if we can find a way to maximize audio qualities for one customer, or even ourselves, never mind all or any given group consensus.

ambiguity can hide sarcasm or be an actual unintended ambiguity. which is why the sarcastic use it.

Just a general bit of added gab:

They don’t call them ’inferior desecrators’ for nothing.

Very close to 100% of inferior desecrators and even architects do not take acoustics into account in their designs and finished product. If they do, they do with with a minimal concern or they do it with rubber stamp textbook knowledge applied, which is just as disastrous, maybe more -depends.

I’ve witnessed this form of a disaster many many dozens of times, when I go into a job as an attached extra mind and eyes, when Taras is brought in to deal with their disasters.

Usually it’s a fight to the death to hold onto the appearance of the space to be as original and unperturbed as possible, and to spend zero dollars on an acoustical fix. That zero cost acoustical fixes have to be completely invisible. Two impossible requirements that even on their own are impossible.

The next step is they don’t know what they are dealing with so they think that textbook acoustic formulas can apply to the issue and try to tell the acoustician what they are doing and what it will cost.

The connected problem is that they’ve ~spent all their money~and don’t have any left over to fix the acoustical nightmare. They project this frustration and mess upon the acoustician they’ve brought in. The arguments are fighting about 4 types of ignorant ’city hall’ (declarative people who won’t back down in any way), all at the same time.

Everyone involved is angry about the problem, angry that they don’t understand it, angry about the potential costs and angry that their work is going to be disturbed. The solution person is attacked from multiple directions before they even walk through the door.

Out there, in the architectural and home design world in North America (on the mega to minor install level), this scenario plays out probably a few dozen times per day.

Like Plumbers and dentists, acoustician is one of the most thankless specialized jobs that exist. And notably more obscure.

Regardless, due to the specialty being in-house, so to speak, every time we're involved directly in the set up and implementation the given room at a show, we tend to get best of show either in print, by award, or by word of mouth. I think we missed that..maybe once? if ever?

Actually, you don’t need a lot of absorption. You need low to mid bass absorption.

the rest is simple. Child’s play.

The first part (the bass) is phenomenally hard.

So difficult... that all known official measurement standards --ignore it. Pretty well -completely ignore it.

That's how bad it is.