Forward or laid back


To quote a recent comment by a member: "The most salient characteristic (to me) is that the acoustic presentation of some of these speakers seemed quite forward (row D), whereas that of others was really quite laid back (row M). There was also, quite often, a second correlation between that forward presentation and a (relative) brightness in the treble. As far as I can tell, these features are often preferred and indeed seem to be aimed for in the voicing of many models during their development. To my ears, speakers in this category were the Treos, O/93s, and Veneres. Somewhere in the middle were the CM10s and the Liutos. A bit more laid back were the Dynaudios and the Vienna Acoustics"

You may be in the minority but then so am i! However, little do these audiophile misanthropes know that they do not or can not hear or appreciate the sound of an orchestra or a vocalist in a natural concert hall setting!

I agree again on another point. I can not STAND most of these so called " reviewers" who have lynched the press with their stupid ass observations about live acoustic sound and what it is to appreciate its truthfulness. Every word they utter is punch, Liveliness, BOOGIE (lmao) , exciting, drive etc, etc. Is that how a frickin orchestra or a female ( operatic) voice should sound??? I read their source material used and I want to throw up!! ( not because of the music per say , but that this is the material they use to evaluate loudspeakers??? ( Maybe they've picked the wrong hobby..?) They can spend their money on these components and fool themselves into believing this hobby they enjoy (high end audio) is fulfilling their supposedly objective needs; which is all well and good. It's not , however, the" real " sound of unamplified music. 
I guess, in the final evaluation, their " employers" no little either, or why would they adhere to or accept the rantings  of kids who are engulfed in this music for evaluating music reproduction in the home??????
So admittedly, not having heard everything of the newest designs around today, I can still proudly look back and thank a few people ( some gone now) who have truly..... contributed to the development of natural sound reproduction: Nelson Pass, Spencer Hughes, Peter Walker, to name a few!
PS. I used to publish a small subscription newsletter review myself in the early 1980's.

128x128imaging1
I sit in the second row for my San Antonio symphony concerts because I love that really up close sound. My stereo system is voiced the same way. Very much like the control room of a major recording studio where I worked for 25 years. I enjoy the physical feeling of sound. I quickly read your post and am not clear of your point. To say one point of view is right and the other wrong is nonsence. To each his own
Alan
Indeed, I sit sometimes in the 5th row. When I am hearing the music, naturally it emanates closer and I can hear, feel and see, as you say, the performer. This does not mean that when I sit in my listening chair ( in my room....) about 10-12 feet from my loudspeakers, that I want a loudspeaker to push its presentation to me as if the orchestra is "in my face". 
To say that this is an accurate way to record the event is fine or subjective, I agree. The speaker will take your recording and play it as such. ( reproducing it hopefully as you recorded it , up front. However, a speaker that is balanced properly, will push the listener closer... Only to the degree of its limits and hopefully its PROPER design parameters. ( voicing has more to do with how the designer hears and adjusts his final design towards the speakers brightness, presence and tonality... all of which some people are BETTER at psychoacoustically than others) . Hence , the final experience in your home may be a closer one but will not have the performer literally in your face when your sitting in your say, 22 by 15 foot listening room. 
Point being... Loudspeakers should be balanced or voiced at a neutral distance with no part of the frequency spectrum " standing out" per say. This way, people like you can make a recording and its " in room" balance, while more up front, will not be excruciatingly and ridiculously ( lol) 
singing 3 feet away from your ears.!!!

On top of that, the most accurate and useful frequency response measurements of a final and hopefully well designed transducer should have its "in room" response curve as its final destination .(as opposed to an and anachoic chambers readings).
these are the hallmarks of a great loudspeaker design, with relatively few peaks or abnormalities as possible. That may...put my point in a better perspective.

I Can add a few more names to my previous list. As for reviewer(s) I do trust would be Martin Colloms and the late John Crabbe. Speaker designer Laurie Finchman and Roy Allison. I must get out to hear the MAGICO speakers and see how much their accolades can stand up to my personal dissemination ( and pocketbook).

PS. Any loudspeaker that makes a decent if not exceptional recording of an orchestra sound "exciting, punchy in the bass, more "present" in the midrange or LIVELY in any part of its frequency range is NOT... An accurate transducer. That is an incontrovertible fact!!!