If you don't have a wide sweet spot, are you really an audiophile?

and we also have Apogee, Quad ESL 63, Jim Thiel, etc..... better bring a six pack....

i would buy a Fred T speaker......but....there don’t seem to be any...of consequence.... please do correct me if i err....

and you obviously have never figured out where those “ quiet “ tympani are......you spend wayyyyyyy to much time in multi track land.....like i said, flavors you or the producer like....it ain’t moving the ball forward....cat chasing its own tail....

To illustrate my point from my last posts here about "imaging" and the link between imaging and room acoustic....I copy some text from a book of Toole and some paper research from japan scientists who wrote something very interesting in 2008 about The law of the first wave front and the early and late reflections in room and the way a listener live the experience of localization of a source or the experience of being surround by sound...

You will remark that it is not question here of the speakers drivers type and characteristic but ONLY of acoustical elementary law...The reason is simple imaging is fundamentally an acoustic phenomenon not a speakers driver phenomenon, even if drivers types can play a part for sure...And it is not the recording technique and concepts that make us able to recreate imaging, it is basic acoustical law. Period. It is the acoustician field not the recording engineer field first.... 

That was my point from the start....Time and timing between ears and the speakers/room acoustic relation are fundamental in the experience of imaging...

Give me any speakers i will make it imaging well modulo the right acoustic controls of the room... I will use passive materials treatment but also ACTIVE Helmholtz pressurized tubes and pipes, different resonators and others devices i will not name to start a new  debate....  All that will also modify the relation of the frequencies waves intensities or amplitudes in the room...


I am not a scientist at all.... But i know what i did in my room for gaining imaging at my 2 listening positions.......And natural timbre perception....The second experience is way more difficult to recreate and encompass than the first one...

Forget branded name speakers company concentrate on live acoustic law if you want to understand imaging.....

And there is no reflexion about BITS recording technique here in these text nor DRIVERS speakers debate names naming in these texts...... 😁

And to conclude i will repeat here that the TIMBRE experience is more difficult to recreate in a small room than only some imaging.....Timbre experience is the benchmark test to know if an audio system is good or not.... Not imaging....Not bass perception... Tonal instrumental or voice TIMBRE perception.....






In audio in the past, the terms Haas effect and law of the first wavefront
were used to identify this effect, but current scientifi c work has settled on the
other original term, precedence effect. Whatever it is called, it describes the
well-known phenomenon wherein the fi rst arrived sound, normally the direct
sound from a source, dominates our impression of where sound is coming from.
Within a time interval often called the “fusion zone,” we are not aware of
reflected sounds that arrive from other directions as separate spatial events. All
of the sound appears to come from the direction of the first arrival. Sounds that
arrive later than the fusion interval may be perceived as spatially separated
auditory images, coexisting with the direct sound, but the direct sound is still
perceptually dominant. At very long delays, the secondary images are perceived
as echoes, separated in time as well as direction. The literature is not consistent
in language, with the word echo often being used to describe a delayed sound
that is not perceived as being separate in either direction or time.Haas was not
the first person to observe the primacy of the first arrivedsound so far as localization in rooms is concerned.

Sound Reproduction The Acoustics and Psychoacoustics of Loudspeakers and Rooms Floyd Toole Chap.6 P.73






In 1989, Morimoto and Maekawa demonstrated that
spatial impression comprises at least two components and
that a listener can discriminate between them [1]. One is
auditory source width (ASW) which is defined as the width
of a sound image fused temporally and spatially with direct
sound image, and the other is listener envelopment (LEV)
which is defined as the degree of fullness of sound images
around the listener, excluding a sound image composing
ASW.

In the field of room acoustics, it is popular belief that the early and late reflections contribute to auditory source width (ASW) and
listener envelopment (LEV), respectively. However, some papers have demonstrated results not necessarily in agreement with the belief.
In this paper, a hypothesis is proposed to clarify the essentials of ASW and LEV from point of view of the auditory phenomenon. The
hypothesis is that the components of reflections under and beyond the upper limit of validity for the law of the first wavefront contribute
to ASW and LEV, respectively. Two experiments were performed to evaluate the hypothesis. In the first experiment, the results showed
directly that the components of reflections under the upper limit of validity for the law contribute to ASW. In the second experiment,
four kinds of threshold were measured to evaluate the relation between the effect and LEV: image-splitting which corresponds to the
upper limit of validity for the law, LEV, reverberation perception, and reverberation disturbance. The results showed that the threshold
of image-splitting coincides with the that of LEV. This suggests that the components of reflections beyond the upper limit of validity for
the law contribute to LEV. In conclusion, it seems that the results of experiments shown in this paper favor the hypothesis.

https://www.researchgate.net/publication/223804282_The_relation_between_spatial_impression_and_the_l...

Mahgister: with all due respect, I didn’t ask you to explain the normal meaning of timbre, with which I am familiar. 

I asked you to explain in simple terms how you were using this common musical term in this context. I actually think you may be on to something, but I still have no idea what that is.

(The reason I ask is that I have spent most of my life reading and writing articles on specialized topics of no interest to anyone here and of no real import generally; but I did learn during those decades, that the only arguments, however banal or abstruse, that have any validity are those that can be explained or summarized  in ordinary language. I do not consider it a moral failing not to be an electrical engineer or not to be an expert in any other field.)