What is the most overlooked consideration?

I have to say, your definition / reasoning of microdynamics versus timbre doesn't seem accurate. I'm not sure where that interpretation came from.  Microdynamics refers to subtle changes in loudness / volume or fine-level details of the sound over short timescales.  Timbre is the tonal color, i.e., warm vs cold / bright, or quality, i.e., rich vs lean, of a sound allowing one to differentiate different instruments or voices.

i was speaking of the vibrating sound source, for example a vibrating violin, under the touch of a musician which total  resulting microdynamics created a timbre quality perceived differently from different location... This timbre qualia inform us about the state of the vibrating sound source and even about the state of the musician touch...

I never spoke of microdynamics versus timbre...you misread my posts...

I have to say, your definition / reasoning of microdynamics versus timbre doesn’t seem accurate. I’m not sure where that interpretation came from.  Microdynamics refers to subtle changes in loudness / volume or fine-level details of the sound over short timescales.  Timbre is the tonal color, i.e., warm vs cold / bright, or quality, i.e., rich vs lean, of a sound allowing one to differentiate different instruments or voices.

I suggest everyone here look up the meaning of "musicality". The "performance" and "composition", ime, is what I listen for, from my recordings. Timbre and tonal color, while important, has been changed from reality, once the mic and mixing console has been brought into the picture. Here is a question, as an example. Take your favorite musician (let’s use a vocalist for this), place this vocalist in two different settings. (1) a grand concert hall, (2) an airport bathroom. What will sound better? Now, take a mediocre vocalist who is not very good, and place him/her in the same two locations. What will sound better? I would always take the concert hall scenario for the acoustics, but if I was given a choice, I would rather listen to the better vocalist in the bathroom, vs. the inferior vocalist in a concert hall. This is me, and I look/listen for the performance 1st. What I am saying here is, I have heard so many multi thousand $ systems in bad rooms, and average systems in great rooms. Listening for the performance and composition over everything else, would determine which I prefer......and let’s not forget...the reality is, the recordings for many audiophiles, are the bottlenecks with the entire sq presentation. This is why so many listen only to those rare "great recordings", and pass, on some excellent performances and compositions. I know some of this might not make sense, but......comparing live, unamplified music to recordings, is a destination we will never get to......for timber, warmth, etc. The performance, and the composition....these two elements are in all of our recordings. So, buying a piece of gear, because it seems to get the timbre right? The timbre has been altered already. What about the microphones, the selected placement of the mics, and everything else down the line prior to our ears experiencing it....this is generally decided by the producer and maybe the artists........my current system is less expensive than what I once had (my choice), and it brings me greater enjoyment to the two basic characteristics I listen for. Honestly, this is some rant, if there ever was one. BTW, I would take the bathroom scenario any day, to hear the better vocalist, if it came down to it......whatever works best for you.......can you guess my answer to the question asked? My best, MrD. 

In a flawed by design stereo system (See Dr. Edgar Choueiri papers here ),

there is no "mythical" reproduction of the timbre experience, which is also not only a tone experience but a dynamic experience (the way the musician hands touch the guitar strings for example ) There is only a translation of the recording trade-off choices of the recording engineer room & micros parameters according to the acoustics parameters of your room system...

i dont listen to a dac, i listen to the timbre experience in real life and in playback to learn how to make an improvement in the acoustics parameters of my room to improve not the impossible reproduction but the acoustical optimal translation of the recording choices in my own room  ...

Acoustics rules audio not the reverse...

The performance, and the composition....these two elements are in all of our recordings. So, buying a piece of gear, because it seems to get the timbre right? The timbre has been altered already. What about the microphones, the selected placement of the mics, and everything else down the line prior to our ears experiencing it....

To answer the OP question i will write only one sentence :

 It is useless to buy a 5,000 bucks dac if this dac is not as most dac in most system properly grounded ...

The most important lesson in audio comes not from upgrading experiences contrary to what  most think  boasting about their gear pieces tastes (price and results);

It comes from proper electrical,mechanical and acoustical working optimization process...

It ask for time not for money, it ask for  acoustics studying and experiments not about  audio reviews study...