How to meaningfully audition speakers??

Liz, didn;t realize the term "live music" was open to so much debate and qualifications. If its live guys playing and its not a recording, however they do it and whatever tools they choose, electronic or otherwise, isn't that "live"? What is it otherwise if not? Not a recording. Music of the "undead" maybe? I consider a guy playing sounds on a synthesizer live as well, as long as its not a machine doing it. That's just me...:^)

The subject of the value of the sound of live as a tool for establishing a (at
least partial) benchmark for the accuracy of reproduced sound is a topic
that always elicits strong opinions; some of which are simply misguided.
Misguided because the reasons cited for why it is not a useful tool are, at
best, misunderstood; and, at worst, agenda driven and made by listeners
who seldom (if ever) attend live music performances. The reasons why it
IS a very useful tool should be obvious; problems not-withstanding.

First of all, note that my original comment clearly states: "IF the sound
of live is your goal....". Not everyone has that as a goal, nor is it a
requirement for the enjoyment of reproduced music. However, having said
all that, IMO using the sound of live as a reference can lead one to the
BEST and most satisfying reproduced sound.

Part of the misunderstanding is the exaggeration of the problems with the
live experience; particularly as concerns live classical music, and this is
where most detractors miss the forest for the trees. Sure, SOME classical
music venues do occasionally use sound reinforcement. So what? The
vast majority of venues don't; and even if they do, there is still plenty of
merit in those live experiences that can be very helpful to the audiophile:
the tonal/harmonic complexity of a string section which is seldom heard in
reproduced sound, the proper scaling of instruments in relation to each
other, the beautifully subtle micro-dynamics, and much more. Now, we all
know how horrible the sound can be at many rock and pop concerts; but
even then there are things to be learned. For instance, I have never heard
a kick drum or rim shot reproduced over a stereo (ANY stereo) that had the
visceral feeling and speed heard at even less than great live concerts.
Why? Because in spite of often inferior equipment, bad venues, and
tasteless mixing (NOT Wolf; of course :-) ) there is so much less processing
and sheer stuff that the musical signal has to go through from instrument to
PA speaker than what the signal has to go through when recorded in a
studio, then mastering, pressing; and THEN, all of the stuff in our playback
systems.

No one is suggesting that we subject ourselves to bad sound simply
because it is live, and not be critical of it. But, the truth is that there is
plenty of really good, and sometimes great live sound to be heard if we
keep an open mind and keep our too-fragile audiophile sensibilities in
check.

Live music, in studio or otherwise is the reality, FBOFW. Right?

How much anyone cares about it though is totally up to them.

Alan Parsons has never invited me into his studio, so I will never know what that was supposed to sound like.

But I can walk down to nearest pub, recital hall outdoor concert and listen. My daughter will play her violin for me in our house for free (with some coaxing).

I find listening live FBOFW helps my ability to enjoy music in that I find the way things sound in general to always be interesting. Doesn't even have to be music. Ever hear a rooster crow from close up? Or listen to the sound of the surf breaking on a beach? How about the birds waking up at daybreak? Very cool!

Live music is the reference when but one can NEVER it replicate in one's room. One has to settle for what one uses as clues to convince oneself that what one is listening to is real enough to satisfy.

I like tone, detail and ambient clues while others prefer soundstage width and depth or instrument placement, frequency extension, bass performance, etc.

Whatever floats your boat should be what you're looking for in a speaker since it's the most colored performing piece of equipment you'll have in your system.

You'll encounter more compromises at the lower cost end of the equation than at the more expensive (generally) but those compromises have to be factored in with the rest of your equipment and what clues you like when deciding.

All the best,
Nonoise

Note that live drums go through plenty of processing at concerts including compression, digital reverbs, input pads, etc. The reason live drum sounds don't go through your hifi is the fact that uncompressed drums would blow up most any home system's speakers, unless you're using large, professional, huge coil 15" or 18" woofers. Try it...get a 1200 watt pro PA amp and a mic, and stand back. I record and mix live drums for jazz concerts, and get away with input pads and sensitive overhead condensor mics. Now that's LIVE! Also note that small jazz combos are often completely unbalanced if not miked somehow, unless you sit in the middle of the band which isn't usually allowed even for Elizabeth.