In article , SteveB
sbrads@nildramDOTcoDOTuk wrote:
My own personal take on the instrument timbre issue is that the speakers
are critical (given that the rest of the system is well matched good
gear) but not for the usual hifi reasons. I think what really helps to
achieve that extra 'magic' is NOT having wide dispersion speakers as it
bounces the mid/treble around the room too much with the ears receiving
multiple reflections. This lessens the sense of hearing an individual
instrument working in it's own acoustic space as was present at the
original recording.

I'd agree with the above.

It also means that the response in use isn't as measured on-axis in an
anechoic chamber. Thus making such measurements considered in isolation of
dubious value.

It becomes a blurred mixture of the original acoustic and the listening
room's acoustic signature. Conversely, old speakers like the Quad 57
tend to beam the sound straight at the listener resulting in a
hypercritical stereo sweet spot, but you can hear the original acoustic
because of that flaw and it can help make an instrument sound more
'real'.

I'd agree that the speakers tend to be the critical part of the system. And
I prefer the ESL's. Partly for the dispersion reasons you give. Partly due
to the lower levels of colouration and distortion thay can provide.

Thus - despite having worked for some years as am amplifier designer - I
regard the importance of the amp as being much less than that of the
speaker, the room acoustic, and the placement of the speakers and listening
position in the room.

Slainte,

Jim

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