Originally Posted by Scotth3886
"What you posted is not an answer to my question"
Sure it is, not like we haven't been over this before more than a few times. Right?
You asked "I'm very interested to learn what those other things are"
And I answered. What he and Wilkinson detailed are 'my other things': focus, clarity, envelopment, three dimensionality, including sound stage width, height and depth, image specificity, dynamics, etc. And to be sure, side to side consistency with regards to frequency response is very important"
It's 3:00PM and a decent day. It rained all day yesterday. So I've still got most of two cars to detail, then yard work, then cycling, then lifting weights, then meet my grandson for dinner, then grocery. You asked me a simple question. I answered a simple question. That's it! We've done the rope a dope in the roundabout many many times before regarding this issue, in depth. Exactly what do you expect to change this time?
>> There's much more to all of 'this' than just frequency response
Hmm. It's a fair (and interesting) question to ask what could account for all the cool playback qualities we like and differ on (ASW, other soundstage presentation, depth and similar dimensionality, location of sources, envelopment, yada and yada) other than
frequency response as a function of angle (= the definition of radiation pattern).
And after it, distance, and the hardness/softness of surfaces.
Is it "timing", "micro" resolution, "phase", "speed", "transients", "resolution", "focus", slammin' velvet or velvety slam or inky depth? Those are all covered by / expressed in the area of frequency response. Not distortions, not noise, with modern equipment. (Someone here just made what sounded like the same driver IMD arguments that McIntosh, whose very highly R&Ded loudspeaker systems no one owns, in my experience, or knows anyone who does, was making in the 1960s.)
Answer: It's the FR and delay of the image sources "in" the near boundaries --- see fig 19 at http://ethanwiner.com/aes/david_moran.pdf
--- which form the cool playback perceptions in our ears and brain. What else could it be?
Once you start thinking about this stuff methodically, the factors and variables at least become clearer, I find. Then you can spend your non-music-listening time reading extensively about the details and subtleties and other fundamentals in Toole's new tome, and the old one.
If some here really desire a home research project to delve which has meaningful and readily audible results, experiment w/ your speaker placements and take solid room power measurements (temporally averaging smartphone RTA) of the results in the crucial two lower-mid octaves ~90-~360Hz. Especially 100-200Hz, which reaches down to the upper bass. This is the area above where soundwave summing is mostly coherent and below where the incoherence doesn't much matter. (Practical tips on this later.)