Paul S wrote:

Years ago I did not like the sound of then-new metal diaphragm drivers, and I also found plenty to dislike about "horn sound" from various drivers in various horns. Over time I heard other drivers that used similar-but-not-the-same topologies, perhaps altering and/or limiting the range to produce sound I liked. Like Romy said in his recent video, there are lots of "hidden elements" that affect sound, that the "Sound Seeker" has to "deal with". It might be plastic vs. metal rings for diaphragms, or the length or "rate" of a horn for a given driver in a given frequency range, but what I am saying is that we can "shape sound" to our tastes if we "just" know how. A very common problem with speakers (to my ears) is trying to force drivers "too low" for their topology. And I can't presently think of drivers that can sound really good running more than 3 octaves. Everyone should suit themselves, of course; but I would not be looking for LF from 8" drivers, nor 1k Hz from a 1" dome. There are plenty of commercial speakers that I think are pretty much hopeless. But I hear glimmers from some, and, like I have said before, there is ALWAYS something to be learned from Good Sound. The buy, plug and play technique will only get one so far, IMO; but until the punter starts to worry about it "there is no problem". Find a (Personal) Need and Fill It. Paul S

Amir wrote:

I think the magic key in advancing audio is understanding the proper meaning of “dynamics” . In my opinion The main problem is audiophiles care more about “musicality”, “sweetness”, “resolution” , “soundstage” , “tone” , “transparency” … but I think the key is advancing audio playback for perfect “dynamics” in all frequency range 20-20khz. When your priority is “dynamics” then you will find horn speakers overally are better than other types of speakers.When your priority is “dynamics” then you will find the amplifier should be match to Speaker for perfect dynamic in all frequency range. I think Romy DSET concept is more dynamic than single SET.When your priority is “dynamics” then you will try to find the perfect speaker position (DPOLS). When your priority is “dynamics” then you will find computer audio is not good enough for music playback.When your priority is “dynamics” then you will find ac quality is very very important and also you will find all ac filters and most ac cables are not good.

Amir wrote:

What I think is in right setup (DPOLS and perfect electricity) we can have both good dynamics and good tone. I always said we can have two audio system, one system for better tone/musical and another for more real/transparent sound but I never like to trade-off dynamics.

2) The strongest improvement takes place in the subjective domain, reflecting the emotion and spiritual content of recording. The DPoLS highlights the energy of performance; boosts the ethical load of the musical content, highlight the intonations and the timbre connections of the musical phrases. Starting with a certain level of capacity of the rest reproduction chain it is possible to talk about not “reproduction” but about the reinstating and resurrection of the “original energy of live”.”

As A. Polakov mentioned My experience shows proper speaker position has great impact on tone/harmonics/musicality.

Romy the Cat wrote:

Amir wrote: What I think is in right setup (DPOLS and perfect electricity) we can have both good dynamics and good tone. I always said we can have two audio system, one system for better tone/musical and another for more real/transparent sound but I never like to trade-off dynamics. The right setup has nothing to do with DPOLS or perfect electricity and it has absolutely nothing to do with tone. The right setup is a topology not DPOLS or electricity . I also very much do not know what it means "one system for better tone/musical and another for more real/transparent sound". Why we ever have a conflict between tone/musical  and real/transparent? I think you are very confused. I will try to record a clip about dynamics later on.

Paul S wrote:

How great it is to revel in Music during good electricity or DPoLS! These conditions really allow one to “listen past” the system, which is a Joy unto itself. But neither good electricity nor DPoLS is a substitute for “correct topology”, in terms of range, power, or any number of “variables” one might summon to parse the sound of music from hi-fi. Ironically, both good electricity and DPoLS remind us of what we “ought to be aiming for” from hi-fi, which is to say, Music. And this takes us back to taste, and how much “Live Sounding” playback we actually want to hear from a hi-fi set-up. For me, and speaking for myself, neither DPoLS nor good electricity sufficiently scales up Bruckner from a small system. Likewise, the “wrong” system of any size does not help me make Musical sense of Bruckner. Which is only to say – again – that “topology matters” and the effects of topology on sound and Music are not nulled by good electricity or DPoLS. And then there is the matter of sources. What are we listening to in the first place? I think “topology” as we use the term plays in to the sound(s) and music from sources that we start with, as well. I have fallen so far off the pace with streaming that I have no idea what “streaming people” are “working with” these days, especially when streaming is used as default sound referred to in expositions about the sound they get from their systems. A nice place to end on the idea of Personal Sound Paul S

One might say that our perception of reality depends on our perception, internal processing, and organization of the Play of Differences. In any case, audible differences are certainly critical to my perception and appreciation of Music. Time to beat the topology drum again, because this is the only path I know for “maximizing differences”, fining them, and bringing relevant differences into critical focus. How this is done, or whether it is done at all, depends on system topology. All gear imposes limits of one sort and/or another. Some gear imposes hard limits. The art of audio is getting acceptable results with the gear of ones choosing.>>

Paul S

rowuk wrote:

In my world, the art of audio is learning to live with what you have. We are creatures of habit and are what we repeatedly do. There is an acclimation period for humans that can never be counted in minutes, hours or even days. Even good habits are the result of long term repetition. I believe those that search their whole lives for minute "improvements" in dynamics, color or any other audiophile parameter are missing the most important one - our own minds. There are so many posts about gear improving this or that - but those people never talk about their own perception. What did they learn about the performance during the last listening session. I am a professional trumpeter and other trumpeters have a similar problem: the search for the perfect mouthpiece that makes everything easier, better in tune and more dynamic. I consider these people to be lost souls. Human beings make music, not trumpets. We develop our own voice when we STOP making changes and develop what we have. If we rob ourselves of the opportunity to become intimate with our playback, our instrument, our mouthpiece, our "impressions" are essentially random. We limit our perception to being based on something that we have no deep understanding of.