The simple fact is, if you design your loudspeaker to optimise any of the criteria outlined in the first paragraph, you will almost certainly damage the ‘time coherence’ of the loudspeaker, and adversely affect its effective ‘dynamic’ ability! In our experience, these are the two ‘must have’ elements if you want to reproduce a musical performance rather than aural wallpaper. The time smear caused by complex crossover networks also reduces the loudspeakers ability to track dynamic changes accurately. These filters introduce time shifts between the drive units, causing time distortions. To cover this range effectively usually requires several drive units to be deployed, each covering a limited frequency range, then joining these units seamlessly together through a ‘crossover’ unit – a set of inductors, capacitors and resistors that act as filters. When listening to music we are trying to recreate an experience where (more often than not) a bunch of musicians are playing together, on instruments playing over several octaves of frequency range.
Our experience shows that there are far more fundamentally important issues when listening to music, that can be effectively engineered out of existence by designing speakers to fulfil the design criteria above. Then there are people who seek a smooth sound, and lack of harshness is the number one criterion for picking a speaker. For others it will be ‘neutrality’ – BBC engineering had a requirement for low colouration monitors that persuaded many Hi Fi enthusiast to regard this as most important thing. The Hi Fi industry has learned a lot about squeezing quarts from pint pots in the area of bass output. For some, a good loudspeaker is one that has very extended bass.
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