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His version has 72! Tweeters per side to deal with that.

From a=f/m more mass does take longer but only if the force is the same but the force can be adjusted to get the same acceleration. With sine waves an increase in mass (decrease in acceleration) just lowers the amplitude, so as stated by purifi it just lowers the efficiency. But it also...

Those can all be had (except maybe looks) for $2 a foot plus connectors.

Not just music. As a sound fx editor I saw waveforms of gunshots and explos, nothing has a rise time of less than a few samples (at 44.1khz). Recorded sound is bandwidth limited (LP filtered) which means the rises time (speed) is also limited, most obviously in digital to 1/sample rate. As...

Yes. Which means using a shielded pair cable (shield plus 2 conductors), not coax.

As in blind testing? Im not making any claims.

So you have no explanation for sparkly and thus no solution. If a customer asks for a spaghetti sauce thats not spicy the cook knows exactly what to do. If you want something less sparkly you just trial and error. And very few here buy subjective opinions at face value, have you ABXed those DACs?

... you live in the most litigious country in the world. How else do you keep 30% of the planets lawyers busy?

What makes something sound sparkly?

Only if there in phase. Are theses meters fast enough to show clipping?

Room gain and speaker directivity can also make a level difference.

So Nuemann, Genelec, Meyer, etc etc are not well informed. I guess they need to go to acoustical church so they can become highly enlightened like you. :facepalm:

But none will exceed the bandwidth of the Amp, as in the highest freq sine wave the amp can reproduce.

Slewing happens when the Amp can't keep up to the change in input. Usually because of the compensation cap in the voltage gain stage. It drives the Amp out of its linear region and into overload (the feedback dosnt work). Thats why the 5 to 10 times safety margin. From "Analysis and Design of...

Thats the slew rate needed for full power at 150khz. Audio amps never go past 20khz full power so the actual slew rate needed is less, but the rule of thumb is to multiply the amps max rate of change (which is what is calculated above) by 5 or 10 to give you the slew rate needed.

Remasters work with a stereo mix, so the only tools are EQ, compression/limiting and noise reduction. There's no remixing. That would be a remix, which are out there (search Steve Wilson remix) and they definitely make a difference. As far as remasters, if there to "fix" something fine but most...

Yes I see, a red herring. The work in acoustical physics was done by Klipple, are you saying the measurements are wrong? Than your saying the Klipple dosnt work. Why don't you sue Klipple? And soon Amp makers will be suing Audio Precision. What a joke.

For my DIY guitar amp I used a That Corp IC. Sota. Lots of compressor designs here. https://thatcorp.com/pedal-page/ And it was SMD. I soldered it to a smd to dip adapter, wasn't hard.

Studios also had other speakers to check the mixes on medium and "car" speakers. Do you think all those great recordings from the seventies were done on 3" speakers?

No. By the seventies all half decent studios had large format monitors. There were JBLs and Tanoys with 15" woofers and heres one of the most popular, 2x15" drivers.