In my eyes the frequency response tells us all we need to know. That recessed area between 1-2 khz followed by a broad rise will not go by unnoticed by any listener.
Here is an anecdotical story...
I haven't officially set up my R3's and R2C, first I need to change the main Tv furniture and make some space, room modifications + acoustic treatment and buy more pieces of gear. So I'm using the R3 as a stereo pair for casual listening and really love it.
The thing is that when I did unbox the R2C for testing and playing I remember placing it alone in the furniture and playing Dire Straits "
Your Latest Trick" from
Brothers In Arms SACD...R2C was the only speaker connected to AVR and I set it to play the same music through all the channels (no upmixing, no Dolby Pro Logic involved)...so I remember how struck and involved I felt with the music, especially with the realism and coherence of Mark Knopfler's voice, and the Saxo, it was wonderful. Mind I was listening to only 1 speaker with a coaxial driver, getting away from possible Stereo cancelations.
Then some weeks later came to my mind to listen to the same track but with the stereo pair, and even though I did and do enjoy them, it was not quite as spectacular as that first impression with the R2C alone. *Remember I'm talking about just a casual and anecdotical impression, not a serious review.
@Absolute Your post and other member's comments made me remember this so I dig into the official spinoramas.
This could explain much of what has happened here in the thread ??
If a speaker gets to end up with an In-Room response curve that represents a broad rise after a 1k-2k depression can be perceived as a little bit anemic and bright (R3). And if it gets some rise up in the presence region like 1k to 3k or has some step hard knee in the sub-bass/bass region you get the sense of fuller body, more pleasing tone, less fatigue (M16, R2C). I dunno, but this is something that could correlate.