What do you look for the most in stereo loud speakers?

[PristineSound]

Imaging then.
Keith

Some literature will define imaging as sound localization in the 2D or 3D plane. But most consumers, as I have observed, define imaging on the 1D plane in line of the two speakers.

So if you define it as sound localization on the 3D plane, then you can call it imaging, which is an example in the (parentheses) anyway.

 

[respice finem]

Subjectively speaking: For me it is imaging and soundstage, yes, but not only. I would describe it psychoacoustically as "credible illusion", where a feeling of presence occurs and the instruments are neither much smaller, nor larger than in "real life". Not every loudspeaker can achieve it, and certainly not in every room.

 

[Multicore]

timbre

That's a property of loud speakers?

 

[Purité Audio]

Loud, loudspeakers?
Keith

 

[PristineSound]

That's a property of loud speakers?

What do you mean?

 

[Multicore]

What do you mean?

I understand the word timber to describe the qualities of sounds produced by musical instruments not the properties of reproduction equipment.

 

[PristineSound]

I understand the word timber to describe the qualities of sounds produced by musical instruments not the properties of reproduction equipment.

Any sound produced by any instrument or vocal can be reproduces by loud speakers. So the speakers will reproduce what is recorded, in this case the timbre. But the reproduction process is the question, how much will it color the sound and change the original recording as it reproduces the timbre.

If your speakers can't reproduce recorded timbre than how do you know it's a ukelele vs a guitar at the same fundamental frequency?

 

[MattHooper]

Imaging then.
Keith

It’s right there in the parenthesis; the OP meant to reference the totality of the spatial performance characteristics, which would include sound staging as well as imaging.

I think it’s worth separating “ imaging” from
“ sound staging” where the “ images” are the discrete locations of sound sources - a trumpet, drums, sax, vocalist or whatever.
Whereas the “ sound stage” is the apparent shape or scale of the boundaries of the sound or acoustic in which the image sits.

Essentially, like the difference between whether you’re listening to somebody playing a cello in front of you in a small room or in a large hall.

So recording-wise you could be listening to a very dry cello recording in which the cello image is tightly focussed at the centre between the speakers, but if you take another version where you’ve added a wide reverb or you have recorded that shallow in a large hall, then the sound stage around that same image is going to expand.

So we can talk about imaging placement and precision, while also talking about differences between the apparent size of the acoustic area in which it takes place - both in terms of the nature of the recording, and also in how certain speakers and set ups influence the sense of that stage.

 

[SSS]

Beside my vote for loudspeakers being able to play really loud with clarity and low distortion it must also go down to 40 Hz without bass reduction in order to hear E-Bass and Doublebass. Since I don't listen to church organs and movie sound effects it does not need to go much deeper.

 

[PristineSound]

It’s right there in the parenthesis; the OP meant to reference the totality of the spatial performance characteristics, which would include sound staging as well as imaging.

100%.

And for those who feel the poll doesn't make sense or is flawed, you still can participate by commenting, no need to pick things apart.

 

[Chaconne]

Tone/timbre is a function of frequency response, primarily, and the condition of the poll is that smooth FR is taken as a given.

The secondary determinator of tone/timbre is distortion - So I voted low distortion as the most important of the options.

I understand your point, but I just don't really think of listening to music in those terms. It's all (or mostly) about the sound of musical instruments and voices to me.

 

[MattHooper]

Tone/timbre is a function of frequency response, primarily, and the condition of the poll is that smooth FR is taken as a given.

The secondary determinator of tone/timbre is distortion - So I voted low distortion as the most important of the options.

That’s fair enough in terms of how you view this .

I view it a little differently: since the tone and timber of instruments and vocals can be altered in the recording, low distortion playback does not guarantee accurate reproduction of tone and timber. On the other hand, distortions in playback, especially in loudspeakers, can alter the perception of tone/timbre of voices instruments, and sometimes I find this can result in something I find pleasing or even sometimes more natural sounding given certain recordings.

This is why I personally disassociate the issue of tone/timbre from strict accuracy in a loudspeaker or anything else in the chain.
I can find the timber of instruments to be pleasant in accurate low distortion playback, but also sometimes in higher distortion playback.

 

[PristineSound]

I understand your point, but I just don't really think of listening to music in those terms. It's all (or mostly) about the sound of musical instruments and voices to me.

When you say truth of timbre what do you mean?

Timbre of instruments and vocals are recorded, assuming the recording is impeccable, then you just need to reproduce it impeccably as well.

To do so, it's all between distortion (resonances of any kind, harmonic, IMD, cone breakup, including phase and any time related distortion), similar reflected sound, that is controlled directivity. And of course linear frequency response. If it's a instrument that goes really low and the speaker doesn't have the bass extension, then that's bass extension.

I can't think of anything else that affects timbre.

 

[Chaconne]

When you say truth of timbre what do you mean?

Timbre of instruments and vocals are recorded, assuming the recording is impeccable, then you just need to reproduce it impeccably as well.

To do so, it's all between distortion (resonances of any kind, harmonic, IMD, cone breakup, including phase and any time related distortion), similar reflected sound, that is controlled directivity. And of course linear frequency response. If it's a instrument that goes really low and the speaker doesn't have the bass extension, then that's bass extension.

I can't think of anything else that affects timbre.

Truth of timbre? In my experience, some speakers reproduce the sounds of instruments and voices more authentically than others. Violins sound more like violins; trumpets sound more like trumpets (allowing, of course, for the variability of recording quality—which is seldom "impeccable" in the classical-music genre I listen to). I seldom think in terms of dispersion, frequency response, etc. (though I'm glad that you, Amir and speaker designers do!). I listen and hope I hear something decently close to what I hear in the concert hall. That's about it. I take it from your signature that you are a scientist, and I appreciate and understand the way you seem to go about thinking about speakers. But I'm just a guy who listens to music; I'll leave the science part to others! I hope both of us continue to find and enjoy the speakers that deliver what we want.

 

[teashea]

Flat frequency response and low distortion

 

[PristineSound]

Truth of timbre? In my experience, some speakers reproduce the sounds of instruments and voices more authentically than others. Violins sound more like violins; trumpets sound more like trumpets (allowing, of course, for the variability of recording quality—which is seldom "impeccable" in the classical-music genre I listen to). I seldom think in terms of dispersion, frequency response, etc. (though I'm glad that you, Amir and speaker designers do!). I listen and hope I hear something decently close to what I hear in the concert hall. That's about it. I take it from your signature that you are a scientist, and I appreciate and understand the way you seem to go about thinking about speakers. But I'm just a guy who listens to music; I'll leave the science part to others! I hope both of us continue to find and enjoy the speakers that deliver what we want.

Unless someone else who can provide further science, "truth in timbre" can all be summed up by similar reflected sound (controlled directivity), distortion of any kind (including time-related distortion) and linear FR.

EDIT: And good transient response. I should of added that to the options.

 

[Sal1950]

I voted Other since I can't put only one at the top of an importance list.
You should have made it multiple choice where we could have picked at least 3 of them that take priority for the voter.

When you say truth of timbre what do you mean?

Timbre for a speaker is a basic result of its tonal quality.
A perfectly flat speaker could be referred to as having perfect timbre. JMHO

 

[BigVU's]

What do I look for most in loud speakers? Currently I am looking for these things...
1. BIG MAMAS
2. Can run on 25Watt tubes or 200+Watt amps - of course with BIG VU's
3. Vintage Styling

 

[dfuller]

Truth of timbre? In my experience, some speakers reproduce the sounds of instruments and voices more authentically than others. Violins sound more like violins; trumpets sound more like trumpets (allowing, of course, for the variability of recording quality—which is seldom "impeccable" in the classical-music genre I listen to). I seldom think in terms of dispersion, frequency response, etc. (though I'm glad that you, Amir and speaker designers do!). I listen and hope I hear something decently close to what I hear in the concert hall. That's about it. I take it from your signature that you are a scientist, and I appreciate and understand the way you seem to go about thinking about speakers. But I'm just a guy who listens to music; I'll leave the science part to others! I hope both of us continue to find and enjoy the speakers that deliver what we want.

What you're describing as "accuracy of timbre" can be described via the usual measurements (along with some less common ones, e.g. multitone distortion and dynamic behavior).

Simply put - if a speaker aces everything (axial frequency response, off axis behavior, distortion both harmonic and nonharmonic, dynamic linearity) then chances are it's going to sound "right" to most people.

 

[Mart68]

That’s fair enough in terms of how you view this .

I view it a little differently: since the tone and timber of instruments and vocals can be altered in the recording, low distortion playback does not guarantee accurate reproduction of tone and timber. On the other hand, distortions in playback, especially in loudspeakers, can alter the perception of tone/timbre of voices instruments, and sometimes I find this can result in something I find pleasing or even sometimes more natural sounding given certain recordings.

This is why I personally disassociate the issue of tone/timbre from strict accuracy in a loudspeaker or anything else in the chain.
I can find the timber of instruments to be pleasant in accurate low distortion playback, but also sometimes in higher distortion playback.

You mean what sounds 'right' on playback isn't necessarily what is accurate to the recording?

I can go with that, in that an inaccurate loudspeaker can sometimes sound more 'right' than an accurate one, for tone/timbre.

But I tend to avoid those speakers as they will throw up other problems depending on what you play through them.