Audio Diversity - What is it?

It's a fascinating subject. For starters let me give my opinion on reproduction: music reproduction is a representation of an original -- NEVER the original. In the same way that a portrait is NOT the original, likewise, blind (i.e. non video) music at home is an interpretation of the original material; in this case the LP or disc -- NOT the live event.

Trying to give a structured answer to Tom's question, I'd say that my present take on the subject is that the "differences" relate to FOUR factors... in no order:

* The kind of music we favour.
Classical is acoustic, rock is electric often with processing thrown in. So, harmonics captured by the classical recording *should* reappear in the reproduction -- or we don't like the result. Classical has a lower bass content of ~40% to rock's +50%. So, the system priorities in either case would be different, in a real world rig (I readily concede that a well balanced 100k 2channel system can probably do both well -- but that's exotic for mere mortals).

* The sonic preference or goal pursued: Linkwitz (of xover & Audio Artistry fame) once remarked that he wanted the reproduced sound to be as close as possible *to the original* i.e., the recorded signal. That's one view. Another is to make a system emminently enjoyable (usually giving a few db boost to the 100-5000Hz region). Again, the appraisal of a system, by people favouring one or the other approaches, will be different.

* What are the sonic details we can live without vs. those we cannot accept compromise for. Viridian was very clear on this.
I, for one, love to get transient attack, as if experiencing a 20db headroom (i.e. 1-100 difference) is the minimum threshold to preserving my psychological well-being. Of course I also need pitch otherwise I get a stomach ache. So, of course, when s/one asks about, say, Spectral or Symphonic Line, I will find both products exquisite. Of course they have the ultimate extension in the highs & the lower low's. Do they have the pronounced & extended midrange of a good tube? No, in both cases, and by comparison the midrange is a bit "recessed".

*FINAL: most of us have scant knowledge of electroacoustics & the maths related to speaker performance. Unfortunately, no one seems ready to give us a few intelligible hints -- appart from this & other communities exchanging info.
So, we readily concede that speaker X performs better than speaker Y with amp X (amp X,Y vs. speakers, etc) when all that's happening is that the loads are iffy, the speaker's crossover components are of the 0,5c variety (and we buy expensive cables to correct the uncorrectable), etc.
Worse, very often even speaker placement is terrible CHEZ the professionals -- hence, a somewhat iffy tonal balance speaker placed facing straight ahead (we're listening well off axis) with an iffy amp/pre combo sounds good, compared to a good speaker playing the same pre/amp combo. Dangerous conclusion: the "better" speaker is worse.
It isn't.

Anyway, pls excuse the rambling

Addendum:

When a MAJOR performance gap is created between one product and the status quo we have found that debate ceases to exist; i.e. how many people this year will be purchasing black and white televisions as compared to color?

Most audiophiles really don't know audio. That's why they go on the "This vs that" type of question. They lack the fundamental skills to make a whole setup sound synergistically--from the power delivery/noise control to selecting and tuning components, vibration control and then on to room acoustics. I will say it over and over and over, "High end is who you are, not what you buy.".

And I'll add what my father taught me when I was in seventh grade:

"Twenty years' experience is not the same as twenty times the experience of a year."

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Ah, Twl is in prime agent-provocatuer form...I will agree with him, thus disproving his theory. :-)

Ego is a prime candidate for deciding which is better, the one I built or the one you built. Time, energy, experience, knowledge even money to maybe a smaller degree all interfere with two parties hearing the same thing. I am very proud of the unique Frankenstein I have assembled over the years. Some of these parts may seem old to some but much of the chase is to make what you have the best it can sound. Taking a stock chassis and making a race car out of it, example my still almost barely Dunlavy SCIV's. All that I have done with these now radical speakers could be applied to and I feel improve many other fine speakers. That was years long gestation period as well as a great learning process. Oh that ego part of me speaking... I feel I have learned much about passive room geometry enhancement because my perfect room 10 years ago turned out to be imperfect. Passive acoustic room cures much like managing the airflow of an automobile manifold have mitigated much of the problems I originally had. Sounds really good looks really cool. A recently added pull down movie screen was encased in another acoustic device much like the first but designed so as to capture resonance and disperse it to the ceiling studs as well redirect energy off the ceiling and back to the listener. I have tried to preserve the natural dynamics with out the negatives of dampening.. These journeys into and out of audio madness I feel have made me a better and more knowledgeable listener. It also keeps me out of the strip joints...Tom