Mahgister, can you show us a picture of your mechanical equalizer? I am not sure what you mean by "tight pressure zone" comparing it to strings on a violin. Maybe you mean tight tension?
kevn, all you describe are aberrations of frequency response. I can make any female voice sibilant by boosting frequencies between 3 and 5 kHz just 2-3 dB. I can remove sibilance just by dropping the same frequencies 2-3 dB Frequencies between 3 and 8 kHz are responsible for the "brightness" of the sound. This is frequently and incorrectly associated with detail or lack there of. If I were to give two very different speakers, say a Klipsch Cornwall and a Magneplanar 3.7i the exact same frequency response curve they will still sound very different. Even though their tonality is identical their timbre is not. It is in this domain where the best speakers excel. The problem for loudspeakers is that they have to mimic the timbre of a vast array of instruments that make sounds by a vast array of mechanisms. The speakers that are best at it seem to disappear leaving individual instruments hanging in space, 3 dimensions. I remember vividly the first time I heard a loudspeaker system do this. It was Dick Sequerra's Pyramid Metronome 2+2W+Ti system driven by Threshold electronics. The owner was heavily into jazz. I had him put on Waltz for Debby and a holographic image of the Bill Evans trio appeared in space. I was not even stoned at the time. Needless to say my satisfaction with my own system dropped to all time lows. There was no way I could afford equipment like that at the time but it gave me a target to shoot at. I can count the systems on one hand that reached that level of performance in my experience.
kevn, all you describe are aberrations of frequency response. I can make any female voice sibilant by boosting frequencies between 3 and 5 kHz just 2-3 dB. I can remove sibilance just by dropping the same frequencies 2-3 dB Frequencies between 3 and 8 kHz are responsible for the "brightness" of the sound. This is frequently and incorrectly associated with detail or lack there of. If I were to give two very different speakers, say a Klipsch Cornwall and a Magneplanar 3.7i the exact same frequency response curve they will still sound very different. Even though their tonality is identical their timbre is not. It is in this domain where the best speakers excel. The problem for loudspeakers is that they have to mimic the timbre of a vast array of instruments that make sounds by a vast array of mechanisms. The speakers that are best at it seem to disappear leaving individual instruments hanging in space, 3 dimensions. I remember vividly the first time I heard a loudspeaker system do this. It was Dick Sequerra's Pyramid Metronome 2+2W+Ti system driven by Threshold electronics. The owner was heavily into jazz. I had him put on Waltz for Debby and a holographic image of the Bill Evans trio appeared in space. I was not even stoned at the time. Needless to say my satisfaction with my own system dropped to all time lows. There was no way I could afford equipment like that at the time but it gave me a target to shoot at. I can count the systems on one hand that reached that level of performance in my experience.