What exactly is textural density??

I forgot to say that some source can give a better "textural density" impressions  than some other source for sure...But in some room better also than in some other room....In some electrical house grid better than in some less controlled other one, then context is a factor very important not only the specific  electronic design.... But reviewers must sells what is it there  to sell .... They dont sell their room, nor their electrical grid....  
😁
The perception of "textural density" is an acoustical phenomenon and a musical one first, not an electronical design one....

The more I consider the question, the more I like @oregonpapa's example of a cello or upright bass played with a bow. My sister played cello, and I've played with a couple of acoustic basses, so I'm pretty familiar with the sound they produce. The catgut strings on a bow, pulled across the strings of a cello or bass (or violin, for that matter; I've also performed with a couple of fiddle players) produces a very physical sound ( a "scraping"-type sound), one possessing lots of texture (think of running your hand across a deep pile carpet, or a loose-knit sweater ;-) .

Textural density relates to the amount of the "physical" sound of an instrument or voice, as in not just the sound a drum produces, but also the sound of the wood or plastic tip of a drumstick striking the drumhead. The friction between the stick and head creates a sound of it's own, a textural detail. Direct-to-disk LP's are superior in their ability to reveal such texture. Textural density is the opposite of "whispiness", which is the lack of physical "presence". A ghostly apparition, without physicality.

^^^

 BDP24 is correct. Textural density, when it comes to music really has to do with the individual instruments. It is that ultimate realism that we are all after ... or should be after with our audio systems. If your system is resolute enough, you can hear it in vocal cords, bowed strings, struck vibraphones ... and even notes as they are being bent by an expert harmonica player. You know it when you hear it.

Frank

This is precisely what is called "instrument timbre", each instrument playing the same note giving his own specific "textural density"....

Instrument timbre perception is  one of the most important factor to analyse to reveal the accuracy of an audio system....    

It has to do with the music composition itself not the reproduction of it nor the playing,. This reviewer blabbering about textural density through headphones doesn't know what he's talking about.

“Realism” has everything to do with the correct expression of the naturally occurring harmonics (overtones) in the timbre of musical instruments. Audio equipment does not discriminate. If a piece of audio gear does not correctly reproduce the natural tonal (textural) density of a cello (to use bdp’s example) it will, likewise, not express the natural tonal density of an upright bass playing in the same range as a cello. They may each have different harmonic signatures overall, but any deviation from “realism” in a particular frequency range will impact another instrument playing in that range to one degree or another. Mahgister speaks to this Re “timbre”.

Djones, I agree with you, but I will give the reviewer the benefit of the doubt. “Tonal density” is a better term to describe what I think he is trying to say. Musicians use this term when discussing “timbre”.

Another term used in place of textural density---in particular by Sam Tellig---is "more 'there' there". The greater the textural density, the greater will the timbre of an instrument or voice be revealed.

Ray Charles', Howlin' Wolf's, and Aretha Franklin's voices have much more of it than do that of, for example, Brian Wilson, Graham Nash, and Karen Carpenter. We white's may benefit from some advantages, but when it comes to singing.....:-) .

What? No mention of Bing Crosby's tonal density? He has it in spades. :-)

I think we are conflating a couple of things. I don’t think this is about which voice or instrument has, in real life, more or less textural (tonal) density than another. While different voices or instrumental sounds obviously have different harmonic signatures, some richer in harmonics than others, as concerns the use of the term in audio (“more there there”), the point of quantifying or qualifying tonal density is to determine whether the reproduced sound does justice to the timbre of the sound being reproduced; whatever that might be. It is possible to have a sound that has “more there there”, as the phrase is used in audio, that is a sound that is TOO tonally saturated. Error of harmonic commission as opposed to error of omission. In my experience the opposite is the case more often than not....not enough tonal density.

Also, let’s not confuse tonal purity with lack of tonal density. I would argue that Karen Carpenter (or Bing Crosby) has no less harmonic density in her voice than Ray Charles. More nuanced with better balanced and integrated harmonics, yes. Less? I don’t think so.

I don’t think this is about which voice or instrument has, in real life, more or less textural (tonal) density than another......
the point of quantifying or qualifying tonal density is to determine whether the reproduced sound does justice to the timbre of the sound being reproduced; whatever that might be.

Right to the point!....

Tonal and timbre density and his texture to the perceiving ears is the most important perceived fact to evaluate our own system and any system.,...There are others but without this one any system is more trash than audio.... The unbeknownst fact to most is that implementing  controls of the working dimensions of the audio system is on par with a good electronic design choice to begin with.....

Herb is describing a richness of sound and detail accentuated in some pieces of music and lost or retained by certain combinations of gear/cabling/AC purity, I think. Interesting to note the musicology of his terminology, but no need to fault him for his resourceful prose, even if not textbook.  I always enjoy his reviews as much for his prose as his clear lack of corporate sponsorship.  We also seem to have similar tastes, so it makes finding good value gear easier.

Good post and I agree. His attempt at a description points, once again, to the issue of harmonic truthfulness (timbre).

The use and better understanding of terms (“resourceful prose”) that are rooted in musicology to describe the perceived sonic qualities of audio gear is not only appropriate, but is something that, were it to happen more often in audiophile parlance, would reduce the level of confusion we often see in discussions like this one. I have always found it interesting and not a little ironic that there is often a disconnect between terminology used in audiospeak and well established terminology in musicology when, in fact, the actual parallels are many. After all, it is music that audio is dealing with, no?

More than a simple wise post indeed!

Thanks...

@frogman 
It would be great if more reviewers and consumers knew more musicology so they could help connect the worlds of music appreciation and audiophilia with greater accuracy and depth.  I feel like we're always just reinventing the wheel with our amateur descriptions.  An audiophile-focused glossary of music terms would be fun to use.

When a speaker pressurizes the air in the room effectively it causes a density change o the air in the room while listening that is hard to describe but when you get that you will not want to listen to a light thin sound ever again.

Herein lies the difficulty in describing how our brains process sensory stimuli

No two people interpret this exactly the same.

As a musician in an orchestra with 44 other instruments, we spend a lot of time working together to create a rich, multi-layered harmonic sensory experience. Some might call that 'textual density'. Others, simply 'music'. 

String players work together and focus on playing certain notes using specific bowing techniques. When they all get it right, it is magical.

As a brass player, the goal is to always be 'centered' on the note (this is the same concept that opera singers focus on). That is when the richness of the instrument's tone comes alive. 

I try to mimic that sensory experience in my system. Can I discern (hear) the instruments' under tones, harmonics, and partial harmonics? The decay of individual notes? Each section's contribution to the overall sensory landscape?

My goal is to be able to close my eyes while listening to a recording and feel like the musicians are in the room with me.

I happen to have a PHD in Textual Density. My dissertation was on the Rosetta Stone. 

I happen to have a PHD in Textual Density. My dissertation was on the Rosetta Stone.

I just begin to read your dissertation.... Congratulations!

https://www.amazon.com/Timbre-Acoustics-Perception-Cognition-Springer-ebook/dp/B07RMT74YN

Another great catch by Mr Magister!  That link is a great portal into the science behind all this audio psychology.
Music is the MOST abstract of all art forms. The result, when trying to describe abstract ideas, is usually metaphor.  Try writing down how it felt to get your last orgasm AND WHY and you’ll approximate the dilemma faced by any published critic.

Textural density to me means palpable,  having body, 3 dimensionality. I get this “feel” in the lower frequencies as heft, weighty slam .   In the midrange as layering , having mass.  Not so obvious in upper frequencies but discernible as having mass even if the sounds float between speakers.  One way of experiencing this is to compare different systems.  Once you pick it you will understand it’s meaning 

....one thing that struck me over the " a race car with fresh, sticky tires " comment is the fact that cold 'fresh, sticky tires' on a race car can fail to stick in curve six at speed just as fast as the hot worn ones you're just about to pit with....

'Textual Density' in music, Yes, can be thought of as describing a well recorded passage and/or series of same from an outstanding musician/singer or group of same, be it a solo or group performance.  It can also be applied to an instrument in the hands of Yo-Yo Ma, always a delight to hear....

In the case of the reviewer....likely more to the tactical qualities of his brain matter and his noted penchant for 'prose' postures.  We can perhaps assume that he may be paid by the word count and how glossy something is by such flourish pronouncements....

Just an cynical aside, mind you....carry on....;)

"....one thing that struck me over the " a race car with fresh, sticky tires " comment is the fact that cold 'fresh, sticky tires' on a race car can fail to stick..."

Good catch, even if I say so, as that was my thought in my first post here. I did not elaborate as I thought that millercarbon would catch that detail.

 "As far as tires go, maybe it is not the best comparison."

www.liveabout.com/musical-texture-2455907

There.

i am reminded of the words of english poet adrian mitchell, who commented, " Most people ignore most poetry because most poetry ignores most people." most people ignore most audiophilia because most audiophilia ignores most people, many elites of various stripes place their thinking a cut-above that of the "great unwashed" rather than try to spread their love of music in a practical way, to those outside of their camp.