What kind of listener are you?

Yeah its Origin Live came up with this. One thing I find interesting is my Origin Live Conqueror arm does a better job of balancing these three pillars than most other components. Synergistic Research wire is a little more skewed to Clarity and Dynamics, my Herron is a little more Tonality and Detail, and so on. Not a lot, I just don't go for anything very far from optimizing all three. 

Its a small sample size. But it is interesting to note the one manufacturer who breaks it down this way is also the one to achieve the best balance across those criteria. Well maybe not so much interesting as expected: Plan your work, work your plan. 

mc,
I think the link you use is one leg of three things which affect what one hears.
-Equipment
-Recording
-Room

Perhaps I miss your point?

That Origin Live document is itself pretty "analytical," but interesting nonetheless.
For me, accuracy of instrumental timbre is probably most important, followed by spatial realism (soundstage width and depth, instrumental placement, "air" around instruments). But that would be primarily for acoustic ensembles: chamber orchestras, string quartets, jazz groups. For rock, tight and accurate bass is obviously important at loud volumes. Someone on this site has mentioned somewhere that large orchestras don't come across well on any but the most uncompromising (and expensive) systems in acoustically benevolent spaces, and I think that's true. For me, small chamber orchestras that are well recorded are among the most satisfying, and exciting, to hear on my system. Any of the Orpheus recordings of Haydn symphonies, for example, fall into this category.

change to Shinkoh resistor if you want and more intimate, emotional sound, change to Audio Note if you what a little more open musical sound just not as emotional. It is not the speakers so much.

Happy Listening.

As a classical piano student, and newly returning to this hobby, I unknowingly started out as an analytical listener.  Trying to catch the intonations, delicacy of touch, etc. as the performer expressed dynamics.

I realized this when a few songs of different kinds of music played for a while.  Wasn't focusing on anything.

Just sitting there listening.  Enjoying.  Not "critical" listening.  Musical listening.
No urges to get up and tweak the toe in, mess with knobs (except volume).

I am not knocking analytical listening which is enjoyable in its own right.
But "musical, feel, thrill" listening, ... when caught in it, everything disappears.  Time, the room, just about everything.

Guess I'm guilty for often overlooking these qualities when caught up analytically listening.