What is “warmth” and how do you get it?

Recognizing that the term "warmer" appears to be impossible to define with any degree of consensus I would add that I find soft dome tweeters "warmer" [whatever that means] than metal domes. I base this on the Scanspeak ones in my Spendor SP 1/2Es and S 100s and Gamut L5s and the Focal Titanium ones in the Mini Utopias I use to have and in my friends Wilson's. The metal domes seem wonderfully detailed and accurate but somewhat "cold". Others would doubtless have other reactions and I am sure there are differences in their behavior that are not reveled in simple frequency response tests.

when i defined warm i did not quantify the peaks or dips in the treble and bass regions, respectively.

syrupy or dark might be the result of a large deflection from neutrality (what is large).

my favorite spot in the concert hall is the last row orchestra, there is some loss in reolution and a roll off in the treble, although i am not sure where it starts.

considering the distance from the stage to my seat, other things may be happening as well.

but again, warmth and live are not the same.

one more consideration:

warmth is a spectral balance. it is different from neutrality. it must concern the realtionship or balance between the treble and bass regions.

thus as far as arecording is concerned, it is tuning of a stereo system to create a particular balance that provides a greater emphasis upon the bass region than the treble region.

it probably results in a loss of resolution.

FWIW, and its already been discussed fairly well, I think the terms warm(er), neutral, or cool/analytical, are difficult when used to discuss the sound of music. Audio, OK, maybe.

Not to be overly simplistic, but what turns me on is always a sound that is natural, sympathetic to the sound of live music, and draws my attention to musical content and detail, but not so much the stereo/multichannel effects created by a well executed system.

For the most part I listen to live music in the orchestra section row G dead center where the power of the orchestra, the separation of instrumental detail but where the total integration of the orchestra is best (for me). The sounds from the string sections, violins especially, are never dominant nor screechy (bright, too prominent, which is often a product of the recording itself) and small groups and solo instruments in a recital hall (which has superb acoustics.) So I have selected components, speakers, etc, which replicate best that live experience. BUT IT'S NOT LIVE and that is not my audio goal.

FWIW I really agree with most of hifiman5's comments.

02-06-11: Stanwal
I would add that I find soft dome tweeters "warmer" [whatever that means] than metal domes...The metal domes seem wonderfully detailed and accurate but somewhat "cold".

I agree with this impression, Stan. Before hearing the beryllium tweeter in the Focals, I had never heard a metal dome tweeter that appealed to me, including those used in top notch speakers like Wilson. To my ears, the beryllium tweeter doesn’t sound inherently "cold" (though I have heard it give that impression when paired with certain upstream components). Having said that, it doesn’t sound inherently “warm” either. So while I suspect that, for this issue, the tweeter isn't hurting, I agree with you that it probably isn't helping either.

02-06-11: Almarg
The one thing that occurs to me that has not yet been mentioned, and which I think factors into "warmth" significantly, is hall ambience, or the lack thereof.

This had not occurred to me, Al. I suppose part of the reason is that, when I think of “warmth,” I tend to think of a sound that is “intimate” or “immediate.” In other words, I think of a high ratio of direct to indirect sound, which would typically correspond to listening to a live event from a relatively close position. But that may be an idiosyncratic association on my part. Like you, Hifibri seems to have the OPPOSITE association:

02-05-11: Hifibri
To complicate things in absolute terms, the FURTHER you are from the source of live music, the 'warmer' the sound will be perceived. [emphasis added]

This makes me wonder whether you, or Hifibri, would say that studio recordings (i.e. those with few or no ambient cues) can’t sound warm?

I should mention that I don’t think anybody owns the term “warm,” so I’m not disputing the “proper” use of the word. I would also add that it’s perfectly normal that folks have different associations with the term, especially in light of the fact that, in this context, it is highly metaphorical. Nevertheless, it's useful for me to hear other people’s understanding of it, because that may provide clues to what’s missing in my own system.

Bryon