Impedance is still the same variable these days it always has been. So are all the other variables.
Switch gears to fighter aircraft for a moment. During WWII the Mitsubishi Zero was one of the most maneuverable fighters around. One of the reasons was the manufacturer left off most of the armor plating that protected the pilot. The reduced weight help make the plane more maneuverable. (That's an interesting choice if you happen to be the pilot.)
Fast forward and we now have materials that provide pilot protection but weigh less. But they still weigh something and still take up room. The plane's performance would improve if you left off those materials, whether the old armor or the modern version.
So, sure. Modern materials and techniques may lessen the burden of a design compromise compared to older techniques, but that doesn't get rid of the issue.
You're still on your one-note samba. Even today, impedance alone does not determine the quality of a speaker. It is just one of dozens upon dozens of factors a speaker designer gets to juggle.
(Written as I am enjoying a gorgeous rendering of the 4th movement of Beethoven's String Quartet in G on my very 8 ohmish Spendor SP1/2Es.)
Switch gears to fighter aircraft for a moment. During WWII the Mitsubishi Zero was one of the most maneuverable fighters around. One of the reasons was the manufacturer left off most of the armor plating that protected the pilot. The reduced weight help make the plane more maneuverable. (That's an interesting choice if you happen to be the pilot.)
Fast forward and we now have materials that provide pilot protection but weigh less. But they still weigh something and still take up room. The plane's performance would improve if you left off those materials, whether the old armor or the modern version.
So, sure. Modern materials and techniques may lessen the burden of a design compromise compared to older techniques, but that doesn't get rid of the issue.
You're still on your one-note samba. Even today, impedance alone does not determine the quality of a speaker. It is just one of dozens upon dozens of factors a speaker designer gets to juggle.
(Written as I am enjoying a gorgeous rendering of the 4th movement of Beethoven's String Quartet in G on my very 8 ohmish Spendor SP1/2Es.)