One thing I hope we can all agree on is that live music, or any live sound for that matter, is, by definition, phase-time correct. From the moment we try to capture that music or those sounds on any recorded medium, phase-time takes a hit, if ever so slightly. Those speaker designers who knew, from both an intuitive and engineering standpoint, that it mattered by doing the least amount of harm to an already compromised signal, were on the track for phase-time accurate, in-home music reproduction. As I’ve written several times here in other threads, our auditory system evolved to be acute in its time-domain sensitivity purely for reasons of survival. Studies have been performed, but we really don’t know the absolute time-resolution limits for directional cues resulting from differential arrival times between our two ears. And, it turns out, pressure receptors in our skin have some ability to detect these time domain elements as well; some directional perception comes not only from our ears. From what I’ve read in the peer-reviewed literature, the human ear can tell the direction of a 90 degree side-presented, 1500 Hz pulse of 660 microseconds (or 0.660 milliseconds). Most speakers cannot even accurately resolve that timeframe when subjected to step-response measurements; those that can are phase-time correct. This is a clear case where objective design, measurements and bioacoustic science merge to create a subjective advantage.
About 15 years ago, when downsizing my system from CS7.0 (which I loved!) to go to a pair of Dynaudio speakers, that experiment lasted less than a year before I purchased a new pair of CS6s. I have now found a home for these due to yet again more downsizing, but my 2.4s are indeed keepers.
About 15 years ago, when downsizing my system from CS7.0 (which I loved!) to go to a pair of Dynaudio speakers, that experiment lasted less than a year before I purchased a new pair of CS6s. I have now found a home for these due to yet again more downsizing, but my 2.4s are indeed keepers.