The Absurdity of it All

jasonbourne52  You can hear a pin drop.  Wow!  That is proof to you, I presume, that you have perfect hearing.  Go get a test.  You will be surprised at the middle frequencies you do not hear, much less the ones above about 200 cps that a dropped pin makes;  however, we can just turn the volume up a whole lot and hear stuff that is normally silent to us. even if with a highly different frequency curve than a baby, or young teen.  I bet if you ask a bunch of tweens if they use a ringtone out of teh frequency of adults, you will find some a=who can demonstrate this to you.  This ring allows them to check messages in class, without allowing the teacher to hear it.

I was listening to a Milstein recording last night. I swear I heard a rosin particle fall off of his bow and hit the floor. 

Frank

Hearing, or, loss of hearing, I can testify, is indeed real, and, a huge loss of ones god given happeeenissseses...
Proof:
I can’t hear all the girls whistling at me (my hearing was much better in the 60’s, 70’s, a decent run in the 80’s)

perkri...

Try running a 60hz tone through the set up. Sit where you sit and listen to the timber of the bass. Then walk around the room. It will at some point become a droning mess, at other points it will almost vanish.

Very true.  It was eye opening to me when I actually heard cancellations occur as I walked around the room when setting up twin subwoofers. I found that not only location of subs and the location of the sitting position was important but using the phase adjustments made enormous differences. At 60 hz I can flip one switch on one of the subwoofers 180 degrees out of phase and create a null where you can't hear anything. Dead sound occurring at 60hz in my listening position. Move my head 3 feet forward out of the null and bingo there's the sound again. It also has a big impact on the lower 30hz region. Flipping the switch on the phase was like turning on and off the light. Huge differences in timber and output were achieved.

The important lesson is that bass needs to be focused on the seating position and can have negative interaction with the main speakers that can be phase corrected. This is a critical experiment that can yield a huge difference and it's free!!

Mahgister, can you show us a picture of your mechanical equalizer? I am not sure what you mean by "tight pressure zone" comparing it to strings on a violin. Maybe you mean tight tension?

kevn, all you describe are aberrations of frequency response. I can make any female voice sibilant by boosting frequencies between 3 and 5 kHz just 2-3 dB. I can remove sibilance just by dropping the same frequencies 2-3 dB  Frequencies between 3 and 8 kHz are responsible for the "brightness" of the sound. This is frequently and incorrectly associated with detail or lack there of. If I were to give two very different speakers, say a Klipsch Cornwall and a Magneplanar 3.7i the exact same frequency response curve they will still sound very different. Even though their tonality is identical their timbre is not. It is in this domain where the best speakers excel. The problem for loudspeakers is that they have to mimic the timbre of a vast array of instruments that make sounds by a vast array of mechanisms. The speakers that are best at it seem to disappear leaving individual instruments hanging in space, 3 dimensions. I remember vividly the first time I heard a loudspeaker system do this. It was Dick Sequerra's Pyramid Metronome 2+2W+Ti system driven by Threshold electronics. The owner was heavily into jazz. I had him put on Waltz for Debby and a holographic image of the Bill Evans trio appeared in space. I was not even stoned at the time. Needless to say my satisfaction with my own system dropped to all time lows. There was no way I could afford equipment like that at the time but it gave me a target to shoot at. I can count the systems on one hand that reached that level of performance in my experience.