bipoles/dipoles for music...

I think controlled radiation yields better imaging and that the flooding figure 8 effect of dipoles or bipoles to slightly smear image but at the same time give it more depth. So to some the depth of image behind radiator would equal better imaging but its not really when you factor in loudspeaker placement. But it can be musically enjoyable I spent much time with both. Today if ruling out stats etc. Which to me makes little sense if wanting a dipole. I would suggest the fine designs of Duke at AudioKinesis.

I think we need to make a distinction between soundstage and imaging.
Soundstage is the overall width, depth, and height of the stereo image thrown
by the stereo pair. I *do* like the soundstage the best from omnidirectionals
because the soundstage stays stable relative to the 2 speakers even when you
move about the room. Unlike most forward-firing speakers, it doesn't
collapse when you move outside the width of the stereo pair. You can still
hear what both speakers are doing, but it's like if you're at a live concert and
you're sitting in one of the side sections. I was just auditioning a pair of nice
forward-firing speakers a few hours ago and I noticed that when I moved to
the left of the left speaker, the left speaker was all I could really hear. Not so
with omnis and bi-polars.

Many people distinguish imaging from soundstage, being that imaging is how
separate and holographic the individual images within the soundstage pop
into sonic focus. In other words, the soundstage defines how big the
soundfield is; imaging defines the elements within it. For imaging, definitely
you get more finite images with good panels or mini-monitors properly set up
and with you listening in the sweet spot. However, omnis and bipolars image
better than most people think they would. In fact, I find that omnis image to
about the degree I hear in live concerts. In a live concerti don't really hear
everybody's presence etched in 3D space as precisely as I do when sitting in
the sweet spot focused on mini-monitors.

However, given the omni/bipolar advantages in power response, stable,
realistic and scaling soundstage, and truth of timbre, I can comfortably give
up that last bit of imaging for all the other advantages I hear.

If you have a forward-firing pair of speakers and un uninterrupted home life
where you can consistently sit in the sweet spot, you might as well enjoy the
enhanced imaging of forward-firing speakers. However, since I'm often
puttering, cleaning, doing dishes, or typing on my laptop to the left of the left
speaker, I'm happier with omnis. And when I *do* finally settle into the sweet
spot for a focused listen, I'm plenty happy with what I hear.

Off axis dispersion is one of the great attributes of rear driver systems...one can be almost 90 degrees off center and still hear the separation of instruments, etc...I also enjoy the increased depth and relaxed presentation which lends itself to vinyl reproduction....in other words...instead of brutally punishing a recording...these systems tend to focus on what the recording is doing well..

08-03-12: Phasecorrect
Off axis dispersion is one of the great attributes of rear driver systems...one can be almost 90 degrees off center and still hear the separation of instruments, etc...I also enjoy the increased depth and relaxed presentation which lends itself to vinyl reproduction... ...these systems tend to focus on what the recording is doing well.

Maybe that's part of why I can spend hours on end spinning vinyl through my Mirage OMD-15s. They are also the first speakers I've had that reveal inner detail well while keeping it in musical perspective. Separation of instruments and voices is probably behind that. In particular I noticed the subtle blending of wordless vocal backup effects that I often didn't know were there.

Anyway, the idea that rear-firing and omni speakers create an indistinct but large smear of what's on the recording doesn't match my long-running experience. You can hear deeply into the soundstage--and therefore--the recording.

With a well executed design, I suspect that there is less fatigue factor in general whenever all the sound is not being fired directly at your ears in the sweet spot. I think this generally lends itself to longer listening sessions, especially at higher volumes. At lower volumes, listening fatigue is less of an issue and it is generally easier to handle all the sound firing directly at you. At least, this would seem to be consistent with my experience.