The perception of timbre can indeed be influenced by room acoustics—through reflections, absorptions, and resonances that may subtly enhance or diminish certain frequencies. However, these effects are generally minor compared to the intrinsic harmonic content of the sound produced by such components as a DAC or preamp.
Therefore, I respectfully disagree with the assertion that timbre is an acoustic "concept" that can be rationed by the ASW/LEV ratio. To illustrate this, consider a simple experiment: move from your main listening position closer to the speakers, thereby minimizing room acoustic effects. You’ll likely find that the fundamental "color" of the sound remains consistent, reinforcing the idea that timbre is predominantly determined by the source and its harmonic structure.
For example, in the recent (2025) DG recording of Bruch & Korngold featuring Bomsori Kim, the violin’s timbre is authentically rendered through my Topping D90 III Discrete DAC. In contrast, when using a more affordable AKM-based DAC, the violin’s sound becomes warmer and less engaging. This comparison underscores how a DAC handles the harmonic contents in the conversion process could significantly impact the perceived timbre, beyond the influence of room acoustics.