"Pace", it's importance for enjoyment?

Red Kiwi, Yupz, you are right that I do associate prat with musicality. I do believe reproduction of "music" manifests only when sound waves arriving at your ears are as close to exactness as compared to live sound, highs and lows arriving at the same time,etc. This might be semantics, but I believe pace is a resulting effect of properly reproduced sound in manners I've just described. I wouldn't go as far to say that analogue sources don't have problem with prat, and I haven't. But, according to my experience, more tweaking of the listening room, speaker positioning, component vibration and isolation/placement is necessary when using digital sources to combat foes of pace. I am listening to my Luxman tuner at the moment, and I have never had cognition of the component, for it's a "turn on and forget" device. But, my CAL dac/trans and my previous digital sources were never "turn on and forget" (except for my first generation Luxman which was a 16bit 4xOS i believe). With newer digital sources, I always try to find errors in the cd, always fidgeting with speaker placement etc. and so forth because, somehow, I am never satisfied with the sound. As I described, I experienced more "musicality" with my analogue sources, what I meant to say is they are probably less susceptible to "pace busters" (for lack of a better word = X).

Also, two component that always increased pace in any system I've used or worked with are the Meridian 518 and the Velodyne ULD series subwoofers. In short, the 518 reshapes the sound coming out of a dac, and I've had great results with it. I am going to buy one after I can afford one. The ULD is a downward firing sub, and an extremely musical sub. As Subaruguru explained in his post, allowing frequency to roll off instead of cut off by a cross over will sound more natural. And ULD uses a crossover with 12db separation while most modern subs uses 36dbs, perhaps for home theater purposes. Anyways, I won't get into jitter or such, for I am not sure how these components affect psychodynamics that allowed me to arrive at more "pace", but they sure did!!

PRAT is imperative for anything resembling an illusion of being transported to the recording venue....Venue information seems to come primarily from below 100hz and if you ain't got no bass, you ain't got no space seems to apply to PRAT......Most systems don't image below 100hz, but those that do have PRAT sure do.....As far as PRAT is concerned as respects analog versus digital the digital has better focus in the bass I imagine due to better separation than any phono cartridge.....The analog and digital sound very similar here, but both are hot rodded about as far as anyone could imagine over the past six years or so....

I can't help but be struck by the variance in definition of PRAT. For me it is about how notes start and stop. If I could simplify for a moment and refer to a note in three parts - its attack, its body and its decay. A system with poor pacing has one or other of two problems. The first is the sense that the start of a note is slow - ie. there is a lack of attack. The second is that the body of the note seems to start before the attack - of course this is nonsense, but it is a feeling that is real and I have experienced it - a feeling that the note is there before the initial attack, but clearly just the ear/brain getting confused for some reason. Rhythm is what you feel, the sense of the music bouncing along, or a sense of swing - you either feel it or you don't. Timing is about events like cymbal taps and bass strings being plucked occurring in a way that indicates the players do actually know how to play together in the same groove. A system's timing is good when the instrumentalists seem to be playing well together.

I suspect the three different concepts are all just about the same issue - reproducing the sounds with no time-based smearing of the sounds - thereby leaving all the timing clues, that are critical to feeling immersed in the music (as opposed to just the sound), intact.

One of the telling things to try is to listen to some music on your system, and then on a really cheap system - like your son's boom-box - and just try sinking into the music rather than the sound. What can be startling is that some transistor radios have better PRAT than some very high-end systems. One might postulate that the great PRAT of the transistor radio is due to its simplicity.

Hi Red!
Yes, simplicity in that it uses a single midrange driver without networks! If the impulse response is at least decent you have a chance of getting reasonable sound.
When asked what loudspeakers impressed him the most, the ex head designer at the old AR (now at EAR pro sound) related how shocked he was to hear a reasonably-optimized enclosure housing a simple full-range Radio Shack 5" driver back in the 80s! He had heard a male voice call out, and thinking there was someone behind him, turned around to "see" this
simple box sounding so utterly natural. He then went on to explain his design preference for midrange drivers with big voice coils that could be run wide. His work with tweaked Morel midranges resulted in AR's last 3-ways before their bustup and emigration from the Right Coast to the Left! (Think it was called the AR-1 or something).
OTOH I wonder if presence-region and treble detail of flat freq response systems simply "grabs" the attention of the ear-brain's high sensitivity, somehow masking the ease of
PRaT-ful boogying. Nah...that can't be right: the ARCAM 9 can sound clean and clear as a whistle, but dances with two left feat! My old Rotel's dirty as hell, but keeps time like
a Third Reich brownshirt brigade...or Charlie Watts!