How to meaningfully audition speakers??

Bo's response is, again, even if read closely, useless, if only because of his annoying disregard of the fact that people hear things differently. That is the Monkey Wrench of personal opinion that trumps all else in audio appreciation. Opinions of "different properties" is always subjective and that's what my guitar speaker analogy is about. All speakers have a "sound" of their own and nothing exists as a reference, since the nature of even acoustic sound isn't absolute since we all hear things in individual heads. Room correction is using somebody else's head by the way...and I'm fine with my own. Listen to one of my acoustic guitars with your face 10 inches from the soundbox...you think that's a reference? Hmmm...stick your head in my piano...same thing...I prefer the image my hifi gives me (if I'm not actually playing the instrument), because it feels right for me, and all the gizmo swapping bullshit would do is waste my listening time, although I can swap anyway if I feel it needs it, or I simply feel like it due to boredom and/or compulsion. I recently attended a Ricky Lee Jones show that was packed with emotion (and the sound at my local venue was actually good...better than usual), and this weekend mixed the live sound for a pile of world class veteran jazz dudes (with 2 astonishing female singers) doing a tribute to Billy Holiday. Even in a concert hall with dreadful acoustics, everybody got the emotion and I don't think anyone cared about the "sound"...except me since I was getting paid for that.

The way how I use audio is very effective. I can easy let people hear a higher level in quality than other shops give to the same people. This is not subjective. This is what people can hear and understand. So your words are useless ( again, like they often are) Depth and wide is not subjective, it is what everyone can hear ( when you have a normal hearing) The same about how big an instrument or voice is projected during listening. There is one thing we agree that is about sound. This needs to be invloving or you never will be happy with it. The misstake you make is focussing on persons. I read some of your answers on treads, you do it more. I never will be personal, maybe this time a little. Because you never stop. Wolfy focus on the threads and the discussion about audio. When I read your answers I see an amature.

I try to keep audio as simple and understandable for every single person. The same about how I use Audyssey. I demonstrate it on and off so people understand and hear the difference what it does. Same about Audyssey EQ and Volume. Just put it on and off. Audio Always will be a personal thing. Listening you have to do yourself. Making the best decision is using your own preference. But there are rules which makes it more easy for every person. When you only looking for speakers you take all your stuff with you what you own. I Always took my amp, preamp, cables, conditioner and source with me to distributers when I was looking for a new speaker. When I took a dscision I took that speaker with me at home. In my country this is the most common way to buy audio.

Bo,
It's clear that sound stage dimensions and presentation are of highest priority for you (we all have our preferences for what defines a successful component). You refer often to sound stage width and depth. What degree of importance do you place on tone, timbre and harmonics preservation of instruments and voice? Do you find these qualities essential for realism in an audio system?
Charles,

Good question Charles; tone, timbre is very important is music. One of the reasons why I like Pass Labs a lot is also about the tone, tembre and the harmonics as well. When I bought the XA100.5 from Pass labs I heard many things what I also heard at my friends house during a classical home concert. A recording with different acoustic guitars let me hear the difference in sound of these guitars. For the first time I could hear why some recordings used 2 or 3 voices togheter. The change it gave in hammonics was never this clear. When you listen to many systems and audio stuff you understand and keep in mind that what you love. All the things I loved I wanted to use in 1 system. So it is all the parts togheter. That is why I say: I try to sell emotion instead of audio. Emotion in music is getting bigger when the harmonics, tone and tembre gets better. It influence our brains. The same about the freq. in the lowest octaves. When a system can go lower ther will be more emotion. When you get a 3 dimensional image instruments and voices become fully touchable. When voices and instruments are smaller and have the right and small dimension as in real you get closer to the music. This is what I call intimate sound. I know that it influence people emotionally. When you are a perfectionist like me you want every single part what is important for the absolute sound in your system. But also in other people there system. I use the same perfectionism for my clients as I use it for myself. because I want every single person to enjoy there music as best as possible. These parts can be understand by every person. It is easy to understand. My clients Always say; Bobby's words are the same as the sound he creates. I like things to be clear and simple as possible. Before I let people hear a speaker, amp, source, conditioner, cables etc I explain very simple what it is and what it does. After this I let the music do the work. The music played by a system is like a copy of the words I used. So it is more easy to understand for everyone. My new Olive 06HD with the Purist Audio powercable and brand new Audioquest Wild Blue Yonder give me even new qualilies. It made the stage of my system wider and deeper. So instruments and voices become more loose from eachother. The sound realims is getting to a higher level. Like classical music. The sound of a violin or cello is even more like in real. Harmonics in voices become more clear to hear. For example; Timshel from Mumford&Sons. When I heard it the first time with the O6HD I became very emotional cause of the harmonics. I love Diana Krall and I have all here albums. The Olive with the stunning cables give a lot more air around the voices and instruments. She is singing there as she is in your room. I can hear her breathing and I hear here opening her mouth because I hear her lips. Recordings like Kraftwerk and Yellow are extreme holographic. I also hear many parts of recordings I thought I knew well moving from behind to more forwards. So my set is a combination of all the parts which I loved when I auditioned many sets. And the classical concerts at my friends house play a very important part in how big I want instruments and voices to be comming from a system.