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Paul S wrote:

Can we start with a given that different people will care more or less about different "stray" aspects of sound, what to play up and what to play down?

It is incorrect.  If you look deeper then you will discover that there is no different perception of "stray" aspects of sound. The whole evolution of musical culture is based upon it.

Paul S wrote:

By "horn sound" I mean when all instruments and voices in a given frequency range sound as if they went through a smaller or larger megaphone (horn).  Basically, more of less, like talking through cupped hands, depending on the frequency in question, ie, the sound is thereby "shaped" in a generic sense that has been, in my experience, peculiar to horns.

And what you just say is exactly what I was standing against in my initial post of the thread. You attribute the random and irrelevant results of methodologically incorrect experiment do define an alien topological characteristic.  The cupped hands do have characteristics distortions but it has absolutely nothing to do with horns as a topology. The cupped hands always overloaded with LF, severally EQ to the ears of the person who speakes through  the cupped hands and the sourse is severally distorted by the oppression of leaps by the hands. Ironically those are 3 most common mistakes that Morons who have no idea what they hear do with horns.

If you load 155 tons of weight on a horn’s back than she would probably not only die but will be converted into a sheet of meet. So, in your association with horn you state that a horse can not care weight on her back. I just find this logic irrational and damn. I do not exactly argue this point with you, Paul – you do nothing with horns practically and your position about the subject is not very relevant. I just use your quote without asking your copyright release as the very same oponeon might be expressed by many other people who look at the horn subjects superficially.

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