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I would discard the first part of your post. It is it truly irrelevant what Germans, French, Japanese or Brits were buying and what particular brand and in what time they consider as “fashionable”. It is know that Ebay or Akibahara popularity has absolutely not impact on me as I know/knew quite a number of Morons who slogan is the “Akibahara Sound Forever”. I do not like the mind of those people and they NEVER demonstrated any sound that I find interning for myself. Those people just do not present a challenge to my interests.

Your attempt to define high-fidelity as a next level of “naturalness and detail reachable” is not something that I would agree but we are not talking now what is high-fidelity is. The subject was a conceptual difference between pro-audio drivers (which most of them are) and drivers that were made for home use (presumably the Goto, ALE, YL, etc…). You said that drivers for home listening must be differently built from PA drivers. I might agree and I would like to expend on it. From what you said I presume that you feel that Japanese Goto, ALE, YL and ALE are different from let say Japanese TOA or Fostex, not to mention many western pro audio drivers. I proposed to define what the difference is.

You might feel that the difference is in sound with all of those: “subtleties, the airy, transparent, life-like beauty”. It might be so, but let to define why the home use drivers are so supposedly different.

The diaphragms in there are not ultra-light as you reports, in fact they are comparable to the pro drivers. The entire design of the drivers is not different then pro drivers. Japanese very seldom invent the things, they are very good for adoption and expending and it is exactly what Japanese home drivers did. The phase plugs, the magnetic structures, the suspensions of the cones, the wiring of the voice coils, and the configuration of polls of the gaps are no different with “home use” drivers then we can see with pro audio drivers. Even the amount of flux in the “home use drivers” and “pro audio drivers” is the same – there are some Goto that run 1.8T and there are pro audio driver that run 2.4T. The “dispersion in room” that you mentioned is also is very much not the area of “home drivers” advantage.

So, what I am trying to bring up is some king of rational that would give some base why the “home use driver” might be different then “pro use”. There are only two areas what I think might have SOME lucidness: the type of core and type of magnets. The type of magnates is controversial. The pro drivers in most of the cases do not give dams want magnets they use – as long then get marked amount of magnetic density in gap they are happy.  I presume that home-drivers are peakier and they might use the very specific magnets that they select by sonic considerations. I said it is controversial because nowadays the magnet production is very much globalised and everyone but the very much same magnets.  Put in this way: with the volumes that “home drivers” consume the have no chose but to use magnets from the same barrel as anybody else.

The core material for the magnetic structure might be the only area where I feel the “home drivers” might go crazy. They might use some permendurian type or whatever “exotic” it might be. The material of those things does affect sound.  BTW, it is not so expensive stuff. The “pro drivers” never used it generally and they just do not need it. If the JBL, Selenium, BMS or Pyle would decide to do cut their core with some king of cobalt and nickel steal then it would make their drivers to cost $25 more. In the case of the home-oriented Goto, ALE, YL and ALE it get transferred into very deferent price tags but the artificially inflated price for those things is a whole another subject.

So, I do not feel that there is a true “home use” and “pro use” compression drivers. There are certainly the difference, HUGE difference, between the “home objectives” and “pro objectives”. There are also a HUGE difference in the design decisions that people make when they built PA system and home systems. I think it is to much-much less degree would relate to “home drivers” and “PA drivers”. I think it would be more like the sound of “regulators tubes” vs. the tubes that were “designed for Sound”. Come on! Let be real about it. NO ONE ever design this thing in pro audio worlds for sound. the folks who design for home use might have luxury to care about Sound – the is good. However, then we need to define what they were trying to accomplish.  The good people from GOTO looks like “design for home”, that is good, but the very same people insist that time aliment of the drivers have no difference. Dose this disquiet the GOTO designers then from the people who have “higher objectives”. Any single GOTO system that I have seen online pile up the channels in absolute ransomed fashion – is it the way how the “home drivers” shell be used?  Any single ALE system that I have seen online used digital crossover and the owners report that there no problem with it. Do I need to consider that digital crossover is a mandatory attribute of the “home drivers” as well?

The point that am trying to make is that the subject of the “home use“ driver vs. the “pro use drivers” is a bit complicated and the thing are not so clear as you, Stefano, is trying to present it to yourself.

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