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Jorge wrote:

Sometimes it is not so much as adding color, but taking it away.  Most cheap cone drivers will exhibit a loose sound,  so if you want to get the cellos more clearly, you need to get some meat off the bones or they wil get lost in the mess. Having a thin, detailed structure helps when adding weight and color in the sense that you can add just as much as needed.  It would be more difficult to get a clear sound out of a chubbby driver. Another important point to make is:  Color must be added quirurgically,  the wood on the violin needs a little more red: Having multiple channels allows you to get a more detailed point of application of tone and color,  as oposed to painting the whole orchestra green! I do not want this to become a Horns vs box speaker contest.  Lets just say if any topology of speakers can achieve the effects wanted and described,  it would be great to share some input.

As I said, there is no doubt that desirable combination of color density, color contrast and color discrimination at different dynamic levels might be accomplished by a single direct radiator driver.  The compression drivers have no advantage in this department with exception that they might or might not do it at 10-20dB higher dynamic level.

However, we do not have an ability to correlate the actual Sound and we are driven only by claims that people make on-line. It would be nice to have some kind of tone/color pissing context where people could come to together and to compare noted about the actual results. Unfortunately this is not always possible or even imposable.   BTW, I did proposed an idea of Foundation Standarts for Exposed Evaluation:

http://www.goodsoundclub.com/Forums/ShowPost.aspx?PostID=16355

Someone might look into this.

So, we all understand that we do not deal with the actual results but with different people, including myself, running mouths on line. So the value of those claims is very questionable. However, as far as I am familiar with what people only say of claim my site is THE only one location where the subject of moderation of color density, temperance with color discrimination, the employment of color contrast at low dynamic levels, deliberate management the entire warmth of tone and many other factors are even mentioned and even designated as playback design objective. No one there talks about, at least I did not see, read or was exposed to it in any other ways. So, I do not see this tendency in other and since I know that to accomplish all those things is possible only if one clearly identify what she/he would like to accomplish I do not know how valid all those claims.

I do not claim that what people lie when they say about their ability to moderate anything they want by changing suspensions, materials or injection of some kind of tone-shaping ingredients into the direct radiator’s cellulose diaphragm pulp. This is very good direction to go and to this and many private parties and commercial companies do experiments with it. I do not use this approach and I do not know the rule and the result of the engagement. If somebody claim they use leather out suspension then I can concur with it as I heard the leather-suspended driver as I know the results. If someone claim the they use paper for cones with variable thickness and let the paper be eaten by female orangutan and then to be passed by orangutan digestive system as according to them the orangutan’s stomach acids are able uniquely impact the molecular structure of cone then I do accept it respectfully but if people never ever talk about their objective about Sound then I do not know if all of it has any Sonic merit.

This is what I stay with my position regarding the “achievements of others” in audio coloring.

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