Tim I must admit I went off base with thinking you needed clarification with the spectrum of dynamics....of course you do not. Sometimes I misunderstand things.
Let's just say when your system can create the necessary emotion to put you in the moment that the reproduced illusion is complete,but there are different levels or degrees of completeness. The question about your headphones was meaningful atleast to me. I'm sure they provide a competent level of Nirvana,. certainly not like a bigger system but non the less very satisfying.
I don't think that it's the difference between the box and electrostatics - it's the moving mass of the diaphragm. The difference between the heavy cone and the ribbon or film.
I don't think that it's the difference between the box and electrostatics - it's the moving mass of the diaphragm. The difference between the heavy cone and the ribbon or film.
Well maybe it's not relevant after re-reading your original question,lol.
And your point about:
Maybe complex and simple at once. I think maybe there are just dynamics, from the very small variations to the cannon blasted out of utter silence. Not sure I personally see anything to be gained in dividing them up into layers of micro and macro, but YMMV. This exploration hasn't been definitive anyway. Thanks to all who participated.
Nothing is ever easy.....my advice keep trying things and compare.
My suspicion is that this is largely about warmup times: a dynamic driver with a relatively stiff suspension when cold, compared to panels, will appear to suffer in comparison on first hearing ...
Mainly that I've had stats, Maggies and many assorted dynamic speakers in ouse over the years. They've all been broken-in and compared after playing for over hr. I don't listen to anything critically unless the system has been playing music for at least 2 hrs.
And it's always the same feeling when a box speaker leaves and the stats go back in. Where'sdid the information and microdynamics go?
I don't think that it's the difference between the box and electrostatics - it's the moving mass of the diaphragm. The difference between the heavy cone and the ribbon or film.
I wonder. I mentioned the suspensions, because my friend has a recent Naim speaker with good quality drivers, and he has the same problems: it takes a solid workout over some hours to fully condition them, for the "tonality", for want of a better term, to properly emerge.
It all depends on what's in the box and how well it's put together. There are some damn good sounding boxes out there that are not stat based. If anything even if stats can do Micro very well some don't necessarily have the Macro end covered that to me is one of their weaknesses.
Another factor is the type of crossover: the typical capacitor hooked to a dynamic tweeter is oh so critical. If you sent the music to the panels through exactly the same type of cap as for the box, how much of a difference that would make ... ?
It's not that they not working well; most people wouldn't pick it. It's the last level of "sheen" or sparkle to the sound that takes a while to appear: the ambient "microdynamics" perhaps we can call it. Whether playing CD or LP, it's about the same.
On my own system I have pretty low life speakers, they have to hammered hard with lots and lots of treble to come good: that's to be expected and I'm not fussed. His uses a pretty high grade Vifa, internals of speaker are fully hardwired with minimal crossover; fully warmed up it sounds very detailed and smooth ...
Myles,
Except if the box speaker was the Ensemble PA1 silver with the matching landmark stands. Remember them? These Swiss manufactured mini monitors had fantastic microdynamics,
Your being a musician isn't it possible to answer your'e question easier? I bet there are many times a band member said forte,forte or the opposite because of the overall composition of expression.
Personally, I don't see microdynamics (in my own definition see post #2) as a tube/SS/analog/digital thing. I don't think that it's S/N dependent either. I've heard microdynamics from a hissy tube amp, and a dead-quiet SS amp. With the material I have, I think that 24bit digital has a better chance of displaying microdynamics than 16bit digital, but that's in material I have. I find vinyl conveys microdynamics better (comparing the same mastering) than CD. Microdynamics is my entire rationale for hunting down vinyl first pressings. And when I copy those vinyl to digital (24/96) I get microdynamics too......
