Let's not beat around the bush, we all have our sonic preference. We prefer the sound to a certain way because it pleases us. We can't explain why it pleases us. Let's end with you like how you like it, no further elaboration. I like to think of audiophile a painter, his inclination to depict a person's maturity; younger, true to the age or mature with tonal balance; either excessive lower treble, just right or excessive upper bass. Likewise, some adjectives used in the review inevitably give an insight into the sound, like exciting, natural or relaxed, you just got to learn to read in between the lines. When a review didn't mention a certain audio aspect, you know he's avoiding talking about it. I had criticised in the past that some systems were too coloured for its own good. In the name of subjectivity, it works well with one's particular music library. Stay within the context of playable music, don't fare well on other music. That's why tolerance is needed, it's ok to whisk a bit of sonic flavour but not too much.
Whose standard to use? Why use your standard? The question largely remains a hot potato. Friend turns enemy, this is not something new. Sound itself is abstract, you can argue till the cows come home, you still come to no conclusion. I'm intrigued, some haven't developed soft skills in 20-30 years of working life, unrefined. Brush up your PR skills. It's alright that we will never ever come to terms on sound, that's to be expected. I don't think you need to shout to get attention like a crying baby. People with shared valued/interest stay together. You can see why there are so many organisations, clubs, interest groups around. Outsiders, stay out.
Going with the majority, uphold the principle of democracy will never work sometimes. Things are not as simple as what it seems. Big boys tend to dominate in a group, they will always have things going their way. Democracy is a fallacy. That has not taken into that some have secretly formed a pact, an alliance to intimidate the other party. Prepare to pay the price for your naivety.
As such, there are a small group of audiophiles staying low key and isolated from the general audiophiles. Not opening door is denying yourself a learning opportunity, you never know where your sound stands. Then again, you got hungry audiophiles who'll pounce at the first opportunity, says a high-end system that no one has in the country. Exclusivity is premium, be the first to listen add up to your credential. I've got more than twenty-five years of experience, I got no advice for you. But I'd suggest that you do your best of your ability to ensure your system sounds decent before you open door. The higher priced the system, the greater the expectation, the peers take no prisoners. Ultimately, to extend your invitation to others is your prerogative, you're the gatekeeper.
Natural timbre, you can't go very wrong if you use it as a guide. If you want your system bulletproof, posied to resist the test of time and taking on all comers, I know of no better tool. Yeah, some might argue that the recorded sound isn't the same as the real sound. There're variables but don't let these variables stop you. To resolve a problem, you break the problem down by simplification and making assumptions rather confronting the mountains of variables head on. Tackle the key issue, then the secondary issue. Thus, unless the recording studio is doing too much of its own addictives, it should be alright.
Natural timbre, this I can never explain my obsession, you know, the sound of traditional musical instruments (without power). The sound is made through friction, plucking (strings), blowing (woodwind) and hitting (percussion), sounding so pure, so righteous. Just as my friend couldn't figure out why he can't take harmonica, he gets goosebumps in a bad way. I know many were sworn by voices. I reserve my comment, perhaps voices leave too much room for our imagination. Leaving a question what's what.
Sound alone doesn't mean anything unless a composition that introduces tonal modulation. Melody is the language of music. If you could understand the language of music, you understand the underlying story better. I'm not ashamed to confess that I'm still learning this. Listening to a piece of composition, you kind of expecting something, you're expecting how the music should be played or the piece to be phrased. Look no further, the arrangement of pop songs serves up a decorative element. You will find as with the arrangement, too busy, out of place or too many voids even though there's no right or wrong, better or average. It just doesn't click.
My recent addiction; dynamics. Dynamics makes me kneeled. Not that my system is not dynamic, just that I heard better. High sensitivity rated speaker is not an absolute indicator of dynamism. The motor, the lightness of the driver membrane and the diameter of the driver are, more importantly, the amp. As you got more detail, there's a fine line that separates things. Bigger tweeter goes lower but not higher, a bigger bass driver will be a tad slower, thus, the designers have to work within their limitations. Particularly with multi-driver designs, they don't sound dynamic enough for me. I still feel the drag. Ultra dynamics realises the quality of lifelike if it means anything to you even though we're talking on the matter of milliseconds. Once you've tasted the finer things, hard to go back.
Ambience, yet another essential aspect for a good listening experience. In the state of equipment-less, your brain doesn't fight your preception. Largely, you need to work your room. Particularly in a 6 walls room, this aspect will be telling. I've done some work in this area, I can say it works for me. Do this simple test, listen to the sound sitting just behind the back wall and compare with 3 feet away from your back wall. The former sounds muted, the latter is airier. Manage the air flow in your room, the better the airflow, the more open the sound. The sound will reward you in a special way. Cheer.
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