How do engineers/designers 'voice' a speaker to be more 'musical'?

[tom1040]

So, I have been thinking about this ever since a thread or two was discussing some of the differences between JBL S4700 and JBL 4365. I believe it was 4313B that had indicated that G.T. had made the call that the S4700, albeit having 'lessor' compression drivers than the 4365, was more 'musical' than the 4365.

So, the question in the title is one that interests me. Perhaps it may mostly be in what components make up the crossovers as well as how those parts actually 'work' with one another--along with the designers 'goals' for the market the speakers are produced for?

I dunno'. That is why I ask. Also, if someone has the ability, can the voicing be changed in any meaningful way that would make such a speaker more musical?:dont-know:

Just curious.

Thanks.

[Doctor_Electron]

Also, if someone has the ability, can the voicing be changed in any meaningful way that would make such a speaker more musical?:dont-know:

Just curious.

Thanks.

Huh? Why on earth would they?

Just kidding. Yes they do. But that is a very complicated subject. I'd be willing to bet that one or more of the dudes here who worked at JBL will have a good answer.

Back around 1976 or so I took the "Factory Tour" when JBL was in Glendale. The L-166 was in pre-production. It was explained to us that it was a significant departure design and sound-wise. When we had marvelled at the great sound of them after a demo playback, the tour guide said "We utilized all of our design expertise and the state of the art engineering, testing, and productiion equipment you have just seen to make this loudspeaker, but the final configuration was not set untill after lots of listening tests and evaluations were done".

Regards, -de-