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In Part 1 (Issue 94), I indicated that printing out room-response curves as part of speaker reviews was risky business, because it would be very easy to misinterpret them. Such curves highlight only one (admittedly important) element in the objective performance envelope. Perhaps more importantly, they do not take into account listener taste. They ignore the fact that certain other performance attributes may dovetail with a listener's preferences better than a ruler-flat or smoothly sloping response curve that indiscriminately mixes together direct-field and reverberant-field behavior in a hard or even impossible-to-calculate balance. The blend between the direct-field and ...