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I wasn't addressing you. If my general observation hits close enough to home that it bothers you, that's on you.

I'm guessing OP doesn't have unlimited funds.

"Source first" is one of those ideas that has a certain contrarian attraction to it that allows people to feel like they have some sort of secretly superior knowledge. Unfortunately, it just doesn't hold up under more than cursory scrutiny and that's what's being reflected in the poll.

I get that if the information isn't captured in the first place, it can't be recovered later, but the inverse is also true. If the end of the chain can't reproduce the information it receives, then it doesn't matter if it gets picked up at the beginning. Hence, order is irrelevant. The chain...

If anything is broken or bad anywhere in the signal path, it compromises the outcome. It doesn't matter exactly where it is or whether it's a source, amplifier or speaker. Given the OP's criteria and assumptions, the question boils down to where the biggest impact from an upgrade can be made.

Transducers, mechanics, then everything else.

R.I.P. Jim Thiel

That's the thing, they're more powerful but harder to understand and use than a simple graphic.

I hear surgeons prefer scalpels to rusty butter knives, too.

You say that like "woofer", "tweeter" and "squawker" are paragons of sobriety.

You make a good, and important, point. However, something that accurately reproduces what's being committed to media is a valuable baseline. That said, there's certainly value to checking mixes against real-world devices that people use to actually listen to music. BITD, engineers used crappy...

I went to college with a pair of Polk Monitor 7Bs, Harmon Kardon HK-505 integrated, a Technics linear tracking turntable (more show than go) and a Sharp RT-155 cassette deck. Got tired of hauling the big speakers back and forth every semester so I downgraded to Mission 70 Mk II.

Go hipster.

Agreed, but not the point, although I can understand how you might have misunderstood. Also true, but not the point. I hate vinyl, but that has no bearing on whether the information I'm sharing is true or valuable.

Vinyl sounds the way it does mostly because it is vinyl, not because of how it's recorded and mastered. There's nothing to be done on playback that will recover more information than was pressed into the record. Whether it's fatal or not depends upon the length of the side and the tolerance...

With a disc at a constant velocity, the amount of groove real estate per second decreases from the outside to the inside which causes distortion. The Edison cylinder didn't have this problem.

To the extent that "analog warmth" exists, it's a product of noise, distortion and other defects in the medium. While having a CD source might reduce that, there's still plenty of opportunity to pick up analog artifacts in the mastering and manufacturing process of an LP.

Genesis' Three Sides Live had a fourth studio side (in the US). And yes, less music per side means less degradation from the exterior to the interior of the record.

I guess it depends upon your definition of "sonically better off".

Yoyoka: "Hold my juice box"

I plan to hear the F228be. I've really liked the Focal Kantas.

For what he'd be spending on Sopras, he could consider the bigger F328be.

Never the less, I'd prefer to withhold judgement until I see similar measurements from the full-rangers. Stand mounters aren't just little versions of floor standers.

Right, but @Vintagear was talking about 805s.