Could you explain the reasons for this, please?
The grille sits somewhat forward of the drivers, and the size and shape of the opening in the Masonite behind the cloth comprises a "baffle" for the tweeter, particularly, as observed and measured by Atkinson.
I suspect there's a diffraction component to this, as well as the interference masking clearly shown in my initial measurements posted earlier in this thread. The grille is an integral part of the Advent "system."
Can 'imaging' be measured or is it subjective?
I coined the phrase "Trompe l'Oreille" to describe it; the virtual image is an auditory "trick" played by various cues in the program, and the quality of that image relies upon the clarity and integrity of those cues. It doesn't happen if the cues aren't there or are ambiguous, and they're better on some recordings than others. I'm sometimes stunned by what appears on certain older recordings as consequence, apparently, of the recording technique and the fact that it was not adulterated during mixing or mastering.
I can certainly measure the sharpness of definition of an acoustic center between sources, but how that relates to imaging is indeterminate. I have not found much in the way of research by others relating to quantification of acoustic imaging.
It's there, it's easily smeared by reflections and degraded by phase anomalies, but it also collapses with small lateral displacements if too precisely defined. Toole teaches us that, in some degree, imaging and artificial soundstage within a room are reciprocal and mutually exclusive. I can easily generate a huge soundstage by spraying the room with dispersion, but the reproduced image becomes vague and diffuse, if it appears at all, which is why controlled directivity is considered a worthwhile element in image optimization.
Acheiving a true holographic image requires more precise control than generating a planar, 2D one. At the heart of imaging is phase localization, apparently, the rarified realm of psychoacoustic science.
Fun stuff.... :thmbsp: