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RE:

I think of the term musical in contrast to the alternative to the design school of "dry or analytical." Musical loudspeakers do not have a level frequency response curve as the primary goal, but are not above "gilding the lily" a bit so to speak in the FR curve in an effort to make a recording sound better. Often this tweaking involves a bit of boost in the upper bass along with a smooth rolloff of the highest highs. The widest FR curve is also not a primary goal top or bottom.

In vintage context, a musical is not an "East Coast" sound, that is a dry, widelevel frequency response curve as the primary goal with good dispersiion of the highs as advocated by AR, Advent, and a little later, Boston Acoustics. Neither is it a pure "West Coast" sound with thumpy bass which is part of the JBL myth with the L100's and similar, nor a "Rock" speaker as such. In vintage terms, a "musical" speaker was more along the lines of what companies such as Jensen and Utah were doing, along with some of the British manufacturers of the time, ie Goodmans, Tannoy etc. Also, musical speakers in that context are not that hung up on hitting the low 32 Hz pipe organ pedal "C" fundamental, but reather more concerned about handling the frequencies ordinarily found in normal music well. "Musical" speakers are usually fine with "doubling" the lowest organ pedal tones.


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