For example, a mic can “color” a source sound in a highly pleasing way, and very importantly, this applies only to that particular source, leaving the rest of the mix unaffected. Therefore, I tend to think that any distortion spec for a given mic would not be all that critical in telling us much that is meaningful about its performance. Further, this “data” likely would be very hard to qualify.

Not Talking Fractions
Loudspeakers, however, are a whole different ballgame. The measured distortion produced by many loudspeakers is quite high indeed - we’re not talking fractions of a percent, rather, figures in the high single digits and even double digits.

Simply, this is a huge number compared to the total sum of electronic distortion that is created through the signal chain in a typical system, and perhaps most significantly, it applies to all output, not a single source.

In other words, loudspeaker distortion colors the entire mix. And it is even more detrimental because the distortion can wildly vary at different points throughout the coverage area of the loudspeaker. Further, it can vary throughout the bandwidth of the device.

As an industry - collectively - we’ve never demanded that manufacturers provide distortion specs on loudspeakers for comparative purposes. In addition, no manufacturer has ever made distortion the cornerstone of a marketing campaign.

To do this would require pointing out the fact that loudspeakers are, by their very nature, relatively high distortion devices, in turn prompting the need for real education on why a distortion spec matters, and also, why lower is better. The only realistic way that distortion in loudspeakers can be addressed: publish the specs and then work to improve on them.

Therefore it might be time, as an industry, for us to start to paying much closer attention to the concept of distortion in transducers, and specifically, loudspeakers. The sooner we can begin to understand typical distortion in these devices and its effect on our work, the sooner improvements in performance can be made that can result in better sound!

Michael MacDonald has been involved in the professional audio industry for more than 30 years. Beginning as a freelance mixer/engineer in the 1970s, he transitioned to working for manufacturers and has been employed by, developed products for, and consulted with major companies, and currently is serving as a VP for Harman Professional.

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