"Listen to that—that's what I mean by 'cone cry!'"

It was 1979. I'd been taking part in a blind listening test of loudspeakers organized by Martin Colloms (footnote 1) for the British magazine Hi-Fi Choice and, after the formal sessions had ended, had asked Martin to explain something I'd heard. A drive-unit's diaphragm produces cone cry when it resonates at a frequency unconnected with the musical signal it is being asked to produce; we had been using an anechoic recording of a xylophone, and one of the loudspeakers we'd been listening to was blurring the pitches of some of the instrument's notes.