[1] The room? I'm not talking about that.
[2] That's a given and that is an important part of the sound.
[2a] You wouldn't want to eliminate that completely.
[3] I was talking about electronic equipment.
1. We're talking about timing error/s that can/will affect timbre and that includes the room/s.
2. Agreed, up to a point! And that "point" is the point at which the room affects the timbre of the reproduced instruments/sound.
2a. Ideally you would want to completely eliminate the room effects that alter the timbre of the instruments/sound, which is why acoustic treatment exists. You obviously don't want standing waves/room modes or cancellations/comb filtering altering the timbre of the reproduced sound.
3. I was talking about the sound that reaches your ears and how you are likely to perceive it, which is what defines "timbre". And let's not forget that these timing errors occur at both ends of the chain, the recording being played back already contains timing errors. For example, two mics placed 34cm (about 1'1") apart will result in almost exactly our 1 milli-sec timing error.
[1] ...the room is a constant....[1a] we have to embrace it.
[2] At the recording end i want to hear it...
[2a] ... at the listening end i want to make the most of it.
1. Not really. "The room" is an almost infinite number of constants, it's only "a constant" at one particular position in the room and with one signal. For example, just moving an inch or two from that one position will give us a different frequency response ("constant"), commonly enough of a difference to be potentially audible and, we don't just play one signal but a whole variety of different signals (songs/tracks/recordings), each of which can/will affect the room response depending on what frequencies it contains and therefore what room modes and other effects are excited.
1a. Some of it we want to embrace, we obviously don't want to embrace standing waves, comb filtering or anything else that will affect timbre.
2. "At the recording end" the room is not a constant, it's several different constants mixed together. I can't think of any commercial music recording scenarios where we record with just one mic in one position, we typically record with different several different mics in several different positions and as soon as we use more than 1 mic we introduce timing errors which can/will affect the timbre, sometimes very severely! Of course though, this can be altered (though not "cured") during the mix process and as that's what the engineers/artists heard and approved, we would ideally want to reproduce those errors (and resultant timbre).
2a. Agreed, but obviously you're not going to "make the most of it" if your listening room is changing it.
G