I also agree with Frogman's description at the global level. Composer's such as Scriabin and Bruckner reveled in the sonic soup.
Now, here comes the controversial part. While resolving low-level detail is part of it (and I've gone off the deep-end to achieve this), the components are a big piece as well. I say controversial because terms such as neutral and colored are like audio philosophy and religion.
In my experience, if one takes a highly conductive, low gauge wire to transmit power or signal, the result can be sterile, a black background, and an artificial leading edge with truncated decay. For some reason, fine-gauge, multi-stranded conductors of silver, gold, and platinum just sounds real. I will admit that this is altering the signal, but the means justify the ends. Same with tubes, because if you can create a real and intoxicating sound with juicy and dimensional detail, then a system will satisfy on an emotional level.
While trying to nullify weakness by combining different components can be a slippery slope with potential dead ends, combining strengths will open new possibilities.
