... You state "ears mean everything" and "the guitar experience is about feel as much as sound". Those two statements don't logically make sense. I think you must mean that both matter. Or can you hear the feel?...
you are focusing on science to dismiss his perception yet you don't seem to know that "feel" he is speaking of is a result of sound.
you are focusing on science to dismiss his perception yet you don't seem to know that "feel" he is speaking of is a result of soundY
Yes, I am focusing on science because that is how we absolutely explain the world around us. This discussion wouldn't exist if not for science. I am guessing that you hear the feel too?!?!
Yes, I am focusing on science because that is how we absolutely explain the world around us. This discussion wouldn't exist if not for science. I am guessing that you hear the feel too?!?!
What players perceive from certain variations in the sound can often be described as a change in ‘feel’, I think it comes as a result of changing the relationship between the attack, sustain, decay and a manipulation of the amplitude of the wave/sound.
Mimicry of what different designs of amplifiers provide. Your fingers start the strings vibration and the results are the effect you hear. When the results vary without your conscious efforts being the only impetus it seems alive, reactive, something changing…
So, yea, science. Perceived ‘feel’ is very much a real thing and there is a huge field of scientific study that has lead to the developing industry of sound recording and the phenomenon I’m talking about is one tine piece of it.
What players perceive from certain variations in the sound can often be described as a change in ‘feel’, I think it comes as a result of changing the relationship between the attack, sustain, decay and a manipulation of the amplitude of the wave/sound.
Mimicry of what different designs of amplifiers provide. Your fingers start the strings vibration and the results are the effect you hear. When the results vary without your conscious efforts being the only impetus it seems alive, reactive, something changing…
So, yea, science. Perceived ‘feel’ is very much a real thing and there is a huge field of scientific study that has lead to the developing industry of sound recording and the phenomenon I’m talking about is one tine piece of it.
I would argue that a significant aspect is psychological and confirmation bias. Perceived is the key word here and hence to me the majority ( not all of it) is subjective.
Blimey, this is a deep conversation 
There is no magic pixey dust that creates "feel". It is all science. In electrical engineering the input to output function is called the transfer function. The KPA attempts to capture the transfer function and reproduce it. If it does this well, and the speaker can reproduce the output well, the result will not be distinguishable from the original because it IS the original.
Guitar tube amps had several big design items that are difficult to reproduce:
1) The distortion pattern of the original signal (I think that Kemper has done a very good job of capturing this even across different input levels)
2) The damping and powering of the output drive section
3) The speaker in the cab was grossly non-linear and often created distortion of its own at different volumes.
To me, the biggest difference in the "amp in the room" is that the "amp in the room" is way louder than most FRFR speakers. IMO, no guitar player has any business (on most stages) operating at this volume level. It is therefore only important when you are alone with your amp (and your wife isn't at home) and you can crank it up and get that "amp in the room" feel
I would argue that a significant aspect is psychological and confirmation bias. Perceived is the key word here and hence to me the majority ( not all of it) is subjective.
Blimey, this is a deep conversation
Alright, that's it. My head just exploded. I'm escaping back to the safety of my 16th note pentatonic scale practice before someone escalates by invoking the feared Kant-Heisenberg paradox debate. 
