Dynamics at lower volumes?

Samujohn: I put the passive at the amp end and it is better. I own an Adcom 750, the 'Stereophile class A passive.. and stuck it at the end of my 25 foot Kimber Hero, the a very short sliver balanced fro the Adcom to the Bryston amp.
The available volume control at my main preamp is really wonderful about ten times the usable range as without the Adcom in there. Better. thaks for the tip!

Gain matching improves signal to noise ratio (which is right next to Godliness).
A simple resistor on the "hot" side of the amplifier input is all you need to do it correctly.
Here is how you can determine the value you need:
1. buy a few cheap resisters: (say two pair of 10K pair of 5K pair of 1K)
2. take a pair of junk interconnects, cut them in half and solder (or alligator clip) the 10K across the center wire and then reconnect the shield/ground side to complete the circuit. If 10K is not enough add more. When you decide what value resister you need, you can buy low noise Vishays or Caddocks from Parts Connection and solder them in. (When you sell the amp, just remove them.)

Great post, 6550c, bravo!

OK 6550c, Trelja, define your terms. I will venture that reproducing the dynamic range of "real life" in the home is impossible.
What we actually do is play recordings that have a very limited dynamic range.
The question posed was "Are there are any speaker or amp designs that are thought to generally be inherently better at producing good dynamics at lower volumes?". The answer is that some designs are more liner at low levels than others, and that some designs are perceived as such, even though they are not. This question is related to, but not the same as the question of how we perceive sound through our ear/brain. Cheap loudness controls and speakers with depressed midrange response are certainly to be avoided. The DRC that Tact uses is quite sophisticated and can be user adjusted to conform to any set of curves one wishes.

For dynamic speakers, low mass materials (like paper) used to construct the cone (while maintaining rigidness) help with micro-dynamics and transients, which are the dynamics that matter at low volumes. This is because of simple physics: low mass = less inertia = driver more responsive to signal provided.

The Triangle Titus speakers in my second system are a great example of speakers reknowned for exceptional sound at lower volumes. Their fairly decent efficiency rating also helps them deliver with a wide variety of amps.

Walsh drivers work differently than conventional dynamic drivers but are capable of delivering similar results when properly amplified (they are lower efficiency in general however so not just any amp will do). Their sound is often described as electrostatic like but with better dynamics.

Damping factor (determined jointly by amp output and speaker input impedances) also play a role in delivering good transients and microdynamics at low volume. Good impedance matching between other interacting component pairs upstream is important also.

Old 78 records are an interesting source in regards to transients and microdynamics. Despite their limited dynamic range and frequency response overall compared to more modern media, their microdynamics and transient response can still make for a pleasantly involving and lively listen at modest volumes when done right. Try it sometime!