After doing a full read, I see that the e-book is flawed. Too much of the content relies on what the figures and graphs are telling. So I wouldn't recommend the e-book until those issues fixed.

That said, I have some general take-aways from the book that are relevant to me.

1) The movie industry drives innovation in home audio, dragging the music and audio industry along kicking and screaming.
- Room problems with too much or too little absorption? Lack of imaging? Unsatisfactory spatial effects? Diffuse center image? Uneven bass across seating positions? Poorly measuring loudspeakers? Multichannel audio (5.1+ channels) solves everything.
- Stereo is fine if you’re the only person in the room and can optimize for that one seat.
- The center channel is the most important loudspeaker because it carries vocals and on-screen action.
- Overhead effects channels only matter for movies, and only for sound effects that are panning between channels.
- Only go beyond 5.1 if you’re trying to optimize for multiple seating positions in a large room.

2) Why measure loudspeakers? Fidelity equals listening pleasure, and better measuring speakers are more pleasurable to listen to.
- Frequency response is the best predictor of loudspeaker sound quality; price is the worst. Good loudspeakers have a flat listening window and smooth directivity as measured in an anechoic chamber with a Spinorama.
- Don’t trust all measurements. Waterfall graphs, impulse response, step response, group delay, phase, coherent wave forms, and comb filtering should be kicked to the curb because they’re subservient to the psychoacoustics of how we hear. We don't hear the flaws they purport to reveal.
- Big rooms requires big speakers to avoid audible distortion. Letting subwoofers handle the bass lets regular speakers play louder without distortion.
- Normally furnished rooms don’t need room correction software above 200-400 Hz. Pick better loudspeakers instead.
- Mono listening is most revealing of a loudspeaker’s flaws. We’re more forgiving as we add channels.

3) Good bass contribute to 30% of perceived fidelity.
- Small rooms are prone to bass issues, and subwoofers (in plural), bass traps, and bass management are part of the solution.
- Room correction software has little utility beyond fixing bass management issues. They tend to meddle in things that shouldn’t be meddled with.
- Golden room ratios and room shape are more bunk than science because they make flawed assumptions more suited for test tones than music.

4) Neutral loudspeakers don’t fix flawed recordings.
- There is a circle of confusion in the recording: until all mixing studio loudspeakers and mics are standardized and their audio engineers have perfect hearing and good taste, there will always be bad recordings.
- Tilt is the secret sauce of fixing uneven recordings: simultaneously raising the treble and decreasing the bass (or vice versa) to fix the tilt in the recordings.
- At lower listening volumes, use loudness compensation. We prefer volumes quieter than the original studio mix. Fletcher Munson curves are only statistical averages for large populations, so feel free to use tone controls; if it sounds right, it probably is.
- Differences in audio codecs require training to spot. Most sound transparent at high bit rates, and will be a non-issue with lossless streaming.

5) People buy audio gear for reasons that have nothing to do with sound quality.
- He spends very little time discussing electronics other than to mention that they are a solved problem and are transparent unless overdriven or poorly designed.

And in case you’re wondering, Floyd’s main system were the Mirage M1 (in Canada) and the Revel Salon 2 (today).