Why don't more recordings have soundstage outside of speakers

I certainly agree about the gimmicks however I have learned that instruments themselves should not come from beyond the speakers which is what you would expect if you think about it.

You are completely wrong and perhaps you must reconsider your way to use electronic equalization instead of room control...Your description demonstrate the inability where you are to recreate a great sonic field in the room..

It is way more important to adjust the room large bandwith/timbre  response to the speakers than the opposite which is  adjusting  the speakers narrow frequency response to the room ....

 There a 2 stages of manifestation in acoustic control ( it is for sure recording quality dependant):

 --In the beginning with some selected especially good recording the orchestra is IN your room and you listen to it  external to the orchestra...You are happy because you enjoy anyway an imaging which can be good....

--After a complete acoustic control, for many well recorded albums  you may be among the instruments and with them on the scene in some case...The listener is enveloped by music and no more external to it....Listener envelopment factor (LEV).

If i read your description you have never lived through this experience with any recording then your room and acoustic control are lacking....

This post of yours  confirm my opinion that electronic equalization is a secondary tool helpful to fine tune the speakers/ room relation but cannot replace neither passive material treatment nor  even less replacing ACTIVE acoustic control....  

no false large soundstage created by early reflections, etc.

A rightfully use of the timing of reflections can produce an unusual soundstage but it is related to the way the recording or mixing was made...Active controls is based on the use of the reverberation time and the timing between early and late and even back and front reflections  and their ratio and  the 2 main frontwaves for each ears...

Then it is not a "gimick" nor a "trickery" and it is easy to verify that your room is correctly modified with some other recordings which will not present this unusual soundstage...

No classical recording is always the same and always orthodox...There is some exceptions...

i am  OK and in accord with your 2 posts.... I just wanted to give my take and experience with my own room sometimes unusual soundstage recording dependent...


I enjoy sometimes with some recording the impression to live among musicians on the scene, which event never happen in a concert where you were seated in front of the musicians... If the room is not under control this surround and enveloping experience with a stereo system is impossible even with a recording album which had this possibility in it because of the particular way it was recorded...

Ya got a choice. Ya can have good and accurate imaging, or you can have an artificial and wide sound stage inaccurate imaging. Without those tricks Mijostyn and pragmasi talked about, ya don't get things placed well outside the speakers. Ya don't get that in live music either unless you are sitting first row at the orchestra. Bad place for good sound.

Ya got a choice. Ya can have good and accurate imaging, or you can have an artificial and wide sound stage inaccurate imaging. Without those tricks Mijostyn and pragmasi talked about, ya don’t get things placed well outside the speakers. Ya don’t get that in live music either unless you are sitting first row at the orchestra. Bad place for good sound.

Yes you are right it is a trade-off... Between imaging and soundstage like between Source width (ASW) and listener envelopment (LEV)

But stating a problem is not solving it.... 😁😁




 The goal is optimization of these correlated 4 factors with timing and mechanical equalization with fine tined a Helmholtz resonators grid, tuning the room for the speakers and marking out the flows from each speaker to each ears....They play this double function....


"Those tricks" i used then and of which you speak about after mijostyn, are precise acoustical concepts, acoustical timing threshold optimization and the optimal ratio between late and early reflections for my room....By the way my instrument timbre experience is relatively natural which is a sign of a good acoustic control all along the optimization process...

With this room control my music, with a level which is relative to each recording for sure, is outside the speakers with a pin point imaging, the 2 factors related then in an optimal way....

Your post only reflect like in mijostyn case your lack of acoustic control in your own room  and misunderstanding of these concepts...

Simple...

Begin with this research paper....


https://www.sciencedirect.com/science/article/abs/pii/S0003682X06002118?imgSel=Y

Ya can't solve some problems without sophisticated tools. Your tricks don't solve the problem of why sounds don't naturally extend past the speakers. Nothing to do with late or early reflections. Nothing to do with Helmholz radiators. A link to a paper that is a hypothesis not gonna change the issue. Reflections don't give ya the accurate placement of sounds. It only gives you a false set of sound locations. Ya it may sound wider, but it is not what is in the music.