Classical speakers that do violins well??

Again, thanks so much for the wealth of responses—even if a few are just a tad beyond my budget! :-)

Guidocorona, the Aragon 2004 is listed as having a damping in excess of 200, so I think I should be okay in that category.

MrT, until I can fit a symphony orchestra into my 21" x 12' room, I'll just have to compromise and go by my memory of what music sounds like in a concert hall—and get as close as I can, knowing I might fall a bit short. THANKS again, everyone.
-Bob

Mrtennis, you're not proposing a casual project. Mic selection is a mine field in and of itself. Also, NO MIC sounds like the instrument itself. A really good mic can get close, IF properly set up and feeding a very high quality recorder. You'll blow the OP's budget on one mic.

If you're really serious about understanding a speaker's ability to reproduce timbre accurately simply invite a few musicians over and ask them to focus on that part of the presentation. Timbre shouts out to muscicians. Listen to soprano, strings, trumpet and a good musician will easily identify inaccurate timbre.

Tacet makes some incredible string recordings of solo violin and small chamber groups. Any of the solo stuff by Janos Starker should put a cello in your listening room. (Cello is actually less challenging because of its mellow timbre).

Anyway, people that hear these instruments live day after day don't need a live vs. recorded demo to tell you if it's accurate or not.

Dave

in order to do a definitive test of a speaker's ability to reproduce timbre accurately, it is necessary to record an instrument in one's living room and compare the recording to a musician's presentation of the same music.

of course one will need a musician who is willing to particpate in this experiment as well as a way to method for recording, such as an open reel tape deck, a dat, or a cd recorder. hopefully, the quality of the recording is sufficient to make a meaningful comparison.

Not completely necessary....you could simply buy the equipment used to impress musicians in the world's top studios...the main monitors...there are literally at least a half dozen highly respected designs and all of them have excellent timbre and play at realistic sound levels of live music. You have to count on the fact that top artists and top conductors are auditioning play back of THEIR music on these same speakers which you can easily acquire...what more checks and controls do you want?

Of course your room will always be a major factor....no doubt that studios spend a lot on room designs and acoustic treatment. I figure it would be highly wasteful to get such quality speakers and then not treat a room at least modestly even though many of us have to respect domestic dual purpose requirements.

Good Luck! Try trusting the artists and musicians and sound engineers themselves...pick an artist or a record label with outsanding audiophile quality productions and then find out what they gear they are using...for example Bob Katz of Chesky uses Lipinski monitors....

i actually performed a simple experiment myself. admittedly not ideal, but here it is:

i used a cymbal as an instrument. you can purchase a decent cymbal for under $100.

i visited my friend who has a cd recorder. we recorded a cymbal and then compared the recording played through his stereo system to the sound of the cymbal.

yes there are flaws and the comparison is subjective.

the lesson to be learned is that there are obvious differences between the sound of an instrument and what you observe when you hear a recording of that instrument.

Mrtennis...There are enormous differences in the way that different microphones sound. Part of the skill of a recording engineer is to pick from a wide range of mics the ones most suitable for the instruments to be recorded. It is very unlikely that your mic was "right" for cymbals.

Nice try, anyway :-)