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