Placing Instrument Separation of Large Ensembles in Recordings

You have a well setup, high quality system and you are a discerning listener.  What you are hearing is the effect of different microphone recording techniques. 

For a number of legitimate reasons the engineers/producers may utilize 2 microphones, 3 microphones, 5 microphones, 11 microphones or even 20+ microphones when recording.  There's also a mixing stage in the process where the sound can be modified and even reverb is sometimes added.  Do an internet search on orchestral recording techniques and also give some thought to the logistics involved with recording a full orchestra.

The recordings and mixing are all different and thus will always deliver a different presentation.  This can even be heard on the same record.  Keep in mind that a small trio is relatively easy to mix vs. a full orchestra with so many more things making sound in a relatively small space.  Also, the soundstage for a full orchestra is much larger than your listening space which must "shrink" the stage to fit in your room.  Looking forward to hear what others have to say.  Cheers

@onhwy61 What you’re saying makes the most sense. I’m just surprised that there is such a difference between how ensembles are mic’d and that recording engineers don’t recognize the lack of separation themselves.

Achieving instrument separation in recordings of large symphony orchestral performances requires a combination of thoughtful microphone placement and effective mixing techniques. This process will involve understanding how different instruments interact within the frequency spectrum and using EQ to carve out space for each instrument. For example, one can boost certain frequencies while cutting others to minimize overlap and enhance clarity. Also, adding delay or reverb to create sense of space and enhance spatial separation like the other gentleman said, etc...

Now it comes down to your system. While your system may not create additional spatial information, it should be capable of preserving and reproducing it satisfactorily in your room. By carefully selecting high-quality recordings with properly captured spatial information, you can play them back on your system and cross-check against video footage (if available) to assess if your system is able to meet the following (but not limited to) aspects:

1. Instruments are properly positioned.
2. The width and depth of the soundscape are consistent with your listening experience.
3. The volume levels of each group of instruments are reproduced properly.
4. The notes from each group of instruments are clearly defined and well-articulated.

Keep in mind that spatial separation may be less pronounced in orchestral performances, as many instruments are often playing simultaneously.

A great example is the 2024 Grammy Award-winning album Contemporary American Composers, performed by the Chicago Symphony Orchestra under conductor Riccardo Muti, with renowned recording engineer David Frost. Listening to tracks 3 and 4, and cross-referencing with available video or images, can serve as an excellent benchmark to evaluate your system’s performance.

You're not supposed to hear individual instruments in orchestral pieces unless they have a solo part.  You want to hear the first violins as a group, not individual violins.  I believe that what most composers, conductors and engineers are aiming to achieve.  Chamber pieces are a different situation.

I hope I haven't misunderstood your point.