@jonwolfpell wrote:
If you think about it, other than a live performance of symphonic music in a good hall w/ good seats, when do you actually experience layers of depth in live music? ...
+1
Image specificity with a live performance of symphonic music is another area that in its reproduced state can take on an unnatural degree of precision and accentuation even. While it's possible to do so with a stereo system, my take is that a heightened degree of image specificity stems from or is being brought to the forefront of the perceived experience not as much due to the recording itself (if at all, really), but rather because of a lack of capturing and balancing other vital aspects of the recording such as sheer scale, dynamics, natural warmth, texture, low end capabilities and a holistic/coherent sensation, whereby a focus on detail, airiness, specificity and an overall thinner presentation takes the front seat. Some of these what I'd call 'deficiencies' are physically rooted in the speakers themselves, while also and maybe not least coming from a preference among many audiophiles on imaging and details.
Dynamics, pace, start & stop speed ( along w/ decay), frequency extension w/ power, midrange clarity all contribute to what makes a system sound like live music which for myself is what I’m after.
My findings and preference as well.
Image depth is fun & interesting but not a huge priority for me. Nor do I hear it w/ most live music.
Single point source, time aligned or panel speakers with full range elements and no crossover divisions in their passband usually have an advantage with regard to spatial acuity. Principally I'd love for this quality to be maintained in a speaker setup, but the question is in which form, size and overall execution such a design is realized for it to be interesting and comply with my specific needs more broadly speaking. Oh, the compromises. It's not that imaging isn't at all important to me (as well), but rather it's about how it feels relatively natural in the greater scheme of the presentation, and how it's balanced with or even takes a back seat to other aspects.
@erik_squires wrote:
I am often reminded of the late, great director, Akira Kurosawa at times. While shooting on an active volcano he ordered extra smoke be brought in, much to the surpise of the effects team. He reasoned, accurately, that while the crew could actually feel the heat coming off the volcano while they stood there the movie audience would not, and they needed to make up for their inability to capture the heat with extra visuals. I think we do the same thing with our sound systems. We can’t see the orchestra so we look for more imaging with our ears.
Interesting analogy, and there may be some merit to it, if only to instill the need to point out that it's odd seeing other aspects of the presentation being at the same time downplayed; why are scale, dynamics and other not deemed important as well, at least in an effort to see them less diminished as a means to "compensate" for or more closely emulate the real thing? From my chair a minority of audiophiles are actually invested and interested in trying to replicate to some extent a live musical event in their homes.