Obviously hearing a wide soundstage from a mono recording would indicate a system problem. Further, only a fool would expect any sort of soundstage from multi-miked recordings made in 15 seperate booths, in takes spread over three weeks, all mixed onto a single LP. GI/GO
Soundstage is a viable consideraton only when the original performance had one and the recording at least attempted to capture it. It's a fair bet that any Kenneth Wilkinson recording of any orchestra started with a real soundstage, and that he intended for us to hear it. The fact that he and other skilled recording engineers generally used the barest minimum number of mikes was critical. The more mikes, the more phase confusion. The more phase confusion, the harder it is for ears to identify the size or direction of any particular sound source.
As for quantifying, that's an obsession in itself, but accurate soundstage reproduction requires, at least, a very low system sound floor. The lower the level of detail a system can reproduce, the more soundstage information you'll hear. Phase clarity and lack of distortion also help, since any problems in these areas will confuse, mask or slur directional cues. Very fast, very clear HF response also helps, since our ears are most sensitive to HFs for direction and distance information.
Accurate soundstaging is a byproduct of accurate reproduction. To the extent it exists, it's an indicator of system health. To the extent it's missing, it's an indicator of problems to be investigated and resolved.
Soundstage is a viable consideraton only when the original performance had one and the recording at least attempted to capture it. It's a fair bet that any Kenneth Wilkinson recording of any orchestra started with a real soundstage, and that he intended for us to hear it. The fact that he and other skilled recording engineers generally used the barest minimum number of mikes was critical. The more mikes, the more phase confusion. The more phase confusion, the harder it is for ears to identify the size or direction of any particular sound source.
As for quantifying, that's an obsession in itself, but accurate soundstage reproduction requires, at least, a very low system sound floor. The lower the level of detail a system can reproduce, the more soundstage information you'll hear. Phase clarity and lack of distortion also help, since any problems in these areas will confuse, mask or slur directional cues. Very fast, very clear HF response also helps, since our ears are most sensitive to HFs for direction and distance information.
Accurate soundstaging is a byproduct of accurate reproduction. To the extent it exists, it's an indicator of system health. To the extent it's missing, it's an indicator of problems to be investigated and resolved.