Is soundstage just a distortion?

I had an interesting experience in the 80's.
I had a private one on one demonstration from Dave Wilson where he ran through several of his recordings, on vinyl, through the very first Wilson Watts ( no Puppies at that time) but they had some 2pi panels extending the baffle.
Sitting only 3 feet away from each speaker forming a triangle, in a nearfield listening position I could hear the microphone patterns as clear as a bell. The soundstage was massive - deep wide and high, behind the speakers.
The rest of the system was his own gear - Goldmund Studio, Goldmund arm & cartridge, Rowland Coherence pre, Rowland Model 7 power amps all MIT wired.
In my view microphones can capture soundstage, they capture the resonances and artefacts of the recording environment if placed correctly.
To me the soundstage reproduction is very dependent on the quality and placement of microphones. Listening nearfield helps to eliminate ones own room from imposing itself on the reproduction.

The question about soundstage height is a good one.

I am pretty sure this is more attributable to the playback system and room acoustics than how the source is recorded in that I do not think two channel stereo format is suitable for capturing height dimension as opposed to width and depth.

I think that relative vertical location of drivers in the speaker system is a factor. Tweeters tend to be mounted higher and high frequencies are more directional so those frequencies might tend to be perceived as coming from higher location than others, for example. OF course, room acoustics and distance from listening position to speakers would be a factor as well.

In general I am a fan of speaker designs that tend to have drivers closely spaced, that emulate a point source as much as possible especially in smaller or most typical listening rooms. Larger rooms where listening occurs from more of a distance will be more forgiving.

FWIW, I like Almarg's observations regarding ceiling (room) reflections of the very high frequencies as being a possible issue contributing to the illusion of height. I would add though that I think the volume (SPL's) might be as great a contribution as well.

At least this was my experience with QUAD 63'S a number of years ago, not so much today with my present stuff. I think this is because of the vertical dispersion differences between the speakers. (My present tweets are Dynaudio Esotar's).

FWIW.

Thanks, Newbee. To clarify, though, what I was saying is that my experiences listening to the warble tones on the test record I referred to led me to believe that it is the nature of our hearing mechanisms themselves, completely independent of reflections from the ceiling (or anything else), that can cause notes having differing frequency content and harmonic structures to be perceived as originating from different heights.

My reference to ceiling reflections was made to indicate that the listening experiments I had done had not been extensive enough to positively RULE OUT the possibility that ceiling reflections were responsible for what I perceived. But for several reasons I was highly doubtful that reflections were the cause, or at least the main cause.

Just now I have repeated the experiment, using my present Daedalus Ulysses speakers, which as can be seen here have a driver layout that is vertically symmetrical, with the tweeters in the middle. In addition to performing the experiment at my normal listening distance of about 11 feet, I also performed it listening very near-field, from about 2 feet directly in front of the tweeters.

The results confirmed my earlier belief. I perceived each half-octave warble above about 5 kHz as originating, to varying degrees, from heights that were WAY above the tweeters, even when those tweeters were just 2 feet away and exactly at ear height. Below about 5 kHz that effect did not occur.

Best regards,
-- Al

I really think our subconscious expectations play a major role in the construction of the sound stage. Add to that the engineer's ability to inject the correct sonic cues, ie: tone, distance, decay, and viola, things are just where they should be.