"But how can a recording incorporate sound not yet in existence?"
A recording can only capture what was put into it by the producers.
"Has the reflected sound deliberately been eliminated during mixing in order to reintegrate it during playback? "
I would guess not normally. But different amounts of reflected sound in recordings can and will result depending on the specific production techniques used.
How does speaker response and an-echoic specs relate to this?
I think those practically are best determined using electronically produced test signals, which are different, not real recorded music.
How do you 'engineer' sound?
Isn't that exactly what all sound recording engineers and producers do? I believe they typically use near field listening techniques and monitors designed for near-field listening to do this in order to take room acoustics out of the picture in that acoustics will be different in each case where the recording is played back by the customers who buy their product.
SOme labels, like Mapleshade for example, have production techniques specifically designed to optimize soundstage and imaging overall.
Also a lot of early hi-fi recordings, like those from MErcury Living PResence, for example, were made with an emphasis on maxing out sound quality, including soundstage and imaging, when such things were still quite novel and marketable on a relatively large scale (compared to today).
A recording can only capture what was put into it by the producers.
"Has the reflected sound deliberately been eliminated during mixing in order to reintegrate it during playback? "
I would guess not normally. But different amounts of reflected sound in recordings can and will result depending on the specific production techniques used.
How does speaker response and an-echoic specs relate to this?
I think those practically are best determined using electronically produced test signals, which are different, not real recorded music.
How do you 'engineer' sound?
Isn't that exactly what all sound recording engineers and producers do? I believe they typically use near field listening techniques and monitors designed for near-field listening to do this in order to take room acoustics out of the picture in that acoustics will be different in each case where the recording is played back by the customers who buy their product.
SOme labels, like Mapleshade for example, have production techniques specifically designed to optimize soundstage and imaging overall.
Also a lot of early hi-fi recordings, like those from MErcury Living PResence, for example, were made with an emphasis on maxing out sound quality, including soundstage and imaging, when such things were still quite novel and marketable on a relatively large scale (compared to today).