@simonmoon Define, “accuracy.”
”Sounds exactly like a violin does in person”?
“Sounds exactly like a piano does in person”?
This may be true to the listener.
Sure, it’s possible someone may “get it right,” or “as close to ‘right’ as possible.”
A person may be able to perform some scientific process of, say, a trial run involving the placement of a world-best conductor and/or orchestral player in the “sweet spot” of their listening room for an hour’s time each trial, ultimately coming away with a significant-enough sample size of “yay” votes as to the system’s “accuracy” to be able to say, “this system is super accurate.”
Other than this extremely rare extenuating circumstance (to the average Joe at home), a listener is determining “accuracy” from a place of inherently-questionable science.
Then we look at the definition of “accuracy” again: being able to reproduce what was performed at the performance stage as accurately as possible, being able to reproduce what was heard on the studio monitors at the time of recording/mixing as accurately as possible.
To say, “now that I’ve determined reproduction of acoustic sound is ‘accurate’ on this system, I know that reproduction of pop recordings will be ‘accurate’ as well” is problematic.
Hearing what the pop artists, engineers and producers were hearing when they listened to the studio monitors/master tape at the time of recording/mixing is not necessarily achieved across the board after determining “my system is ‘accurate’ based on classical music reproduction.”
A different set of principles is adopted when making a pop record.
A setup that is “super accurate” for reproduction of recordings of exclusively acoustic instruments may not necessarily be “super accurate” in reproducing what was heard on the studio monitors/master tape on a pop record.
Saying, “this is as close as possible to what the artists/engineers/producers heard on the master tape of this particular pop record” can only be achieved by having the music/recording’s progenitors sitting in your “sweet spot” in your listening room saying, “yup, this sounds exactly like the master tape.”
The classical recording/mix/master and the pop recording/mix/master are two pretty different things.
Beyond this point, the variables become so overwhelming across the entire spectrum of music-listening as to make a proclamation of objective “accuracy” across the board pretty silly.