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.
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.