@russ69, excellent thread. I've enjoyed reading and learning from some very insightful posts.
**** Whoever it was, remain in hiding, because it makes no sense.****
Isn’t projection a fascinating thing? Moments before reading the most recent posts here I stumbled across a series of comments on another thread about the author of the above comment; a, er..., “popular” subject of discussion, btw. In one of those comments it was pointed out how said author “goes into hiding” when confronted and called out for his typically demeaning attitude. I won’t bother; always better to keep idiocy out in the open.
**** I am a tad confused. When I read about those that use an acoustic performance as their standard for measuring their system. When you are listening to the performance at a venue, are you not hearing the combination of the performer(s) and the venues acoustics? ****
Fair question which goes to the meat of the OP’s question.
Have you ever been walking down the street and heard the sound of a musician practicing his instrument (or a singer vocalizing) wafting out of an open window? Even from a block away one can tell that it is the sound of a live person playing his instrument and not a recording. Perhaps it is a Jazz quartet practicing. Or, one is at a street fair and from a good distance away, still out of sight, one can hear a band playing. Talk about different venues!! What is it about that sound that so immediately tells us that it is the sound of live and not a.recording? It is the immediacy of the sound, the sense of aliveness (richness of dynamic nuance) in the music and the richness of timbral detail; all without the addition to the sound of the electronic artifacts which are the inevitable byproducts of the amplification/ “sound reinforcement” and record/reproduce processes. Even if that band at the street fair happens to be a Rock band playing electronic instruments, the immediacy of the sound and absence of ADDITIONAL electronic artifacts tells us that the sound is live and not a recording.
The case for the use of recordings of acoustic instruments as “standard for measuring their system” is simply because there are far fewer variables to confuse matters. In amplified performances, not only does one have the sound of the instruments themselves (yes, a Strat has a different timbral signature than a Gibson), but one also has the variables of the amplifiers, cabling, mics, PA, sound board, etc.; not to mention the engineer’s whim.
You are correct. All concert halls have different sounds. However, those differences and their effects on the timbral (tonal quality) and dynamic detail of the sound of musical instruments are far less than the effects of the electronics of amplification. In the absence of all that amplification gear, the sound remains closest to and with the immediacy and richness of timbral detail of that sound wafting out the window.
I hope that helps.