A recorded timbre translation, from the recorded acoustics conditions trade-off, for some System/room/ears conditions , imply all acoustics factors cues not only spatial cues but the timbre cues also...
We cannot separate acoustics factors only distinguishing them , but we act on all of them creating a room because they are all interrelated in the perception and by it.
For example the immersive factors imply a relation between the apparent sound source width and the listener envelopment factor, these ratio between ASW and LV imply a time and timing ratio and the relation between different reflections parameters and their directions.
A room is a space, and immersive experience imply the modification of the room perceived space for our ears, then a better translation of the timbre tone and spatial cues into our room as not separable...
The violonist dont hear the timbre of his violin when he play he dont perceive it as you listen to it from a location in the hall or from a playback in your room ...A timbre perception is always located somewhere in a space-time...
In a word, the
«the concept of immersive experience in acoustics is closely tied to Apparent Source Width (ASW) and Listener Envelopment (LEV), particularly in the framework of spatial audio quality as defined by psychoacoustic research»
The enjoyment of a stereo system when the sound is between the speakers is very low compare to the stereo system in a controlled room where the sound is around the listener and on some vector lines easy to identify by the ears/brain.
Choueiri called it a naturalistic 3-D soundfield...
Speaking of mere resolution or musicality does not come from acoustics but from marketing review of gear amp,pre-am or dac, tube versus S.S. etc ... Immersive experience in acoustics has nothing to do with that, or very little, because for sure the gear synergy matter as starting point ..
But acoustics experience is not about gear taste but about psycho-acoustics parameters and physical acoustics parameters...
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For example, i disliked all headphone till the day i discovered one able to give natural and realistic timbre and 3-D spatial cues these factors goes together in headphone experience and in an optimally controlled room with a synergetical set of gear pieces...it was the same for a dedicated acoustics room or a well designed headphone (very rare) ...
If i was using Choueiri filters it will be better on my headphone and better in a dedicated room, if i had one like my first one...
This article is fundamental:
@mahgister You bring in spatial cues and while they may be important for dimensionality, space, and immersion, I’m not sure that they are necessary for emotional engagement and musical enjoyment.