You probably never had a nearfield listening room to compare with regular one...

I had one and the other...

Nearfield listening minimize some aspects of reflections but never eliminate them...

It is something i experienced personally ...

It is something very well known...

Acoustics and psycho-acoustics  concepts rules audio engineering and even physics in sound experience...

A myth in audio an enduring one is the fact that some think that the gear pieces design alone determine S.Q.

It is totally false, acoustics and psycho-acoustics determine what we hear...

«The "near field" is a property of the ROOM, not the speaker. This graph and explanation come from the book "Architectural Acoustics"»:

https://digistar.cl/Forum/viewtopic.php?t=547

There is no “Absolute Sound” that can be verified, validated, and certified. The best that one could do is to compare the output of the source component to the output of the speakers and assess the accuracy there.

As for the room and acoustical environment, this is one of the biggest fallacies of the audiophile world and a complete misunderstanding of acoustics and lack of comprehension of the fact that our human brains have a built in sound arbitrator. To greatly overcome the room effect all one has to do is listen in the near-field.

@mahgister I believe that I used the word “greatly” when qualifying what I wrote about how near-field listening impacts the room effects.

Psychoacoustics combines physics and psychology and although a strong element of the listening experience, physics still has the dominant hand at determining how sound propagates and interacts with the environment around the source of the sound.

Out of curiosity, how much of the room do you hear in the audio recordings of my systems?

I think that the author of that article is referring to to listing within the near-field and has label the near-field distance I was referring to to as the critical area. What you want is to maximize direct sound. Reverberation is a key component of recording, as a matter of fact it is typically added to create a sense of space or room to studio recordings, but it should not be something you la Gould look for the room to add, it should come from the recordings. Don’t confuse ambience information with reverb.

Unlike many on here, classical and symphonic music are not my go to genres, but I believe that musical genres are irrelevant to this discussion as musicality and resolution are agnostic to the type of music being reproduced by an audio system in a home environment. My wife and I share a love of 80’s new wave and post punk music. This past weekend, after I had tuned my Test Bed system  to what I believe is a nice balance between musicality and resolution, I recorded a couple of audio recordings of two of our favorite bands from that time period, please pardon the swaying but it was actually from the involuntary movement of my foot tapping to the music, as you can tell, I clearly liked what I was hearing:

Just Like Heaven

Sheila Take a Bow

What you want is to maximize direct sound. Reverberation is a key component of recording, as a matter of fact it is typically added to create a sense of space or room to studio recordings, but it should not be something you la Gould look for the room to add, it should come from the recordings. Don’t confuse ambience information with reverb.

I am sorry but what you wrote is misleading...

Reverberation is linked to timing control...

It is not a negative parameters nor an always positive one, it is a parameters which need to be under control but is there always dominating and confusing our perception  or not dominating under control and helping our perception ...

It is the same thing for direct sound. It is not always a positive parameter like you suggested...Too much direct sound is negative on timbre perception,spatial cues, listener fatigue, unnatural listening conditions, and if indirect sound comes too quick with direct sound wave : interferences... Etc 

Direct sound /indirect sound must ratio must be controlled... It is associated with  Sound pressure levels of the speakers and the room  and  time ratio controls  which is needed here , not a qualification suggesting direct sound is good and reverberation is bad .

In a word, direct sound, early reflection, reverberations are three factors and ratios  necessary and which must be put under control..."In an excellent sounding listening environment the correct balance of direct sound, early reflections and reverb will contribute to an favourable listening experience"

In a word what we want is optimize the ratio between direct sound and indirect one not increase direct sound "per se"...

Spatial Hearing with Incongruent Visual or Auditory Room Cues

https://pmc.ncbi.nlm.nih.gov/articles/PMC5112595/

«Here we tested whether a mismatch between playback and recording room reduces perceived distance, azimuthal direction, and compactness of the auditory image, and whether this is mostly due to incongruent auditory cues or to expectations generated from the visual impression of the room. Perceived distance ratings decreased significantly when collected in a more reverberant environment than the recording room, whereas azimuthal direction and compactness remained room independent. Moreover, modifying visual room-related cues had no effect on these three attributes, while incongruent auditory room-related cues between the recording and playback room did affect distance perception. Consequently, the external perception of virtual sounds depends on the degree of congruency between the acoustical features of the environment and the stimuli.

The impression of auditory space occurs on the basis of auditory cues provided by sound waves arriving at each ear, directly from the source, and after bouncing off the surfaces of the environment¹,². Time and intensity differences between the two ear signals determine, in most cases, the azimuthal localization of sounds³,⁴, whereas the perception of elevation is mainly associated with the direction-dependent filtering effect of the outer ear⁵. Distance perception has been shown to rely mostly on intensity, the ratio between the energy of direct and reflected sound, and the frequency content of the signal»

Then it is not true that the spatial cues comes mainly from the direct sound of your speakers mostly, and only  from the recording , they must be translated, and they are, by the room  acoustic signature  for the listener ears/brain...

Out of curiosity, how much of the room do you hear in the audio recordings of my systems?

Your question here made no sense...

Your recording of your speakers capture also the sound of your room ...

It is the case in all  speakers/room recording i ever listened to on youtube...

The speed of sound in a few meters room cross your mic how many times ? We then are able to hear the direct sound/indirect sound  time ratio from your recording as the specific quality of your system/room...