Commercial recordings aim for plausibility, not authentic reproduction

Evidence

In some special cases, full authenticity is sought in reproduction of sound. In communication acoustics, authenticity is determined with human perception as the reference; for authentic reproduction, the auditory perception of a sound scenario in the reproduced conditions should be identical to those in the original conditions, as illustrated in Figure 14.1. Some example cases where authentic reproduction is essential are the reproduction of natural sound scenarios for hearing aid testing and audiology, different training tasks, telepresence applications, and the evaluation of room acoustic parameters of different venues. — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1793 (#corroborates, via linked claim)

Categorization

• XREF: connects to: Edison’s early ‘tone tests’ were staged demonstrations rather than genuine proofs of fidelity; Live-versus-reproduced demonstrations were contrived marketing that flattered flawed loudspeakers; Most recordings are manipulated creations rather than live replicas (+7 more)

Related

• Authentic sound reproduction is judged by perceptual identity, not signal fidelity (similarity 0.89)
• Live-versus-reproduced demonstrations were contrived marketing that flattered flawed loudspeakers (similarity 0.88)
• Sound quality is judged as deviations from ideal amounts of perceptual dimensions (similarity 0.86)
• Recorded audio is engineered for plausibility, not faithful reproduction of reality (similarity 0.85)
• Most recordings are manipulated creations rather than live replicas (similarity 0.85)
• Live-versus-reproduced demos were contrived marketing that masked genuine loudspeaker flaws. (similarity 0.83)
• Sound reproduction’s endpoint is the human listener, not fidelity per se (similarity 0.83)
• Reproducing the live venue experience has been the longstanding goal of audio enthusiasts (similarity 0.82)
• Edison’s early ‘tone tests’ were staged demonstrations rather than genuine proofs of fidelity (similarity 0.81)
• Mixer-friendly dead rooms do not guarantee better-sounding recordings for listeners (similarity 0.80)
• Consumer and professional audio must agree on reproduction standards for recordings to translate (similarity 0.80)
• Human auditory adaptation neutralizes room acoustics but not device imperfections (similarity 0.80)
• Listeners judge reproduced sound against accumulated experience of live sound (similarity 0.80)
• Listeners need some room sound but its required amount is unknown (similarity 0.80)
• Most audio reproduction chain components are now perceptually flawless (similarity 0.80)

Broader Connections

• Authentic sound reproduction is judged by perceptual identity, not signal fidelity #corroborates (0.90) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1793
• Sound reproduction’s endpoint is the human listener, not fidelity per se #corroborates (0.85)
• Phantom images need matching loudspeakers, not accurate ones #expands (0.80)
• Mixer-friendly dead rooms do not guarantee better-sounding recordings for listeners #qualifies (0.80) — , Toole, Floyd E - Sound reproduction-…, 804