another very unique trait of the S-400s, that not many consider enough because they haven't seen it at home, is how they seem to fit every room and mingle with any type of furniture. in other words, they are beautiful everywhere.
(BTW, I have written many times that I do not care for velvety midrange and super smooth treble, because it is not how real music sounds).
you are not listening to the direct instruments but a recording of those instruments therefore an interpretation of how the music sounded by both the recording engineer and the mixing engineer
after attending a live concert recently of one of my favorite singers I was not impressed and much preferred the recordings. In fact I wish I hadn’t bothered attending the concert
i don’t know why artists think that live music at ear blasting levels is fun because it wasn’t for me.
Theres a lot of distortion that comes out of driving PA Rigs are very high SPL and I may well really reduce my concert attendance to protect my ears !
With recorded music, the recording is a culmination of different people’s inputs, hopefully to the satisfaction of the artist, though apparently not always so, record companies in particular sometimes over-riding, maybe that being responsible for bad recordings (including compressed CDs). But with recorded music, by our choice of system components and room layouts etc we can get it to sound how we like it, or rather we get the system to make the music we normally play sound good to us - and if we have no reference to how a good live performance of the music or artist sounds then it is possible that we could adopt systems that substantially change the music’s qualities because that is what sound good to us. Although that might be a distortion of the accuracy of the music being reproduced, that is not a bad thing in itself as the whole purpose is enjoyment of the music, however we need to be careful in assuming that others would enjoy it the way we do. And here lies the challenge in advising others on speakers, or interpreting what others say about in terms of their preferences, whether SL2 or S400 (or anything else), though it can help to have an understanding of the commenting person’s general preferences in terms of the sound they like, e.g. by noting any commonality or otherwise with one’s own views on any common points of reference.
In some cases it may be that someone can become so become accustomed to their system’s presentation that they dislike the live sound even when it may be exactly what the artist intends, which is rather sad in a way - but not in another way because the said individual still enjoys their version of the artist’s music. Artists themselves of course can be ‘guilty’, where a studio album creates music that just can’t be reproduced on stage - and in that event it is enjoyment of the recording that arguably is indeed the most important.
But of course, live performances can be good or bad. Amplified ones are particularly susceptible to the quality of PA - some PA suppliers and/or gig mixing engineers should simply be banned. They are also of course dependent on the artists’ performance on the day, and that can be significant, from illness to disinterest (as can happen especially on long major tours), to drunkenness etc, or just an ‘off’ day. Also very significant can be the acoustics of the venue, where sometimes some parts of the auditorium can sound great and others abysmal. With regard to sound level, it needs to suit the music - rock never sounds right quiet (that includes at home), while a solo folk singer is likely to sound wrong played at the same sound level as a heavy metal band (similar differences with classical).