How close to the real thing?

I think quite a bit has been accomplished here... By sharing experiences, each of us has put that together and at least have a much better idea of what it takes to come closest to reproduce live as closely as possible.
I have come to believe that only recordings done in a venue of a small scale can be reproduced fairly faithfully in most homes, unless you have a very large room I have come to believe that it takes a reasonable amount of cone area to come close to faithfully reproducing some instruments, as mentioned above, large piano and drums. I believe that the recording is critical in reproduction.
I disagree with a few statements, I've been around alot of live productions and I've have heard recorded piano that came very close to live... We were using alot of cone area (Legacy Focus), Big tube amps, etc, etc. But in general, I feel like if we all put together our experiences that this has been a beneficial thread and I have enjoyed and appreciated hearing from everyone. Good Listening, Tim

Comparing sound pressure from a live instrument in your room,at home,is not accurate for this comparison.Sure these instruments have a lot of volume,but when you listen to them live,figure the room volume of the building,and compare it to your listening room volume.The volume difference is huge.Who would want the actual drums in your home?The smart drummers use headphones,when performing.A lot of the other musicians wear ear plugs too.My neighbors Baby Grand gets to loud,in an(approx),40x25x12ft high room.A violin gets extremely loud.These live instruments do cause hearing damage.At home,we can control this.Another plus, for listening at home.Correct what you can,that's wrong with your system. Anything that draws attention to itself, especially anything offensive.The weak link I mostly find now is,the quality of the recording,not the system.After you've done corrections,get some good recordings,sit back and enjoy.

I agree cone area in addition to overall driver quality and build, optimal power delivery, and ability to pressurize air as a result is key to getting dynamics out of a playback system that can compete with the original instrument(s) in a similar room configuration.

This is one of the reasons I am a big fan of Walsh drivers. Drivers applied using the Walsh principles where sound is emitted from the rear of teh cone omnidirectionally benefit from effective application of available driver surface area, and the omnidirectional aspect results is a sound dispersion pattern more like that of a real, un-amplified, acoustic instrument. To get similar results with conventional driver technology generally require much larger designs and drivers that bump up the cost to deliver substantially.

Hi Hifihvn,
Drummers wear headphones because they are mic'd and are using the headphones as monitors. Drums get very loud, up to 110db. I have not heard any strings that can cause hearing damage. Granted most of my live listening is to cello and violin & piano and it is in a venue capable of seating 600 people, but as I stated earlier, I run a sound board fairly regularly. I have never been subjected to threatning levels from these instruments.. and I do tend to duplicate spl's at home vs live(non amplified) venues. The peaks are short term and is required to really get the dynamics that have been discussed here. I completely agree that the wink link is the recording. Good Listening, Tim

"I completely agree that the wink link is the recording. Good Listening, Tim"

The recording being the weak link is where a good audiphile wants to be. That is one thing that is not in his/her control.