That Origin Live document is itself pretty "analytical," but interesting nonetheless.
For me, accuracy of instrumental timbre is probably most important, followed by spatial realism (soundstage width and depth, instrumental placement, "air" around instruments). But that would be primarily for acoustic ensembles: chamber orchestras, string quartets, jazz groups. For rock, tight and accurate bass is obviously important at loud volumes. Someone on this site has mentioned somewhere that large orchestras don't come across well on any but the most uncompromising (and expensive) systems in acoustically benevolent spaces, and I think that's true. For me, small chamber orchestras that are well recorded are among the most satisfying, and exciting, to hear on my system. Any of the Orpheus recordings of Haydn symphonies, for example, fall into this category.
For me, accuracy of instrumental timbre is probably most important, followed by spatial realism (soundstage width and depth, instrumental placement, "air" around instruments). But that would be primarily for acoustic ensembles: chamber orchestras, string quartets, jazz groups. For rock, tight and accurate bass is obviously important at loud volumes. Someone on this site has mentioned somewhere that large orchestras don't come across well on any but the most uncompromising (and expensive) systems in acoustically benevolent spaces, and I think that's true. For me, small chamber orchestras that are well recorded are among the most satisfying, and exciting, to hear on my system. Any of the Orpheus recordings of Haydn symphonies, for example, fall into this category.