Which speakers have rear firing speakers and how do they sound?

I don’t disagree, the 2nd room, 3rd room, listening room all add.
even in the control room listening in the near field, there is bounce off the board, etc. mastering rooms not usually near field, etc...

I did some experiments with trying to replicate ratios along the chain, for example if the stereo pair was 9’ in the air and 7’ from small chorale and ... x you get the idea ( but the math is complex and results indeterminate, but think this is but one reason why stereo images vary in realism so much

happy listening 

I should clarify, a 2L “ the Nordic sound “ recording, but substitute in any good hall ambience / instrument balance recording, of which there are multitudes...

Duke...nicely thought out BUT in the case of an acoustic event recording in the space a nicely placed microphone captures first arrival and subsequent arrivals, that information IS encoded in the wave form over long periods of time, well past first arrival.  So if the bounce is already in the waveform, why add another off the back wall ? I have in 3 rooms now tested the rear tweeter on the Vandy 5a, while I dont generallt prefer it, there are some combinations of room / recording where it sounds better. In general overdamped rooms and IMo over mic’d DG recordings. In those rooms a 2 L suffers w rear tweeter on. Just my buck fifty, but this is psycho acoustics at it’s best, imo

best and again congrats on the Subwoofer award, cool

The Vandersteen 5a, 7 include a switchable rear firing tweeter w level control for over damped rooms and  recordings lacking much ambient hall / venue information. In this time and phase accurate design, the rear firing tweeter is 100% distortion, but in some cases pleasing.