You are there vs. They are there

Can someone recommend some albums they feel presents music in the 'they are here' form?

Thanks.

@sns     +1

I think the only times I've heard sound in front of my dipole speakers is when some tracks were deliberately recorded out-of-phase to provide that effect, which I find very enjoyable.  This recording technique can make sounds appear to be behind you, and with tall speakers, sounds can appear at your ears, even.

@audiodwebe 

Try The Temptation album All Directions, especially Papa Was a Rolling Stone track. Also Miles Davis album Someday My Prince Will Come, especially the track Teo. Wynton Marsalis album, The Magic Hour, track Big Fat Hen. I am sure others will point you to many more. 

Phasing may have to do with it.

What if you made a speaker that was out of phase with itself?

I’ve never heard speakers that image like my Mermans and this is partially what they do.

Signal is fed to the 2251J through a choke as well as by-passing the choke so when blended, you get a composite and the signal that goes through the choke "lags" that of what doesn’t.

"In an inductor, the current lags behind the voltage. Specifically, in a purely inductive circuit, the current lags the voltage by 90 degrees. This means the peak current occurs later in time than the peak voltage." 

The contour control determines the amount of by-pass signal that blends with the choked signal.  As resistance is added, the signal through the choke predominates causing a rise in the ~1,500-2,500 band (sweetens up the vocals).  As resistance is removed, the two signals cancel each other out and the rise is removed leaving a "flat" signal.

This was done because it creates a very steep slope between the 2251J and the Heil.  These two drivers do not play nice together without some special treatment to reduce their overlap which can either cause a massive peak or massive suck-out if not handled properly.  (BTW, subsequent testing/listening shows R1 works best at about 28 ohms.)

@spenav ”How would you know the recording is changed unless you were at the recording studio or the live venue”

l would never know. I was talking about “if” a system did not actually reproduce the intended information or adds its own signature it is not true to the original.
 

“There is a difference in adding things or restoring things that were actually lost” 

I’m not sure if the “adding things” you refer to is in agreement with me or not, but the restoring things that ARE “actually lost” l am not sure is possible. The only way l would think you are talking about is maybe an extra recording element (or track that was part of the master) that has been recently rediscovered but was never included in the original mix?

An example that springs to mind of a lost, or in this case a rediscovered element is the 2.0 unlimited release of the soundtrack to “The Omega Man”  When the original first issue “limited edition” was released by Film Score Monthly 15 years earlier, it was not known that a third (centre) track of the keyboards/Synthesisers existed. The keyboards, a key (pun intended) important part of the score were quietly there on the original CD, but only recorded by the far left and right track microphones. Restoring the integral middle centre microphone elements with the higher keyboard levels brought the original soundstage ambiance back to that which was intended.