These audio phools are supposed to have systems that failthfully reproduce the signals fed into the inputs, so that the signals exiting from the outputs faithfully reproduce the input ones but at a far greater power rating, would sound exactly the same be it valve or transistor, anything else is not true Hi-Fi as either something is being lost or added to the sound.
The audiofools cannot address one simple but important question.
Given an orchestra in an auditorium, where should they sit (or the microphones be placed) to hear the correct sound? In the wind section? By the conductor? In the first row, last row or somewhere else?
Person:
2 meters in front of the mixing desk. My favourite.
If acoustic, about or slightly less than halfway back on the stalls, in center. If there are balconies, not under them, and if on them, in the center, rather close to the front lip. This all is from sheer averaging, and some cunning-ness. The stalls are most likely evaluated from about middle. Under the balcony is hopeless; cheap seats. Avoid. On balcony, if in front, is expensive seats with a lot of direct sound. Could work very well.
Microphones:
If done as a A/B or "Living Stereo" A/C/B recording (two or three Neumann pressure receiver (Kugel/Omni) mikes only), about 3 meters off the stalls floor, 1 to 4 meters apart (only so wide as 4 meters if A/C/B) and then move them back and forth until the desired balance between direct and reflected sound is reached.
Since A/B stereo relies almost only on time to deliver spatial information, one can't go too wide unless one wants a greatly exaggerated stereo effect. I once hung 2 Schœps omnis off the balcony to get audience sound; like 8m apart. Veeeeery wide applause. It worked well, because it put the audience in another spatial dimension than the performers on stage and the orchestra in the pit; both which were close-miked.
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