IMO, there are a number of speaker manufacturers who simply do not seem to know what the sound of a real instrument is in an un-amplified setting and therefore do not know how to design to that ideal.
Knowing how the real instrument sounds is pretty much useless, IMO, for designing loudspeakers because of the very different radiation patterns of instruments, as compared to the patterns of loudspeakers. Because of this difference in radiation pattern and the directional characteristics of human hearing there is a perceptual difference between the sounds of instrument and reproduction:
http://scitation.aip.org/vsearch/se...=JASMAN&key=DISPLAY&docID=20&page=1&chapter=0
and
Caussé et al., Radiation of musical instruments and improvement of the sound diffusion techniques for synthesized, recorded or amplified sounds”, ICMC Proceedings 1995, p.359:
"Perceptual evaluation
In a first experiment we have studied the perceptual difference between a real trombone (chosen for its radiation pattern which presents a cylindrical symmetry and a monotonic variation according to frequency) and the dodecahedron programed to reproduce various directivity indices. During listening tests, people were asked to judge the “psychological dissimilarities” between the real instrument and the radiation stimuli. The results have shown that we are sensitive to the directivity index variations (Caussé et al., 1994) and that it is possible to approximate the perceptual characteristics of the trombone when the simulated directivity index is close to that of the real instrument. Recent listening tests were dedicated to the comparison between different linear combinations of the first zonal spherical harmonics synthesized with the second reproduction method."
The following sources show graphs of radiation patterns of musical instruments:
Meyer, “Acoustics and the Performance of Music”, Verlag Das Musikinstrument, 1978
Meyer, “The Sound of the Orchestra”, J. of the Audio Engineering Society 1993, p.203
Le Carrou et al., “Some characteristics of the concert harp’s acoustic radiation”, J. of the Acoustical Society of America 2010, p.3203
Otondo et al., “New method for the directional representations of musical instruments in auralizations”, International Computer Music Conference, p. 248–251. Göteborg, Sweden, 2002
Otondo et al., “Directional patterns and recordings of musical instruments in auralizations”, Proceedings of MOSART workshop on Current Research Directions in Computer Music, S. 230–232. Barcelona, Spain, 2001
Meyer, “Akustik und musikalische Aufführungspraxis”, Verlag E. Bochinsky 1995
Meyer, “Directivity of the bowed stringed instruments and its effect on orchestral sound in concert halls”, J. of the Acoustical Society of America 1972, No. 6 (pt. 2), p.1994
Pätynen et al., “Directivities of symphony orchestra instruments”, Acta acustica united with Acustica 2010, p.138:
"In the design of concert halls, auralization is utilized to simulate the acoustics based on a computer model of the space [8, 9, 10, 11]. In such models the directivity properties of the sound source have to be defined. As the acoustical modeling is usually employed for larger music performance spaces, the ideal sound source is a symphony orchestra with correct directivities."
Klaus