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First of all, no matter what sort of components you use at any level at all, what you reproduce in your listening area is, at best, and then only perhaps, the third cousin of the actual live performance. Where the actual experience lies on the curve from actual blood relative (third cousin) to passing acquaintance - the individual dating that third-cousin - includes many factors from where the original performance took place (Studio, concert hall, club, stadium, open air), to the miking to the engineering, to the recording, even to the medium on which it was recorded. And that is before it reaches you.
Now, making sound is about moving air. Air has mass, and requires energy to move. Accuracy aside, consider the amount of air being moved by a full symphony orchestra, the space in which it is being moved, the footprint required to provide the movers and all of that. All of which is being captured by a dozen-or-so microphones, then mixed down to two (2) channels after some level of processing. The engineer is making choices every step of the way in that mix-down. For giggles, let's assume that we are adding a pipe-organ to that mix - with Bombard pipes making 30 HZ. Take that home (Saint-Saens Organ Symphony).
Now, am I correct in suspecting that you are bi-amping each speaker-set with a pair of ~25 WPC-continuous Class A amps?
And, if I remember correctly, your speakers are ~91-92 dB @ 1 watt?
Some other basics: The transient associated with a snare-drum rim-shot is 120 dB.
The Peak-to-Average (P/A) of a well-recorded Saint-Saens organ symphony is ~30 dB.
Now, ambiance: Your room at home is not a concert hall, nor a studio in volume. However, neither are you trying to make concert volumes. You are trying to make sound that will fill your room with about as much energy per cubic whatever as that concert hall or studio. A much less daunting task. And, you are trying to make something-like-live volumes. And you are trying to maintain/duplicate the same dynamic range - approximately - as that concert hall or studio. I would suggest that the studio discussion be tabled in any case as that is a venue not designed for listening, and is as artificial in its own way as your listening room. Make it a club or small venue with a live audience.
When you are in a live audience, there is no 'sweet spot'. What you hear is a continuum of sound from one corner to another, from the front row to the last. And it is that experience that differentiates live music from reproduced music. Most recordings are "miked" from the virtual 10th row-center, with admixtures of instrument-specific signals.
Hence the "third-cousin" relationship.
In my inventory, I keep very large Maggies, and then a range of speakers from fully restored and upgraded AR3as through similar Dynaco A35s. Our main listening area is 5.2 x 7.3 x 3 meters and quite 'live' in terms of plaster walls, hardwood floors. a good deal of glass and so forth. The Maggies in that venue require my most powerful brute-force amp (solid-state) to make any sort of reasonable noise. And none of the other speakers will begin to fill that room, even the big ARs. But with that amp and in that space, the sound can be quite stunning. But still not the Kimmel Center, or even the Academy of Music. Without knowing the size and nature of your listening area, I will not comment on the components you enumerate.
Bi-Polar vs. Direct: Mixed bag here, and entirely, 100% dependent on how the speakers are placed. I am blessed with a wife that allows me to place my Maggies where they want to go, not where they are at their decorator best. Meaning that I am able to exploit their bi-polar nature to the fullest. Which means that even in a 'live' room, I have no need for room treatments other than some basic constraints on placing the furniture. Angling the speakers, distance from walls and corners and such handle _ALL_ the other concerns. Which results in a rather broad sound stage, yet retains the illusion of instrument location - with closed eyes, one may follow each section or instrument and where it is on the virtual stage. Yet, that triangle transient, Beethoven 9th, Ode to Joy, is right there, back in the percussion section, yet clear as the next seat. All of that, and an amp with less headroom - may as well be mush.
Using the ARs in a smaller room, I can get the same general effect, but a smaller sound-stage and a bit less locational clarity - again due to the narrower sound-stage.
Now, the difference between Accuracy and Precision. That thermometer that reads in whole degrees only, but is dead-on, is accurate, without being very precise. That thermometer that reads in hundredths of a degree but is anywhere from 1 - 6 degrees off, is quite precise, but not very accurate. You are looking for an accurate translation of a musical experience from the performance venue to your listening venue. NO MORE than that. Want an example: Aristophanes: The Birds. When the father of the first bird died (before the Earth existed), his daughter buried him in her: Original Greek: Crest. English Translation: Tail feathers. Original Greek - aside from a character on stage: "And that is where Kephale got its name (a town in Greece, Kephale translated as "Head")". English Translation: "And that is where Asbury got its name". An accurate translation including the pun, but not hardly precise.
Bi-Polar speakers are tough to place - and trying to correct for their needs via room treatments is a fool's game. If you have the option to work with them alone,. and giving them sufficient space apart to really show off their capacity - go there. And, as a strong suggestion !!-DO NOT-!! start with them on the short wall. Start with them on the long wall. You might be very pleasantly surprised.
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