Note precision had to be "humanized" slightly to avoid some odd acoustic consequences. My guess is that the sound problems pertained to phasing issues with samples. Staggering the note timing seemed to rectify the problems I heard.
Further staggering of the notes improved the general "listenability" of the pieces. Too much precision does not make for happy ears. This staggering of notes is not to be confused with the levels of timing and velocity inaccuracy common to live human performance; it is much more miniscule. It has nothing at all to do with the indulgent and melodramatic impositions common to "interpretive" performers. Sometimes I think "interpretation" is a cover for the limits of a performer's technical accuracy; the ripples of imperfection on the glassy ocean of sound are rendered insignificant, if not undetectable, by crashing waves of affectation. That is probably a reasonable technique, but it should be admitted clearly and up-front and not used as a cover. Where ego is involved, truth is obscured.
Music is played in the brain. After that, it's all technology. My fingers are not programmed to play piano well, so I program electronic instruments to play sounds the way I want to hear them.
Trying to find a recording of "The Well-Tempered Clavier" that has good quality sound, and in which the performance is not in some manner eccentric, is very difficult. So I made my own. My intention is that it is true to the manuscript. I hope it is. If it is not, I hope to correct any errors that are found.
The comments attributed to Sigh Lawns are the wishful thinking of robots, androids with egos. I give them no credence.
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