@Krunok There is a very logical reason to think an anechoic chamber has many ideals for sound reproduction. Rooms colour the sound to a very very great deal, moreso than speakers or any other link in the reproduction chain. If your ideal is to hear exactly what's on the recording, not less not more then an anechoic chamber is the starting point for this.
Perhaps you've indeed been in a good anechoic chamber, though almost all anechoic chambers are not anechoic in the bass, it is the size and treatment that determine at which frequency the chamber stops being fully anechoic. In most anechoic chambers loudspeaker placement still matters a great deal in the deep bass.
And as mentioned, there's a big difference between a quiet room (giving the effects you describe) and an anechoic room.
But assuming you've listened in a good anechoic room, I gave many other points to take into account to explain your negative experience.
I can tell from personal experience that if all those point are taken into account and done well that the soundquality and experience is second to none.
As for research. There is truly a ton of research which shows the detrimental effects of room reflections and modes. And hell one needs to only use a microphone at listening position in a room to show the severe effects. It is wrong to think that because we are used to rooms that we can "filter out" these effects or something along those lines. Again there's a ton of research which shows the opposite.
As for Toole. This is not where things stop. Many people have taken research much further. One example is again Northward Acoustics. He takes into account the "state of the ears" and makes a room where the ears still hear a room regarding self-noise, but not regarding sound coming from the speakers to put the ears into a relaxed state. Some people will need this more than others, myself I'm not bothered by an anechoic room, spent almost a year in one daily.
And yes, many many pro's use near-anechoic rooms / non environment rooms. Those who can afford one and have done their homework visiting many types of rooms often end up wanting exactly such a room.
As for lower budget studio standard, it is standard to at least treat all direct reflections and then try to tackle modes as best as possible. This makes a big difference already but a (near) anechoic room is yet another step up.
As I stated before, with a fully anechoic room though (and to some degree near anechoic room) there is some issue with treble. Most use an EQ curve to tame this. I have done original research into this and think I have a new and better solution. With this solution fully anechoic rooms become truly ideal in my opinion. Will share how it works later.