"Not at all naive, though your reply certainly is."
Read these tasters, then get back to me.
This is the industry standard, that I own and view my own print output with.
I just produced and printed a show for ten other photographers.
Yup, read all those, some time back.
Here's the concept I'm working with, same as spelled out in different words in the first two links you posted above, I'll hope to explain a bit clearer than I did above so that even you can grasp.
Printer gamut is no where near as wide as monitor gamut, even at sRGB. If you try and print at sRGB, aRGB or PhotoRGB you will fail as no current printer can match any of those gamuts, prints will likely come out too dark.
Since printer gamut is so much less than monitor gamut, simply configure your system so that monitor gamut is reduced to match printer gamut and Bob's your Uncle, click print.
My NEC displays 98% or 99% aRGB, something like that. At standard calibration, where I leave it, it is bright, reds are so vibrant they literally hurt to look at. Printer cannot print that brightness, nor those reds and that's the whole point, the object of soft proofing with printer emulation.
Open an image in Lightroom, switch to the develop module. click View in the menu bar, select soft proofing. While at the soft proofing drop down, notice that there are two gamut warnings you can activate, one for the monitor, one for the destination.
Over on the right panel under soft proofing, check the box for "Simulate Paper & Ink", your image will immediately darken, yup, that's what we're after, right there. Subjectively tweak to taste from here.
Regarding the last three links, I think it was P. T. Barnum who said, "A fool and his money are soon parted".
If and only if you exactly and precisely re-create your custom proofing lights for your prints when displayed, then and only then does your elaborate proofing lighting system have real value.
When displayed, there can be no other ambient light source allowed, no room lights randomly switched on or off, no ever changing daylight through windows, doors or skylights.
While I am certain that there are museum and gallery environments where such tight control of lighting is possible, allowable and desired, such conditions are far from the real world norm.
Again, only under precise reproduction of your proof light set up will a viewer see what you see under your proof light.
So, why bother.
I mean, like, really, do you explain while presenting prints to a client that those prints really don't look like what is before their very eyes because said client doesn't have your proof lights duplicated? And how does that work out for you?
Sounds to me like you got snookered into buying some fictional voodoo and now feel the need to justify your purchase decision and expense. Save it for your wife.
Again, calibrate the monitor, profile the printer, tell Lightroom to display what the printer can print by using that printer profile, then print it. Don't over think it and attempt to adjust any other printer or monitor settings, disappointment and failure are sure to result if you do.
It's not as complicated as you and your links make it out to be.
I must admit, this thread, those links, have given me a bit of pause for thought. If I ever find myself in a situation where my prints will be displayed in a tightly controlled lighting environment, it would behoove me to duplicate that environment as completely and as best possible while proofing.
Otherwise, with randomly variable lighting environments as found in the rest of the real world, your proof lighting efforts can only result in futility.
Many things in life, and especially photography, are compromises due to unpredictable and uncontrollable variables. Some things you just have to wing it and settle for pretty approximate that still satisfies your personal inner vision, goals and tastes, it's called, "Art" and it's quite subjective.