Using streaming services is a bit problematic I think, because you're never sure of which mastering you get. When an album is remastered, its sound will change. Of that reason I prefer my own CD rips.
I personally have used the Cowboy Junkies Trinity Sessions for several reasons:
1) It was recorded using a single Calrec Ambisonic microphone (similar reasoning to @TNT's choice of Mahler 4 by Faulkner).
2) It features an accomplished female vocalist - Margo Timmins - easily capable of sweeping through both two-and-three-way crossover frequencies.
3) I am intimately familiar with every track/note on that album.
4) It is available in an assortment of audiophile formats: SACD/200gram as well as 45 RPM multi-disc/audiophile CD.
Point 4) enables me to pressure-test digital sources/transports against my vinyl rig, which is an eye-opener even today against 40-years of developments in digital sound technologies since the launch of the CD in '82-83.
1) It was recorded using a single Calrec Ambisonic microphone (similar reasoning to @TNT's choice of Mahler 4 by Faulkner).
2) It features an accomplished female vocalist - Margo Timmins - easily capable of sweeping through both two-and-three-way crossover frequencies.
3) I am intimately familiar with every track/note on that album.
4) It is available in an assortment of audiophile formats: SACD/200gram as well as 45 RPM multi-disc/audiophile CD.
Point 4) enables me to pressure-test digital sources/transports against my vinyl rig, which is an eye-opener even today against 40-years of developments in digital sound technologies since the launch of the CD in '82-83.
I agree, it's a very nice record. But - it tends to sound good on virtually anything.
Also bear in mind that the vocals are amplified and mostly output through a Klipsch PA speaker. That Klipsch is what you hear on the record.
Also bear in mind that the vocals are amplified and mostly output through a Klipsch PA speaker. That Klipsch is what you hear on the record.
Best references would be played on original master tapes or from lossless files through a very good DAC!
If that's the case then it's a testament to the general quality of the gear being made these days...and a very good recording.
Or just run it through an honest pair of good phones then contrast and compare.
A bit left field...you really want to test electronic bass dynamics...try an early techno track 'Here's Johnny' by Hocus Pocus, I have it on cd, nothing heats up a power amplifier faster🤓
For sure, I love good vibes and energy of house and techno 🙂 Nice big speaker system = very good vibes and energy
The purpose of these 3 tracks from my list.
Udu Tu Yutu/Tumbara/Spiral Spirit
Flight Of The Cosmic Hippo/Béla Fleck & The Flecktones/Flight Of The Cosmic Hippo
Rahman: Dacoit Duel/Matt Dunkley: Czech Film Orchestra/Rahman: Between Heaven & Earth
dave
True, true. Unless the subs are on class D 😀 I haven't even got the fans to click on yet....
If you are particular about the accurate low frequency reproduction, I think you should check not only the dynamics, but also the frequency response under the influence of room acoustics, and distortion. Personally, I have been using this song as a reference for the past few years, but it is a very nasty song, so I honestly don't want to recommend it to others. If someone hears you listening to it at high volume, you will probably feel very embarrassed. However, there are several reasons why I deliberately use this song as a reference.
Cardi B - Money
1. In this song, the same 808 kick sample is used with pitch changes from around 35Hz to 150Hz, which makes it very easy to check for frequency variations in the low range.
2. The 808 in this song is relatively close to a sine wave with few harmonics unlike normal bass, making it very easy to hear the distortion (harmonics) changes by frequency.
3. The song is slow and the arrangement is very simple and repetitive, making it easy to evaluate the low end. Basically, only this bass, vocals, piano hit, and hi-hat.
4. As you will see if you actually listen to it, 99% of speakers cannot reproduce this song accurately. Especially at high volumes, it is most probably impossible without multiple 15" woofers. Even with headphones that are not affected by room acoustics it is unlikely that satisfactory sound quality can be achieved unless they are very flat and have very little distortion in the low range. NDH-30 is acceptable, but when listening with the HD-600, it becomes clear that there is a lot of distortion in the low range and that the extension of the lowest frequency range is insufficient.
However, personally, I believe that in many cases, enjoying music can involve playback with a moderate amount of distortion in the low frequencies, which I find to be more pleasant and easy to listen to. So I do not think that a device that is unable to play this song at all necessarily has a problem.
Cardi B - Money
1. In this song, the same 808 kick sample is used with pitch changes from around 35Hz to 150Hz, which makes it very easy to check for frequency variations in the low range.
2. The 808 in this song is relatively close to a sine wave with few harmonics unlike normal bass, making it very easy to hear the distortion (harmonics) changes by frequency.
3. The song is slow and the arrangement is very simple and repetitive, making it easy to evaluate the low end. Basically, only this bass, vocals, piano hit, and hi-hat.
4. As you will see if you actually listen to it, 99% of speakers cannot reproduce this song accurately. Especially at high volumes, it is most probably impossible without multiple 15" woofers. Even with headphones that are not affected by room acoustics it is unlikely that satisfactory sound quality can be achieved unless they are very flat and have very little distortion in the low range. NDH-30 is acceptable, but when listening with the HD-600, it becomes clear that there is a lot of distortion in the low range and that the extension of the lowest frequency range is insufficient.
However, personally, I believe that in many cases, enjoying music can involve playback with a moderate amount of distortion in the low frequencies, which I find to be more pleasant and easy to listen to. So I do not think that a device that is unable to play this song at all necessarily has a problem.
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I am a total (well almost) vinyl guy first of all. I use a couple of recordings to evaluate my stuff.
1) Cowboy Junkies - Trinity Sessions. Excellent ambiance and Margo's Voice slays me.
1a) Holly Cole - Temptation. Similar to above.
2) The Decemberists - The King is Dead. A compressed sounding recording. Improvements in SQ for me resulting a more enjoyable presentation. Nice music.
2a) Live - Throwing Copper. Similar to the above Decemberists album.
3) Miles Davis - Kind of Blue. (or any other small jazz ensemble as well recorded jazz stuff is ridiculously easy to find.) Brubeck's Time out or Jazz Impressions of Eurasia for instance.
4) Finally Paul Desmond's - Skylark. Very hot recording so will exacerbate tendencies towards sibilants. Great jazz music if just right.
I try and bracket the stuff to get a sense of early simple stuff and the more difficult compressed stuff.
1) Cowboy Junkies - Trinity Sessions. Excellent ambiance and Margo's Voice slays me.
1a) Holly Cole - Temptation. Similar to above.
2) The Decemberists - The King is Dead. A compressed sounding recording. Improvements in SQ for me resulting a more enjoyable presentation. Nice music.
2a) Live - Throwing Copper. Similar to the above Decemberists album.
3) Miles Davis - Kind of Blue. (or any other small jazz ensemble as well recorded jazz stuff is ridiculously easy to find.) Brubeck's Time out or Jazz Impressions of Eurasia for instance.
4) Finally Paul Desmond's - Skylark. Very hot recording so will exacerbate tendencies towards sibilants. Great jazz music if just right.
I try and bracket the stuff to get a sense of early simple stuff and the more difficult compressed stuff.
I don't think so, unless you truly know the correlation between the sound and the measurement, and how do you measure the meaningful low frequency response in the room?
The recordings used as reference are
Mono recordings of string instruments. The reason for this is to check the phantom centre of the stereo equipment.
Strings are ideal for checking the phantom centre as they contain many high frequency overtones.
For example, the Vienna Konzerthaus Quartet's Haydn or the PabloCasals' Bach CelloSuites.
Mono recordings of string instruments. The reason for this is to check the phantom centre of the stereo equipment.
Strings are ideal for checking the phantom centre as they contain many high frequency overtones.
For example, the Vienna Konzerthaus Quartet's Haydn or the PabloCasals' Bach CelloSuites.
I'm my experience, measurements show in far greater detail what's really happening, compared what we can hear. The ear/brain is not a very accurate measurement tool.
Measure what we hear - the sum of the room and the speakers in the listening position.
I usually look at frequency response, decay, distortion and group delay at different SPL’s.
How do you measure stereo illusion soundstage imaging width, depth, and localization of voices/instuments under dynamic (changing volume level) conditions?
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To OP
Dull recordings should sound dull.
Make sure you include dull and bright recordings in the list. When played back, distinction should be as much noticable as posible.
Dull recordings should sound dull.