jackinnj,
The Rachmaninoff Symphonic Dances is a GREAT orchestral recording. The M&K "For Duke" direct-to disc transcription is the best Jazz LP and CD if you can find it. I like to use Acoustic Jazz - that spotlights the various wind instruments and percussion.
As I also have some Analog reel-to-reel duplications and a few machines to play them on; can heartily recommend Tape Projects "Arnold Overures" and Acoustic Sounds - Hugh Masekela's "Hope". Use the BEST test equipment you have - Your EARS -
and LISTEN!!!!!
Charles
The Rachmaninoff Symphonic Dances is a GREAT orchestral recording. The M&K "For Duke" direct-to disc transcription is the best Jazz LP and CD if you can find it. I like to use Acoustic Jazz - that spotlights the various wind instruments and percussion.
As I also have some Analog reel-to-reel duplications and a few machines to play them on; can heartily recommend Tape Projects "Arnold Overures" and Acoustic Sounds - Hugh Masekela's "Hope". Use the BEST test equipment you have - Your EARS -
and LISTEN!!!!!
Charles
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No credit to me, one of the fellas in the NJ Audio Society had recommended it for use in the review of power supply configs for Linear Audio. (He tuned and repaired church organs for a living). It was remarkable in that we were able to witness the "smearing" of transients with some regulators!
I think piano and guitar recordings are great for this purpose....but
I will sometimes put on an ABBA LP, or mono Sinatra, Judy Collins etv.
A few songs I know well enough to know if things sound "right".
I usually start with "Spanish Harlem" by Rebecca Pidgeon to assess the center image for speaker placement. It's an excellent recording and I mess with "toe in" until she's hovering in the middle.
From there I move on to "The Chain" by Fleetwood Mac. The vocals on this track are a set a little further back in the mix in the beginning with a Dobro and an electric guitar flanked left and right. If I've got a L/R balance issue it shows up there. There's a certain energy in the kick on this song that when it's missing, generally means I'm not going to love the speakers. Same goes for the bass guitar when it comes in. There's something special about the mix of this song and I know it well enough to recognize whether speakers are setup properly in my room. I either feel it, or I don't.
My 3rd song is actual two songs. I usually get out Carol Kings Tapestry album. "Will you love me tomorrow" and "Natural Woman". There's a lot going on in the first one with Carol in the middle, James Taylor on one side, and Joni Mitchell on the other side. Piano in one channel, guitar in the other, and a three part harmony with great stereo separation. I love the dueling pianos on Natural Woman. If I went a little bit overboard on the bass in "the chain", I pay for it on Natural Woman because the piano(s) won't sound quite right. Carol's voice gets down into the mid bass on that one too, so if the speakers are setup wrong, or simply not my thing... it jumps out at me pretty quickly there.
Finally to test if the speakers are too bright or if I need to listen a little more off axis I'll throw on "Ocean Eyes" by Billie Eilsh. She's an acquired taste for sure, but I really like the production value and it's got ample content in the higher frequencies so if it comes off a little harsh I'll try adjusting speaker toe-in to try and get something a little smoother or laid back off axis.
I usually start with "Spanish Harlem" by Rebecca Pidgeon to assess the center image for speaker placement. It's an excellent recording and I mess with "toe in" until she's hovering in the middle.
From there I move on to "The Chain" by Fleetwood Mac. The vocals on this track are a set a little further back in the mix in the beginning with a Dobro and an electric guitar flanked left and right. If I've got a L/R balance issue it shows up there. There's a certain energy in the kick on this song that when it's missing, generally means I'm not going to love the speakers. Same goes for the bass guitar when it comes in. There's something special about the mix of this song and I know it well enough to recognize whether speakers are setup properly in my room. I either feel it, or I don't.
My 3rd song is actual two songs. I usually get out Carol Kings Tapestry album. "Will you love me tomorrow" and "Natural Woman". There's a lot going on in the first one with Carol in the middle, James Taylor on one side, and Joni Mitchell on the other side. Piano in one channel, guitar in the other, and a three part harmony with great stereo separation. I love the dueling pianos on Natural Woman. If I went a little bit overboard on the bass in "the chain", I pay for it on Natural Woman because the piano(s) won't sound quite right. Carol's voice gets down into the mid bass on that one too, so if the speakers are setup wrong, or simply not my thing... it jumps out at me pretty quickly there.
Finally to test if the speakers are too bright or if I need to listen a little more off axis I'll throw on "Ocean Eyes" by Billie Eilsh. She's an acquired taste for sure, but I really like the production value and it's got ample content in the higher frequencies so if it comes off a little harsh I'll try adjusting speaker toe-in to try and get something a little smoother or laid back off axis.
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Hurt by Johnny Cash is very revealing. Steely Dan can show imaging and detail. Paul Simons Graceland album especially Diamonds on the soles of her shoes. Pink Floyd Dark side of the moon. Anything you know very well to put things in context with other systems. Raising Shas great detail and pace that is not recreated on a bad system. So many others….
One of Harry Pearson's favorite recordings - he thought it had a very realistic acoustic. Not that I am a fan of Pearson - but I figure he made the record ubiquitous - he mentioned it many times.
It can almost sound bare in comparison to the big guys recordings of the piece - it sounds a little muted in comparison to a DECCA, EMI, RCA orchestral recording but one that is more realistic - more like the sound of an actual orchestra.
I suspect most folks found the record to sound substandard and unexciting since most want recordings to be much more vivid than life to make up for the missing parts.
This is one of those "sins of omission" recordings as opposed to the far worse SINS of added exciting sound effects we usually get.
I have come a little late to this discussion.
Let me add my support for using Famous Blue Raincoat, Birds on a Wire and Joan of Arc as demo recordings. I would add to the list almost any record produced my Max Wilcox. I am particularly fond of a Tashi recording of Beethoven Trio in B-Flat, RCA Red Seal (ARL 1-2217).
I am a bit surprised that no one has mentioned the Stereophile recordings and CDs. These recordings have been described in great detail in the magazine, and in the CD booklets. The recording venue, the microphone types and placements, are described, and the individual who did the recordings describes what one should hear when playing them back. The Editor’s Choice CD provides not only musical examples, but also test tones to judge system accuracy. Some of these recordings are still available from the Stereophile website.
Let me add my support for using Famous Blue Raincoat, Birds on a Wire and Joan of Arc as demo recordings. I would add to the list almost any record produced my Max Wilcox. I am particularly fond of a Tashi recording of Beethoven Trio in B-Flat, RCA Red Seal (ARL 1-2217).
I am a bit surprised that no one has mentioned the Stereophile recordings and CDs. These recordings have been described in great detail in the magazine, and in the CD booklets. The recording venue, the microphone types and placements, are described, and the individual who did the recordings describes what one should hear when playing them back. The Editor’s Choice CD provides not only musical examples, but also test tones to judge system accuracy. Some of these recordings are still available from the Stereophile website.
Emika - Drei
Not my favorite album of hers, per se. But she is a fantastic studio artist. The recordings are great, there is tons of textured low-end information (not just one-note bass), and plenty of panning / 3D effects. On a number of songs, there are plenty of sounds coming from your side or behind you! Any of her albums are good for this purpose, but this is the best in my opinion. I listen to the LP.
Not my favorite album of hers, per se. But she is a fantastic studio artist. The recordings are great, there is tons of textured low-end information (not just one-note bass), and plenty of panning / 3D effects. On a number of songs, there are plenty of sounds coming from your side or behind you! Any of her albums are good for this purpose, but this is the best in my opinion. I listen to the LP.
Roger Waters album ‘Amused to death’ is really good for the soundstage evaluation, as it was recorded with Q-Sound technology.
For female and male vocals reproduction evaluation:
Eva Cassidy – Live at the blues alley (25th anniversary edition)
Jeff Buckley – Hallelujah
Aaron Neville – Rainy night in Georgia
Excessive percussion that should not sound harsh: Billy Cobham - Stratus
For female and male vocals reproduction evaluation:
Eva Cassidy – Live at the blues alley (25th anniversary edition)
Jeff Buckley – Hallelujah
Aaron Neville – Rainy night in Georgia
Excessive percussion that should not sound harsh: Billy Cobham - Stratus
Paul Simon's recordings are typically superb. But I do find Graceland to be a bit sibilant in some passages which I found disappointing tbo. In this respect I would say there are much better recordings. Sibilance is just not acceptable whether from the gear or the recording imo.
All of Roger Waters' productions are among the best you'll find.
The best recording I've ever experienced is that true direct to disc vinyl by Charlie Byrd I found in a bargain bin in the 70's for 3 bucks. Impossible to surpass this performance. Anyone who's ever heard it was awe struck. Truly actually live sounding. But not so spectacular if you're not into acoustic jazz. In any case the ultimate test recording.
All of Roger Waters' productions are among the best you'll find.
The best recording I've ever experienced is that true direct to disc vinyl by Charlie Byrd I found in a bargain bin in the 70's for 3 bucks. Impossible to surpass this performance. Anyone who's ever heard it was awe struck. Truly actually live sounding. But not so spectacular if you're not into acoustic jazz. In any case the ultimate test recording.
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Wagner's "Also Sprach Zarathustra" from the soundtrack to "2001: A Space Oddysey"
Bach: The little G Minor
Kurt Masur conducting the Leipzig Gewandhaus thru Beethoven's 9th (@ the Berlin Wall)
Pink Floyd "Time"
Rush "La Villa Strangiato" (note the low-key jazz riff halfway thru...)
Rush "Xanadu" (live)
The classical pieces in particular are a great way to test for dynamic range and IM distortion especially if you don't like your neighbors.
On a serious note, I actually don't listen at all any more since my screen name is literal.
Bach: The little G Minor
Kurt Masur conducting the Leipzig Gewandhaus thru Beethoven's 9th (@ the Berlin Wall)
Pink Floyd "Time"
Rush "La Villa Strangiato" (note the low-key jazz riff halfway thru...)
Rush "Xanadu" (live)
The classical pieces in particular are a great way to test for dynamic range and IM distortion especially if you don't like your neighbors.
On a serious note, I actually don't listen at all any more since my screen name is literal.
Can I ask an honest question? I've not heard amused to death as I sort of went off Roger Waters after he vanished up his own rear but is it a good test of imaging to use a record with a completely synthetic soundstage? I know this is the norm in a sadly large percentage of recordings, but could it send you down the wrong path?
Many of the tracks you are recommending are better sounding in their first release on CD. Paul Simons Graceland is no good from Tidal or Qobuz. I like many of these tracks https://tidal.com/browse/playlist/d13391d9-82ec-44ac-8e02-363bf4a21044 but even there many of them exists in better sounding releases.