I usually use for testing audio anything from Alan Parsons first two albums.. they never fail.. Well then I go to something more intense like Tool ... or pop like Adele..
I like this version of Bach’s complete organ works. http://www.blockmrecords.org/bach/
The files can be downloaded in high res for FREE! They are recorded on period instruments in traditional settings. Very well done.
The files can be downloaded in high res for FREE! They are recorded on period instruments in traditional settings. Very well done.
I do. If you are into music you listen to music you don’t like. It’s how I learn. However, I won’t listen to modern pop, rap, or dance music.Nobody plays music they don't like.
jeff
We all have our own personnal love for a song or a particular artist, but in truth, lot of good recordings can be used to reveal the strentght and weakness of an hifi, home cinema or headphone setup.
On my side, I tend to use a lot of songs, but I do have a sort of playlist, where you can find David ELIAS, Watahachee, Champs, Insomnium, Joe Satriani, Angus and Julian Stone...
All those songs that I tend to know perfectly, and that I love to listen to, which allow me to sometimes also listen to to see how my gear are doing. Be it my headphones, my hifi setup, or even my car setup (not the perfect environnement but still
)
On my side, I tend to use a lot of songs, but I do have a sort of playlist, where you can find David ELIAS, Watahachee, Champs, Insomnium, Joe Satriani, Angus and Julian Stone...
All those songs that I tend to know perfectly, and that I love to listen to, which allow me to sometimes also listen to to see how my gear are doing. Be it my headphones, my hifi setup, or even my car setup (not the perfect environnement but still
)
Turn your audio system up to the maximum level you can use and listen Bob Katz's https://www.digido.com/portfolio-item/we-have-lift-off-now-in-surround/
p. s.: Or be careful if you're not sure you can do it.
p. s.: Or be careful if you're not sure you can do it.
Jacques Loussier Trio ... "Some of My Favorites"
Dire Straits ... "On the Night"
Eric Clapton ... "Clapton Chronicles"
Peter Gabriel ... "So" (25th anniversary edition))
David Bowie ... "Legacy" (deluxe addition) "Earthling" (expanded edition)
INXS ... "Live Baby"
James Taylor ... "James Taylor Live"
Warren Zevon ... "Stand in the Fire"
Love well done live albums
Dire Straits ... "On the Night"
Eric Clapton ... "Clapton Chronicles"
Peter Gabriel ... "So" (25th anniversary edition))
David Bowie ... "Legacy" (deluxe addition) "Earthling" (expanded edition)
INXS ... "Live Baby"
James Taylor ... "James Taylor Live"
Warren Zevon ... "Stand in the Fire"
Love well done live albums
I notice this too. I think the reason is that modern recordings are made at high sample rates and bit depths, and then downsampled to 44.1KHz/16-bits. This produces fewer artifacts.
On Youtube, I found an excellent recording of the "Blue Danube" performed by the Danish National Symphony Orchestra. I see the two microphones suspended over the orchestra (their other videos show accent microphones, but they appear to be off in this piece).
This kind of recording causes electronics to seemingly disappear. I can close my eyes and the orchestra is right in front of me. The feeling is spooky. It is also a great test of the system.
Ed
The studio albums of Flim and the BB's have apparently also been used to help dial-in loudspeakers during engineering development. They have apparently no mastering EQ/compression applied, i.e., like mixdown tracks. The first five Flim & the BB's albums below were produced in the earliest days of digital recording/CDs, and have album average crest factors of 17 to 19 dB as shown. George Massenburg did their last two albums under the Warner Brothers label-albeit with slightly lower DR ratings:
P.S: you're not going to hear anywhere near the true sound quality of these recordings using lossy formats (such as AAC in YouTube videos).
- Tricycle (DMP, 1983) (CD and SACD) - DR=18
- Tunnel (DMP, 1984) (CD) - DR=17
- Big Notes (DMP, 1985) (CD) - DR=19
- Neon (DMP, 1987) (CD) - DR=17
- The Further Adventures of Flim & the BB's (DMP, 1988) (CD) - DR=18
- New Pants (Warner Bros., 1990) (CD) - DR=16
- This is a Recording (1992, Warner Bros., 1992) (CD) - DR=15
P.S: you're not going to hear anywhere near the true sound quality of these recordings using lossy formats (such as AAC in YouTube videos).
Most people assume stereo recordings, only, when the question is asked, i.e., "what recordings do you use to audition or test your system". This isn't the only format that's available. High quality 5.1 recordings have come into the repertoire for those that have invested in upgrading their two-channel setups. The following disc (the DVD-A version of Swingin' for the Fences by Gordon Goodwin's Big Phat Band) is one of the first albums that I use in 5.1 mode:
![515HQR0BW2L[1].jpg](https://www.diyaudio.com/community/attachments/515hqr0bw2l-1-jpg.1137893/ "515HQR0BW2L[1].jpg")
This DVD-A is unusual in that it not only has high dynamic range (album DR=17), it also places discrete instrumentation into each of the surrounding five channels: there are no "echo channels". This is one of the multichannel albums that I play to hear the effects of tweaking that I've done on my 5.1 array setup. There are yet other multichannel recordings that I use for more nuanced sound quality effects.
Its genre is mostly acoustic (except electric bass and sound-reinforced saxophone section during live performance) but the genre is quite capable of producing extremely loud passages on the front rows of a live performance. UNT Lab Bands, like the One O'clock, et al., can easily produce ear pain. This album will quickly reveal any shortcomings in the setup. I've used the 5.1 version of this album in my decision making in how to upgrade my setup over the years. It's been indispensable in that regard.
Note: the CD version of this album has less than half of the dynamic range of the DVD-A version (DR=8); this is immediately apparent when you put on the CD. It's not very interesting listening to it, IMO.
Chris
This DVD-A is unusual in that it not only has high dynamic range (album DR=17), it also places discrete instrumentation into each of the surrounding five channels: there are no "echo channels". This is one of the multichannel albums that I play to hear the effects of tweaking that I've done on my 5.1 array setup. There are yet other multichannel recordings that I use for more nuanced sound quality effects.
Its genre is mostly acoustic (except electric bass and sound-reinforced saxophone section during live performance) but the genre is quite capable of producing extremely loud passages on the front rows of a live performance. UNT Lab Bands, like the One O'clock, et al., can easily produce ear pain. This album will quickly reveal any shortcomings in the setup. I've used the 5.1 version of this album in my decision making in how to upgrade my setup over the years. It's been indispensable in that regard.
Note: the CD version of this album has less than half of the dynamic range of the DVD-A version (DR=8); this is immediately apparent when you put on the CD. It's not very interesting listening to it, IMO.
Chris
For mutichannel jazz combos, I use the following three albums:
![MDItNzU1Ny5qcGVn[1].jpeg](https://www.diyaudio.com/community/attachments/mditnzu1ny5qcgvn-1-jpeg.1137918/ "MDItNzU1Ny5qcGVn[1].jpeg")
![Ny5qcGVn[1].jpeg](https://www.diyaudio.com/community/attachments/ny5qcgvn-1-jpeg.1137919/ "Ny5qcGVn[1].jpeg")
![My5qcGVn[1].jpeg](https://www.diyaudio.com/community/attachments/my5qcgvn-1-jpeg.1137928/ "My5qcGVn[1].jpeg")
All three albums are in multichannel SACD (and hybrid CD, stereo SACD). These are probably the best jazz recordings that I own. Jimmy Haslip's bass is mesmerizing, especially if you've taken the time to remove the all-pass bass phase growth out of your deep bass channels. It really is like they're in the room with you.
Chris
All three albums are in multichannel SACD (and hybrid CD, stereo SACD). These are probably the best jazz recordings that I own. Jimmy Haslip's bass is mesmerizing, especially if you've taken the time to remove the all-pass bass phase growth out of your deep bass channels. It really is like they're in the room with you.
Chris
Before playing ANY music, I recommend running a MATT (Musical Articulation Test Tones) sweep to reveal problem areas in your room. This is a simple subjective test that will quickly highlight problem room modes.
And Dr. Stephane Pidgeon's whole site is a great resource.
https://www.audiocheck.net/audiotests_matt.php
When you do get to playing music, one I like is Jimmy Smith's "Organ Grinder Swing" on Verve. It's Rudy Van Gelder recording and mastering. The title cut has the most real sounding Hammond I've ever heard recorded and the snare has a wonderful crack to it. The organ should sound like it's in the room with you if you've got a good set up.
"Hittin' on Nothing" by the Detroit Cobras is a great crisp dry rock sound for checking drums and crunchy guitar, and the vocals are great too...
"Ida Lupino" from Paul Bley's Open to Love LP on ECM is a really great close mic'd piano and very percussive: can be a torture test, and a great piece.
For impressive show-off, this particular recording of "Also Sprach Zarathustra", DG, Beriliner Philharmoniker/Herbert Von Karajan has the best overall balance between orchestra and organ that I've found (there are several Von Karajan recordings of this piece). In the intro the organ swells and drowns out the orchestra with prodigious bottom end if your system is up to it:
There are of course many great jazz recordings that highlight different nuances:
Oliver Nelson, Blues and the Abstract Truth, Stolen Moments
Bill Evans Trio, Waltz for Debby, Title track.
I also have some private 2-track recordings by David Royer of Royer Labs of things like The Partch Ensemble, and American Youth Symphony rehearsals that are great for transients and dynamic range.
And Dr. Stephane Pidgeon's whole site is a great resource.
https://www.audiocheck.net/audiotests_matt.php
When you do get to playing music, one I like is Jimmy Smith's "Organ Grinder Swing" on Verve. It's Rudy Van Gelder recording and mastering. The title cut has the most real sounding Hammond I've ever heard recorded and the snare has a wonderful crack to it. The organ should sound like it's in the room with you if you've got a good set up.
"Hittin' on Nothing" by the Detroit Cobras is a great crisp dry rock sound for checking drums and crunchy guitar, and the vocals are great too...
"Ida Lupino" from Paul Bley's Open to Love LP on ECM is a really great close mic'd piano and very percussive: can be a torture test, and a great piece.
For impressive show-off, this particular recording of "Also Sprach Zarathustra", DG, Beriliner Philharmoniker/Herbert Von Karajan has the best overall balance between orchestra and organ that I've found (there are several Von Karajan recordings of this piece). In the intro the organ swells and drowns out the orchestra with prodigious bottom end if your system is up to it:
There are of course many great jazz recordings that highlight different nuances:
Oliver Nelson, Blues and the Abstract Truth, Stolen Moments
Bill Evans Trio, Waltz for Debby, Title track.
I also have some private 2-track recordings by David Royer of Royer Labs of things like The Partch Ensemble, and American Youth Symphony rehearsals that are great for transients and dynamic range.
I have another one. I just got this CD the other day so this might be somewhat of a ‘honeymoon’ effect.
Proof Positive by J. J. Johnson originally released on impulse as part of the RVG releases, re-released by grp in 1994. I found it for cheap in Goodwill. Boy did I get lucky! It’s $25 on Amazon.
Assuming I hooked everything up correctly, the recording has JJ in the right speaker, drums left, bass center, and piano splashed across. It definitely sounds intimate and you can hear the musicians talking, but what I like best is the sound of JJ’s King 4b trombone. The richness and clarity are great. I played a 4b for years and this recording nails the in the room sound. This is a good test of the baritone range and any crossover that might be there. The first track, Neo, (sometimes called Teo by Miles Davis) just made me sit up straight and start listening, these aren’t poppy happy Jay and Kai tracks, this is JJ laying down some serious trombone sounds. Good stuff.
Proof Positive by J. J. Johnson originally released on impulse as part of the RVG releases, re-released by grp in 1994. I found it for cheap in Goodwill. Boy did I get lucky! It’s $25 on Amazon.
Assuming I hooked everything up correctly, the recording has JJ in the right speaker, drums left, bass center, and piano splashed across. It definitely sounds intimate and you can hear the musicians talking, but what I like best is the sound of JJ’s King 4b trombone. The richness and clarity are great. I played a 4b for years and this recording nails the in the room sound. This is a good test of the baritone range and any crossover that might be there. The first track, Neo, (sometimes called Teo by Miles Davis) just made me sit up straight and start listening, these aren’t poppy happy Jay and Kai tracks, this is JJ laying down some serious trombone sounds. Good stuff.
That's easy enough to test with the Sheffield Labs "My Disc" using the track "Three People Describing Position". Alternatively, you can throw on a classic VanHalen album where Eddie is clearly panned to the left with only reverb spilling over to the right channel.🤘
Haha yeah. Or a Beatles stereophonic recording with the Beatles singing on the right channel and playing on the left. Who’s brilliant idea was that? I remember my Dad had a Doc Severinsen record with trombones in one channel saxes in the other and trumpets front and center.
Like a lot of us here I’m constantly taking my system apart and trying new things, sometimes it doesn’t get put back together right. It gets psychotic when I forget to change out one of the speakers.
Like a lot of us here I’m constantly taking my system apart and trying new things, sometimes it doesn’t get put back together right. It gets psychotic when I forget to change out one of the speakers.
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