Good Music for testing Audio Equipment

I don't mean compress and I do mean it as the free dictionary says.

All audio systems express a certain amount of distortion, which varies with signal level and condition. Some systems are, for lack of a better word, unstable and will generate greater amounts of artifact than one would expect on face value. 'Artifacts' of course refers to distortion. There are any numbers of ways this can creep into a system. Rather than describe them all I simply use the term 'editorialize' as it describes the results pretty well.

Atmasphere said:

I don't mean compress and I do mean it as the free dictionary says.

All audio systems express a certain amount of distortion, which varies with signal level and condition. Some systems are, for lack of a better word, unstable and will generate greater amounts of artifact than one would expect on face value. 'Artifacts' of course refers to distortion. There are any numbers of ways this can creep into a system. Rather than describe them all I simply use the term 'editorialize' as it describes the results pretty well.

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Yeah and some of this IMO can be seen in how certain traits-condition are perceived as exacerbated.
Worth noting white noise may also have some kind of influence (seemed to notice this difference with recordings that have high noise floor), interestingly one of the most respected studios here in the UK also use tape noise as part of evaluating new gear.
I would need to dig up the interview to be sure which recording studio this was.

Cheers
Orb

Atmasphere said:

Depth and dynamic range: The Wand of Youth, EMI ASD 2356 LP; also Verdi Requiem, RCA Soria Edition LP set

Bass: Global Communication, Remotion, Dedicated LP

Ability of a system to hold up under pressure without editorial nor being drawn to its knees: Village Music of Bulgaria, Nonesuch LP; Black Sabboth Paranoid, German Vertigo 'white label' LP
(in the latter cases the system should be played at a life-like level).


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Remotion CD arrived!! great CD...thanks for the recommendation! I believe i also picked up Aesma Daeva some time ago based on your recommendations...thanks!

APP said:

Please do

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The interview would not be online,
so I need to go back through magazines until I find the article.
Not going to be easy but if I get the time I will - and that is if I still have that specific publication.
Did you try any of those suggestions I provided?
Most would not because that selection do not fit into the idea of great music
Although that statement will probably upset fans of those musicians, in my defence I do rate some of them myself.
Cheers
Orb

Orb said:

It may be a bit controversial but I really do think it is also worth including average and poor recordings or poorly mastered releases/some aspect of the recording-mixing-mastering "trait" that can stand out (may only be for a brief instant or persistent); these type of recordings usually are helpful as their sound traits can become exacerbated such as sibilance-reverb/phase/echo used-quashed dynamics on one channel of the performance (possibly drums),etc.
This is where I find it is easier to identify some aspects on how a product behaves, of course the very best music can help and I use a mix of both.

Cheers
Orb

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But if you listen to badly recorded music just how bad should it sound?
I find that APP's first example is great because it is so clear what happens( bass and bass drum separation, controlled low frequencies, Sound Stage clarification) but with badly recorded material do you then listen like; "NOW it REALLY sounds bad''

Kefas said:

But if you listen to badly recorded music just how bad should it sound?
I find that APP's first example is great because it is so clear what happens( bass and bass drum separation, controlled low frequencies, Sound Stage clarification) but with badly recorded material do you then listen like; "NOW it REALLY sounds bad''

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These are not badly recorded (the ones I listed) as such, they have factors that make it easier to hear differences between products as the best products do not suffer exacerbating those traits.
The problem is one needs to be able to train into the "dissonance" traits and this usually requires good recordings that have notable traits or poor recorded ones, then one can move on up and select their own good recordings.
TBH this is one reason many fail or find it very difficult when listening is actually blind and levelled (even before ABX).
Understanding what traits upset one also makes it easier to identify components one may want to buy; there is a balance between long term enjoyment and "dissonance", which usually contributes a lot to the the upgrade itch IMO.
But as I said earlier, one should use a mix of those and excellent recordings.

Cheers
Orb

Ok I think I get your point.
Something like APP's 3rd and 4th example?

Kefas said:

Ok I think I get your point.
Something like APP's 3rd and 4th example?

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Sure
Other examples see my post #14 to get an idea of very noticeable traits.
Cheers
Orb

great thread!

This is brilliant acoustical experimental music...


It thrills me to the core to listen to this wonderful artist...
http://janetfeder.downloadsnow.net/songs-with-words

I purchased the "Complete Album 2.8MHz (DSF)"...

APP said:

The Glenn Gould, Goldberg var. it is the last recording you are thinking of?

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Yes, the 1983. He recorded one early in his career (which was part of what launched him i think), but it is his 1983 which as my system has improved has made it surprisingly clear to me how good a recording this can be. It reminds me of sitting at the piano (which i did for 12 years of study) with the attack of the keyboard and the weight/sounds. It used to sound a bit hollow and bright to me, but as i went higher and higher in digital reproduction and took it with me to Tokyo, Hong Kong, NYC, Boston, i began to realize how good it can sound. (someone also put my CD into one of those bezel cutter lathe things just for fun which surprisingly did make an improvement in the natural tone of the keyboard notes...no idea why).

Orb said:

APP,

3. Johny Cash Hurt.
In this release focus is on a point where it peaks/crescendo in terms of his voice and piano where it can sound "crushed-distorted"/peak limits maybe.
Best systems handle this better where it sounds more natural IMO and less exacerbated.
This is an extreme example and can be found more subtly on various music releases.

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That's a great test track! On that same CD "The Man Comes Around" and "Personal Jesus" also prove grueling tracks for most systems.

In a similar vein, from an unlikely source, Lyle Lovett's "Smile" ... many of the songs on this disk have terrific sonics

http://www.amazon.com/Hope-Floats-Music-Motion-Picture/dp/B000006359

Test Record 1 Depth of Image Opus 3 79-00 Music selections recorded in "true stereo", not panned mono!

Check up Your Sounds Vol. 1 RCA (Japan) RVL-1 Side 1 music selections Side 2 individual instruments cuts in studio followed by identical cuts in hall. State of art LP recordings. Do Not play, unless cartridge/arm setup "on the nose". Ultra Dynamic.

The Sheffield Drum Record Improvisations by Jim Keltner - Ron Tutt Sheffield Labs 14 State of art bass drum LP.

Brucemck2 said:

That's a great test track! On that same CD "The Man Comes Around" and "Personal Jesus" also prove grueling tracks for most systems.

In a similar vein, from an unlikely source, Lyle Lovett's "Smile" ... many of the songs on this disk have terrific sonics

http://www.amazon.com/Hope-Floats-Music-Motion-Picture/dp/B000006359

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Yeah totally agree.
If you get the chance try to find the good recording-mastering release of those Queen singles (or off the album such as greatest hits but be careful as these can have different mastering quality) I mentioned, very interesting how his voice is handles by different systems when it comes to the high energy 's'/'f'/'t'/etc.
And as Bruce has mentioned in the past Queen's recording quality is pretty good.
Cheers
Orb

Orb said:

Yeah totally agree.
If you get the chance try to find the good recording-mastering release of those Queen singles (or off the album such as greatest hits but be careful as these can have different mastering quality)
Orb

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Which ones do you have? is there a greatest hits you could recommend with a good mastering?

Simon Moon said:

I also really like most of the ECM jazz recordings, the 70's release on vinyl (that ECM vinyl was super quiet), and the newer releases.

They seem to understand that their audience, while maybe not all audiophiles, still want great sound quality.

They are loaded with natural dynamics. They sound intimate, yet with still a lot of space around the instruments. They really excelled at recording drums and percussion. Again, no audiophile fireworks. just real musicians, recorded in a real space.

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I have a lot of respect for Manfred Eicher. He really defined a genre in the way he approached the aesthetic of the label, and though while not "purist" per se (reverb has been part of that sound forever, as has multi-tracking), still maintains enough audiophile cred from a sonic point of view while being willing to keep exploring the outer limits of European jazz and the avant garde. Here's some info from a freelance engineer who worked for ECM on the recording/mixing/mastering process.

"I'm an official ECM sound engineer that works for and with Manfred Eicher, in my opinion one of the most important producers in the world. He was and is a very innovator in this kind of music and his idea of sound is really distintive. I recorded a Lot of albums here in Italy in my down studio and around in Europe. I started in 2003 with the album of Enrico Rava "Easy Living" and in 2008 arrived a Grammy Nomination for Best Vocal Album with the cd of Norma Winstone "Distances". All recorded, mixed and mastered in Udine (Italy). The very important thing for this sound are:

A-music
B-musicians
C-space where done the recording
D-Manfred Eicher
E-engineer and gear

Everytime is a pleasure to record musicians like these, sound is really simple to' do. Put good mics like Shoeps, Neumann, Akg, Dpa and others, good preamps, never compressore or just a touch and the final reverb from Lexicon L480 or the new Bricasti M7. On master just a little limiter to' control some peaks. Never that everynody can do. It is the ability of Manfred, to' sign the way and put the right ingredents in the right parts. Working with Manfred is an incredible thing: everytime I learn a lot of things, and I'm really proud to' work with. Just an episode:

During Anouar Brahem Trio tracking in Rtsi Swiss beatifull room, was perfect to' use a very nice introduction improvvised that was perfect for a melodic song fine before. Audio was on ProTools multitrack, so very simple to' do but there were two kind of splice to' do, every really musical and fine. I started to' think which to' use....after few seconds, Manfred tipped on my back with a quite "....please, think fast!" This open my mind and now everytime I edit, I done my work before he tell me something. I learned that a good engineer must to' be inside the music and recognise where musicians go. It is a very hard and beautiful work.

On the Stefano Bollani album Piano Solo I used two close mics Shoeps cmc64 in ortf inside the piano and two Dpa 4000 series omni in A-B. This is a particolar recording done directly on two track master. No mix, no mastering, no nothing. We use only a touch of digital rev Lexi 960. The desk was an analog fantastic Studer 990 at the last work before replacement with the really beautiful Studer Vista 8. In this recording we use a lot of ambient mics. It is a Manfred choice because he loves this room and wanted enhance this character.

About reverb depends by a lot of factors. Most of the time Lexicon L480 is the main reverb and now we start to' use Bricasti M7 because have the same warm sound with no noise floor and good digital sound when you stay in digital domain without using its great D/A outs. Other is Lexi960 but sometimes it is to much clean (in a good way....;-))).

About compression I prefer to' control the peaks of sounds on drums and on doublebass. Softknee with 2:1 or 3:1 with max 3 dB of reduction. I love Drawmer for drums and bass, Summit Audio TLA 100 on brass and vocals. If drums Are heavier on snare an old Urei 1176 modified (sound really better than original with less noise) is really a top choice, but only when needs.

On master a little limiter just to' control the peaks. I don't like the stupid war of levels! F***kin' limiters! I love the dynamic change. On amplifiers volume knob is done to' rotate CW and not to' turn down because tons of distorted signal make you annoying!-))."