David,
I have found that using just 2 - 3 tracks can be limited, specially considering the chaos of the recording practices - we risk forming opinions that will not apply to most of our recordings, but will only play optimally a few.
I don't see it that way for A/B purposes Francisco, your system is fixed at that point in time the new component is either better, same or worse than what you have. No reason why you can't assess what you need from a couple of decent recordings representative of your taste and values when you have a clear idea of what they are, it should remain true with anything else you play. IME parameters won't change, what you lose or gain in one recording will be the true with everything else and you lose focus and add confusion using too many tracks for A/B purposes, of course YMMV.
Can we know what are the 2-3 tracks you would suggest for this purpose, particularly for "independent interplay of various instruments regarding individual scale and loudness"?
Over the years I have many reference tracks but I use only one or two at a time for evaluation. One that I particularly like and use often is a recording of Villa-Lobos Songs; Electra KTC 1165 with soprano Roberta Alexander, Alfred Heller piano and Diane Chaplin cello. Track 11 is Heller's arrangement of Bachianas Brasileiras #5 for the trio, the recording is above average and there are a number of key factors in it that I can use for assessment;
- Of course the starting point is the naturalness and quality of tone & timbre, everything is predicated on this being right. The rest is about micro/macro dynamics, resolution and neutrality of the component/s. Lower resolution and/or colored components will mask and/or homogenize the following to varying degrees from my reference and vice versa if ithey're better.
- The track is put together from more than one take, how identifiable are the different takes.
- There's a conversation between the voice, the piano and the cello changing prominence and volume as the piece progresses, this interplay should be very clearly defined and not presented just as instruments coming in and dropping off all in the same way with the same impact. I look to hear the nuances of the conversation, the instruments and the voice never drop out of the conversation but change their tone, importance and vibrance throughout, how well the subtleties are preserved and allowed to come through with distinction is very important.
- Piano, in various sections of the recording there are cues as to where the rear wall is in relation to the piano and how it's miked, in other sections not only the difference between left & right hands is clearly defined but the intensity and attack of the fingers are also preserved. Notes are properly separated and clear, not just shades of the same note going ding ding ding.
- Cello is close miked on this recording, there's some very quiet low level pizzicato but you should still be able to differentiate the plucked strings. Bow & fingering technique should be obvious as well as the vibrato and modulation of the bow as it travels across the strings. The cello is resonant, bright, alive and nasal, not sweet as some components can make cello sound.
- Alexander is an accomplished soprano and still had an impressive range when this recording was done, you should hear her ease with this piece, the high notes should never be shrill or rounded off.
- I love this music and there should be a deep emotional connection when I listen to it and this is where naturalness comes into the picture. There are parts of the music that touches me very deeply if the component is even slightly hifi and impressive it will compete with the beauty and essence of the piece and sever the emotional connection.
For energy, excitement, pace & dynamics Castilian Drums on Brubeck's 1963 live album The Dave Brubeck Quarted At Carnegie Hall on Columbia is hard to beat. Play at live volumes!
david
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