CDs
My music collection is very broad, so during development of the speakers I listen to lots and lots of different kinds of music. I’m not only using so-called high fidelity recordings to judge the quality of the speakers, as these recordings already sound reasonable in moderate setups, but also stuff that I just like, and should appeal to me.CD 1: Milestones “Show”
1. The Yuri Honing Trio - Star Tracks, Walking on the moon, Jazz in Motion, 9920102, Jazz.
This jazz arrangement of the famous Police song “walking on the Moon” is recorded with very realistic dynamics and harmonic structure. The body of the bass guitar in the beginning should support the muffled picking of the string. Too much bass makes it “wonky”, too little bass implies that the body of the bass guitar is missing. The drums should have a lot of attack, with the snares of the drums resonating against the membrane. Too much midrange gives a “toink” sound to the drums, creating a nasty resonating sound. The decay of the cymbals should sing with vibrato, and change sound color when becoming softer. The soft playing of the saxophone should be mellow, and not thin or brittle, and reveal a scraping sound through the tube. If there is too much treble, the spatial information around the sax disappears. If there is too much upper midrange, the false air through the sax will be over exaggerated. When the music intensifies in volume, the sax should sound loud, but not painful and metallic, which would indicate too much presence (tendency to turn the volume down) and/or brilliance (sax is overwhelmed by the cymbals).
2. Aurora - Aurora, Pete’s boogie, Denon, CJ 73148, Jazz.
Selected for the realistic and dynamic recording of the drums. Very forceful beats, and lots of deep rumbling. Shows whether your speakers are resonating in the bass region, and whether the bass reproduction is under control.
3, 4. Tony Overwater - Motion Music, Boy hiding in closet (3), The old country (4), Jazz in Motion, JIM CD 0001, Jazz.
From the same players and engineers as the Yuri Honig recording. Track 3 contains impressive recorded metallic percussion. Track 4 is solo acoustic bass, and will make your furniture move. Too much impedance dips in the low frequencies will make your amplifier distort!
5. Ry Cooder - Paris, Texas, Dark was the night, WB, 759925270-2, World.
A country guitar is played with strong string picking. All details like the metallic picking sounds, the guitar cabinet, the ambience of the recording place are very well captured. Very introvert playing.
6. Tan Dun - Ghost Opera, Kronos Quartet, Metal and Stone, Nonesuch, 7559-79445-2, Classical Modern.
This recording is one of the most transparent recordings I know of. It contains percussive elements (based on metals, stones and a chinese pipa, accompanied by a string quartet. Very intriguing music, that should get you on the tip of your chair. If not, either re-design your speakers, or your musical taste!
7. Gubaidulina - String Quartet No. 3, The Danish Quartet, CPO, 999 064-2, Classical Modern.
Do you think you know what dynamic playing on violins is? You would expect after these players picking their strings, they have no fingers and strings left. Incredible spatial information. The dimensions of the instruments should sound small compared to the reverb given by the concert hall! Many speakers have the tendency to make everything sound big, like I’ve encountered with some Milestones filters.
8. Webern - Six pieces for orchestra op. 6, Langsam. Marcia funebre, Boulez, Berliner Philharmoniker, DG, 447 099-2, Classical Modern.
Sit on the tip of the chair to listen to the silent beginning, where many small things take place. Be prepared to be blown to the back of the chair, and get your hair dried at the end of the track with this huge dynamics. Reference recording!
9. Messiaen - Turangalila Symphony, Turangalila 2, Chailly, Concertgebouw, Decca, 436 626-2, Classical Modern.
Like to hear how real timpanis sound like? Accompanied with hysteric piano playing, brass, cymbals, and other percussion.
10. Shostakovich - Symphony No. 8, Allegretto, Largo (beginning), Haitink, Concertgebouw O., Decca 444 437-2, Classical.
Very powerful and dynamic playing. Gives the impression of a big orchestra in a big concert hall, all in your 6 by meter room. At the end of the 2nd part, you start to get worried about the overall dynamics presented to your speakers. Can your ears take more sound pressure than this? Do you have to catch fragmented pieces of ceramics? Will your neighbors turn red, and knock on your door? Reference track! The first part of track 3 slowly ends the climax, allowing you to start breathing again.
11. Kodály - Háry János, Túrót eszik a cigány, Iván Fischer, Philips, 462 824-2, Classical.
Recording of a children choir. Challenge for the speakers (any crisp, hardness or brittle will be deadly), but also for the amplifiers (intermodulation distortion). Both will affect the transparency of the playback.
12. Bernstein - On the town, I can cook too, Tilson Thomas, LSO, DG, 437 516-2, Classical.
Incredible recording of dynamics and voice of this musical. Very vibrant and natural overall. Pinpointing of the voice is about scary precise. Singer is the actor Tyne Daly. Splendid brass section! The orchestra is located beneath the players, and this should be clearly audible. Reference recording in the category impressive.
13. Larry Coryell, Zapateado, Philips, 810 027-2, Pop.
Solo guitar. Good combination between metallic strings, guitar body, and close microphone positioning preserving much details, but not overdone. If your audio has too much energy from bass to fundamental, the guitar is everywhere in your room instead of close and intimate.
14, 15, 16, 17. Maarten van der Valk, Salt Peanuts (14), TouchPulse, excerpt (15), Gretch me, excerpt (16), Time, excerpt (17), Siltech, SCD1, Percussion.
This music is recorded by Eelco Grimm, for a demo CD for Siltech. This is the most clean drum recording I’ve ever heard. The dynamics are huge, and at all dynamic scales the details are preserved and clear. Your speakers should be very well dampened to make this sound realistic.
CD 2: Jazz
1. Miles Davis - Complete John Coltrane, Milestones, Sony, 65833
What do I have to say more??? Note however that the recording on this session box is completely different from the original CD, and is way more vivid and brilliant (a bit too brilliant if you would ask my opinion).
2. Philip Catherine - Summer Night, Letter From My Mother, Dreyfus, FDM 36637-2, Jazz Rock.
This smooth jazz rock track sounds like it is directly recorded from the PA, it addresses the listener very direct, so all the capabilities of the players are very apparent.
3. Weather Report - Domino Theory, Swamp Cabbage, Sony, 35DP 140, Jazz Rock.
Bluntly recorded, but powerful and dynamic, and with a lot of punch. Should sound involving.
4. Chet Baker - Chet, Alone together, Analogue Productions, CAPJ 016, Jazz.
This is very smooth jazz from 1958. Certainly not a “hi-fi” record, but this stuff should appeal directly. If your equipment is too analytical, and is not capable of integrating the midrange properly, and has no well-controlled treble, this stuff will sound too analytical.
5. Ben Webster - At the renaissance, Georgia on my mind, Analogue Productions, CAPJ 011, Jazz.
Another recording as the above one, distorted, strange microphone techniques, but so much music and live performance!
6. Miles Davis - Complete John Coltrane, All Blues, Sony, 65833, Jazz.
This version is from the box set as well, and sounds very full and vibrant. The cymbals are a bit shrill. This stuff should make you sit on the tip of your chair, and wonder why so little of this kind of music is made.
7. Oscar Peterson Trio - We get request, The girl from Ipanema, Verve, 810 047-2, Jazz.
A classic. Though the recording contains a lot of distortion, and the microphone techniques are debatable, the overall impression of the musical performance is very convincing!
8. Jim Brock Group - Tropic Affair, Reference Recordings, RR-31CD, Jazz Rock.
The music is kind of elevator music, soft latin like. The base drum is recorded with lots of oomph, and the cymbals in the beginning are very delicate and thin.
9. James Newton Howard and Friends, She, Sheffield Labs, CD-23, Jazz Rock.
From the same label as above, this was a demo record for introducing the Yamaha DX-7 synthesizer based on FM synthesis. Very well recorded drums.
10. Dave Grusin - Discovered Again, Your eye on the sparrow, Sheffield Labs 10005-2-M, Jazz Rock.
Typical jazz from the 70’s. Recorded by the Sheffield Lab, which means very direct. Lot of punch.
11. Miles Davis - Bitches Brew Sessions, John McLaughlin, Sony, C4K 65570, Jazz.
Although this is not a high end recording at all, the vibrant playing in the too brilliant recording should be able to attract the attention of the listener. If the setup is too analytical, the only reaction will be to turn down the volume. Please note that this is the version on the Bitches Brew Box set, which is re-mastered, and sounds completely different from other ones.
12. Dutch Swing College - Digital Dixie, Down Home Rag, Philips, 814 068-2, Jazz.
Though dixieland is definitely not my cup of tea, this live performance is quite well captured. It should give you the idea of “being there”, and “feel the fun”. I’ve encountered this track on a sample disk, issued by Philips with their first CD player, the CD100.
CD 3: Jazz Vocal
1. Diana Krall - The girl in the other room, The girl in the other room, Verve, 9862063, Vocal Jazz.
Characteristic voice, with a smooth jazz band. This track should fill your room. I hope she stops mimicking Elvis Costello too much in the future. Track #1 and #3 of this CD are very interesting as well.
2. Ella Fitzgerald - Clap hands here comes ...!, Jersey Bounce, Verve, 835 646-2, Vocal Jazz.
This recording from 1961 is perfect to see if the treble has a nasty edge. With this recording I could determine the value of the series resistor of my Audio Note E speakers by 0.1Ω on a range of 3Ω (which I refused to believe initially)!
3. Dianne Reeves - A little moonlight, We'll Be Together Again, Blue Note, 7243 5 8025 2 4, Vocal Jazz.
Smooth jazz, that makes you fall in love. Very good recording of the voice, and the bass playing should get your feet tapping.
4. re:jazz - Point of view, That night, IC, IC 115-2, Vocal Jazz.
Another recording that has a quick tendency to sound analytical, if the system is adjusted wrongly.
5. Jeanette Lindström - Walk, This time, Amigo, AMCD 895, Vocal Jazz.
For me this recording is the definition of fragility. So delicate, and precise, and still such a strong mood. Very good musicians, where the recording serves their interpretation of the music perfectly. Can easily be spoilt by to much bass, or problems with stereo imaging.
6. Azimuth - Azimuth ‘85, Lost Song, ECM, 827 520-2, Vocal Jazz.
This almost new-age kind of jazz is recorded with lots of resonances with the piano. Any additional harshness or speaker resonances will make it unlistenable (like with the first Milestone filters).
7. Shirley Horn - You won’t forget me, If you go, Verve, 847 482-2, Vocal Jazz.
This recording starts with a lot of cymbals, almost sounding like noise. Check if it sounds metallic, and not only lisping. The voice should be full and intimate. The band should sound “too slow”, like it is following the singer.
8, 9. Patricia Barber - Modern Cool, Company (8), Let it rain [vamp] (9), Blue Note, 7243 5 21811 2 4, Vocal Jazz.
Very deep base drum plus bass and voice. Needs a good bass drive to be convincing.
CD 4: Popular Vocal
1. Rickie Lee Jones, Easy Money, Warner, 7599-27389-2, Pop.
Rickie’s debut album is very refreshing, and well recorded. Very “dry”. This track should make your foot tap, and sound too brilliant. On a lot of equipment this record sounds too thin. A must-have recording anyway!
2. A collection of Cyndee Peters and Erik Bibb, House of the rising sun, Opus3, CD7706, Pop.
Triangles, cymbals and percussion in combination with delicate female singing. Extremely transparent and dynamic.
3. Sara K. - Play on words, If I could sing your blues, Chesky JD105, Pop.
A track to check resonances, especially around the 1 kHz range where the Thiel units can be so picky, or in the 250-500Hz range where the woofer and midrange have to add up. Also the treble is a bit aggressively recorded, but should maintain smooth, another issue that is a challenge to accomplish with the Thiel units!
4. Rebecca Pidgeon - The Raven, Grandmother, Chesky JD115, Pop.
Recording of a strong female voice. Many ‘s’-sounds, and so precise that you can hear the lips being used for articulation. Should never become harsh.
5. Tori Amos - Boys for Pele, Horses, Warner, 7567-82862-2, Pop.
You should be able to watch the singer in her throat! This track is extremely useful to position the loudspeaker. The piano is recorded with a bit of reverb and close, but it should very dynamic anyway. The voice should stand loose of the piano.
6. Emiliana Torrini - Fisherman’s woman, Ladyfish, Rough Trade, TRADCD185, Folk.
The voice is recorded as in the old 20’s, almost sounding like a little girl. The recording is a bit “empty”, and big speakers should be able to sound like monitor loudspeakers. Most large speakers have the tendency to make everything sound big.
7. Katie Melua - Call off the search, Closest thing to go crazy, Dramatico, DRAMCD0002, Folk.
This son should make you dream. Voice is quite edgy, with pronounces s-sounds, but it should not disturb the musical performance. The band should be in the background, but not too lean.
8. Joni Mitchell - Travelogue, Amelia, Nonesuch, 79817-2, Pop.
Joni Mitchell is accompanied by a full orchestra. This recording should sound warm, and not nasal, edgy or whatever. Cymbals are also quite challenging to get OK. Good stuff to check the sound balance.
9. Joan Baez - The best of, Diamonds and rust, A&M, 393 234-2, Pop.
The voice of Joan Baez should warm, with no oppressive mids. The guitar strings are plucked and recorded a bit prominent. This means the guitar should sound a bit over brilliant compared to the voice, but without affecting the warmth of the recording.
10. Kari Bremnes, En Elsker I Berlin, Fxcd, 143, Pop.
Singer from Norway. Very well recorded. Especially the band comes in very realistic, a bit heavy in the bass though.
11. Muddy Waters - Folk Singer, My Home is my Delta, Mobile Fidelity, UDCD 593, Blues.
This version is a re-issue on the Mobile Fidelity label. It has a surprisingly genuine dynamic range, and sounds very transparent.
12. Twee meter sessies volume 3, T. J. White - Good in Blues, Varagram VCD 474724 2, Folk.
This recording of voice and guitar is very realistic. The picking of the metal strings of the guitar reveals a lot of brilliance, but not overdone, and the close microphone technique give a deep warm edge to the voice (the voice is not in the middle, but a bit to the right!!!), and you should be able to hear the tongue move when pronouncing the words. Again, especially listen to the “size” of the instruments. The guitar should sound like an instrument of about 1.5 meter wide, and 0.5 meter high, be in the middle, be able to be pointed at, and not fill the whole room.
13. Talk Talk - Laughing Stock, Taphead, Verve, 847 717-2, Pop.
Very introvert piece. Should sound very intimate, but not dull because though no Mahler-scale dynamics, the small details of the performance makes or breaks the music.
14. Fabrizio de Andre - Anime Salve, Ho Visto Nina Volare, Ricordi, 39235, Folk.
This italian record is unfortunately the last studio recording of Andre before he died. The voice is recorded very closely, and contains an unnatural amount of low frequencies. It is also not very brilliantly recorded, so if the tweeter is attenuated too much, this one will sound dull.
CD 5: Popular
1. Bebel Gilberto - Bebel Gilberto, Baby, Ziriguiboom 5050467 3266 20, Pop.
Smooth latin music, that should sound just sound smooth, not spectacular. Voice and close miked guitar, picked with the nails of the fingers.
2. Earth, Wind & Fire - I am, Boogie Wonderland, CBS 32DP 367, Pop.
Not hi-fi at all, and lack of pressure will make this completely non-involving. If this record sounds too thin, better make sure in the 50-100Hz region to add some more bass.
3. Prince - Parade, Kiss, Paisley Park, 9 25395, Pop.
Very peculiar way of recording, with everything processed by noise gating. But this basically means that you should be able to hear the “silence between the notes”, telling a lot about reverberations in your system or room.
4. Peter Gabriel - IV, The rhythm of the heat, Charisma, 800 091-2, Pop.
My first CD, bought in 1984! Though the treble is attenuated, and the whole is quite mixed, it is impressive music with a lot of power in the deep registers. You should feel the rhythm and the heat!
5. Police - Synchronicity, Synchronicity 1, A&M, 393 735-2, Pop.
Typically processed pop recording, but this one preserves some dynamics here and there. Especially the drums are recorded well, hearing the hits against the membrane of the drums very well. This track is very “busy”, where the every bit of the disk is stuffed with instruments. Does it survive your setup?
6. Supertramp - Brother where you bound, No inbetween, A&M, 395 014-2, Pop.
Very processed record (artificially amount of treble, a lot of reverb added), but overall it has a nice ambience, that combines power with transparency, at the expensive of midrange frequencies. Therefore sounds very thin easily when the speakers are tuned too analytical.
7. Donald Fagen - Nightfly, Ruby baby, WB, 92-3696-2, Pop.
Lack of pressure will immediately become in this rather thin recording.
8. Joe Jackson - Body and Soul, Cha cha loco, A&M, CDA 65000, Pop.
This recording is recorded in a classical studio setup, and therefore sounds very open for a pop recording. Very good recording of the voice, positioned very well between the instruments.
9. AC/DC - Ballbreaker, Boogie Man, WEA, 178051, Pop.
This hard rock track contains very direct recorded electric guitar, drums and voice, and shows a lot of punch. It should beat into your stomach. Not really my type of music, but useful to check the total power impact.
10. Bush - The Science Of Things, The Chemicals Between Us, Trauma, 490 483 2, Pop.
This hard rock track is far from hi-fi. It is harsh, closed, and quite processed. But I like the music, and want it to sound acceptable on my speakers, meaning punch and pressure is needed.
11. Hugh Masakela - Hope, Stimela, Triloka, 7203-2, Pop.
A life recording, taken directly from the PA, but in this recording the band sounds very involving, and not too much disturbed by over-mixing. Unfortunately used too often on hi-fi shows just to produce many dBs.
12, 13. Jill Scott - Experience Jill Scott 826+, Show Intro (12), A long walk (13), A touch of Jazz E2K 86150, Pop.
Let me start by saying that this recording is exactly reproducing what I don’t like in many live shows. The bass is overdone a lot, and though an impressive amount of power, you get tired of it after already a few minutes. So why this track? The first few seconds you should get the idea to be in a concert hall, the audience should be in your whole room. Furthermore, this ridiculous live-show mixing should be apparent as well, but the bass should be controlled. Probably also says a lot about the listening room conditions.
CD 6: Popular Electronic
1. Björk - Verspertine, Hidden Place, One Little Indian, Pop.
This recording is not a hifi recording, but a mix that is also stuffed to the last bit. Does it sound appealing, or does it sound stressing? Are there harsh edges on the voice? Can your setup cope with the bass violence? Are the stereo effects of the synthesizer in your whole room, or does it stick to the speakers?
2. Portishead - Dummy, It could be sweet, London, 422-828 553-2, Pop.
One of the first big hits in trip hop. Very introvert music, that when listened on a late evening should make you dream. This track contains very deep electronic bass, that should be under control and not dominate.
3. Goldfrapp - Felt Mountain, Felt Mountain, Mute, 391.0188.20, Pop.
The beginning makes you think of a little child, walking joyful through the streets, full of ideas and thoughts. Subtle electronics.
4. Laurie Anderson - Mister Heartbreak, Blue Lagoon, WB, 925 077-2, Pop.
“Spoken music”, with very resonating background synthesizer. Very useful for checking for breakups or other resonances.
5. Yonderboi - Shallow and profound, No Answer From Petrograd, Mole, MOLE023L2, Pop.
A processed recording. It requires pressure, though full control of bass to be involving.
6. Archiv - Londinium, Headspace, ARKCD 1001 / 524 285 2, Pop.
Another trip hop album, but with many effects like a deep bass, synthesizers that should fill the whole room, and a voice that is very fragile.
7. Laurie Anderson - Life on a string, One beautiful evening, Nonesuch 79539-2, Pop.
Electronic music, with spoken voice, with lots of violence to make your speakers move from their position. Lots of low frequency stuff. Requires ultimate control of the bass of amplifier, speaker and room.
8. Portishead - Dummy, Strangers, London, 422-828 553-2, Pop.
One of the first big hits in trip hop. Very introvert music, that when listened on a late evening should make you dream. Also not hi-fi, does it sound fragile?
9. Goldfrapp - Felt Mountain, Deer Stop, Mute, 391.0188.20, Pop.
This very peculiar song, with lots and lots of processing on the voice (e.g. flanging, filtering), should sound introvert and relaxed at all times. Because the voice is processed in so many way, but stays exact in the middle of the stereo image, it is a nice test to see if the radiation of the speakers is OK. If it becomes stressful, redesign your filters.
10. Björk - Medulla, Desired Constellation, One Little Indian, 9867591, Pop.
Very intimate singing. Should combine intimacy with large scale at the same time, because the voice is very direct (and should be without stress which is a challenge for the Thiel units), whereas the synthesizers are all around (and should not disturb the position, stability and dimension of the voice), and the bass later on os mellow and pulsating, without buzz.
11. Lamb - What sound, I cry, Mercury, 586 538 2, Pop.
Lots of forceful electronics and special effects, combined with subtle acoustic instruments. The voice should be dry, and far in the (somewhat stuffed) mix.
12. Trash Palace - Positions, Your Sweet Love, DGCD 81047, Pop.
Also a processed recording. It requires pressure, though full control of bass to be involving.
13. Lamb - What sound, Gabriel, Mercury, 586 538 2, Pop.
Mainly electronic music, not a hifi record, but with beautiful recorded voice. Stuffed to the last bit, so a non-transparent system might easily choke on this.
14. Madonna - Ray of Light, Little star, WB, 9362-46847-2, Pop.
Very mixed and processed stuff, but the mix of William Orbit delivers a holographic perspective on the music. Lots of deep bass, treble is processed, etc., so no hifi, but still very appealing. The bass should not be disturbing.
CD 7: World
1. Ry Cooder - Buena Vista Social Club, El Cuarto de Tula, World Circuit, WCD 050, World Latin.
Party time. Recorded in a cosy studio. Many acoustical instruments, well recorded voices. There are a lot of instruments playing, but they should be well separated. The bass should ooomph, but not disturb.
2. Thierry Robin - Gitans, Mehdi, Auvidis, Y225035, World Arabic.
This Arabic/Gypsy music based around stringed instruments is very detailed and full of life. Also the sizes of the instruments should not be blown up too much. The instruments are small, and should sound like that.
3. Ljiljana Buttler - The mother of gypsy soul, Zvonija, Zvonija, Snail Records, 50010, World Gypsy.
Small band, with a big voice. The band should be everywhere in the spatial image. The harmonic structure of the instruments is very explicit.
4. Poalo Conte - The best of, Bartali, Philips, 422 069-2, World Italian.
Another big voice, but this time from a male person. Accompanied by a piano. The voice is far to the back of speakers, whereas the piano is close. You can “see” the lips of the singer move, and if the speakers are really good, you would jump away to prevent pieces of saliva reaching you.
5. La Toker y Milonga, Astor Que estas en los cielos, Kik Productions, World Tango.
Fantastic playing of bandoneon and piano. Recorded separately (piano has different reverb), so the relation is a bit weird, but overall the music is very capturing and revealing.
6. Morelenbaum - A day in New York, Bim bom, Sony, SK80018, World Brazil.
Piano, guitar on the foreground, percussion far away in the concert hall, a delicate female voice, accompanied by a male voice. You should feel the summer when hearing this delicate recording. Should sound fragile and dynamic on the same time, so not too large scale.
7. Cristina Branco - O Descobridor, O Descobridor, Universal, 472 281-2, World Fado.
For me this woman, and this recording is amongst the best singing around, well captured by Eeclo Grimm in a church in Leeuwarden. The song text is based on poetry of Slauerhoff. Should never become harsh. Voice is a bit hollow in the recording, I guess due to the acoustics of the recording place.
8. Flamenco, Fué, Porque Non Me Dió, Philips, 422 069-2, World Flamenco.
Flamenco guitar (pepe Romero) with singing (Chano Lobato). Very impressive playing, with very involved singing. World class recording.
9. Carrefour - Buenos Aires, Fuga Y Misterio, Northwest Classics, 205275, World Tango.
Tango music performed by marimba and xylophone, recorded in a very large concert hall with a lot of reverb. Extreme deep tones from the marimba, and dynamic playing from the bandeon.
10. Giora Feidman - The singing clarinet, Liri, Pläne 88582, World.
Guitar with bass clarinet, that goes into deep registers.
11. Collin Walcott - Grazing Dreams, Jewel ornament, ECM, 827 866-2, World Indian.
Though a western musician and jazz inspired, the instrument (sitar) give you an Asian/Indian mood. The flute should have some “body”, and not only emphasize the presence or brilliance region of the frequency region. Try to focus on the electric guitar played by John Abercrombie, adding exiting jazz lines to the music, and providing tension to the music.
12. Ryuichy Sakamoto - The end of asia, Boku No Kakera, Denon, COCO-80708, World Japanese.
Deep drums are hit in such a way that you can hear membranes vibrating. The additional instruments are recorded quite bright, so any unbalance will sound very harsh.
13. Ana Caram - Rio after dark, Viola fora de moada, Chesky, JD28, World Brazil.
Famous recording used in many shops and hifi shows. Starts with small scale percussion. Then delicate singing (should sound small, and very well focussed), which intensifies in loudness over time.
14. Coralie Clément - Salle des Pas Perdus, Samba de Mon Coeur, Capitol, 7243 5 90645 2 9, World French.
French “erotic” singing. Very intimate atmosphere. A bit on the shrill side. Needs punch to get the samba drive.
CD 8: Classical Chamber
1. Berg - Chamber Concerto, Thema scherzoso..., Teldec, 2292-46019-2, 20th Century Classical Chamber Music.
Very realistically played classical instruments, all recorded with a huge dynamic range. The piano is played in all possible ways (loud, soft, deep, low, sweet, harsh), the brass instruments and violin crackle preserving their harmonic structure very well, and the atmosphere of the recording place is very obvious, and you can hear the players adapt to the recording place very well. I guess not everybody's taste of music, but instrumental coloration can be detected very well (e.g. the violin in track #3). Again, for the Thiel units the challenge is to get rid of any hardness in the dynamic outburst this recording is full of!
2. Stravinsky - Ebony Concerto, Ebony Concerto, Stravinsksy, Columbia C.E., Sony, SXK 46321, Modern Classical.
Same as above, only with different instruments.
3, 4. Beethoven - String Quartets, No. 2, Scherzo. Allegro (3), No 6, Scherzo. Allegro (4), Smithson String Quartet, Deutsche HM, CDS 7 49046 2, Classical Chamber.
Played on authentic instruments of the Smithsonian institute, these instruments sound very nasal. The scraping sound of the string and the wood, and the transparent recording make it a very good recording with deep understanding of the intonation of the players.
5. Schumann - 5 Stücke im Volkston, mit Humor, Schiff, Oppitz, Philips, 422 414-2, Classical Chamber.
A cello should have a sound with a lot of backup from its resonating cabinet, and not only sound like strings. Checks for the integration of midrange and bass.
6. Webern - Stücke für violincello und klavier part 2, Kremata Musika, DG, 447 112-2, Classical Chamber.
Very smooth, and warm timbre. The cello has a nice deep character. Intonation is very delicate.
7. Respighi - Sonata for Violin and Piano, Moderato, Chung, Zimerman, DG, 427 617-2, Classical Chamber.
Marvelous playing of two top musicians. The piano sounds a bit closed, and resonant, but the violin is very open and vibrant. The total should sound open though. The violin should sound brilliant, but never harsh or edgy.
8. Chopin - 4 Balladen, No. 4 f-moll op. 52, Zimerman, DG, 423 090-2, Classical Solo Piano.
Piano recorded in a small room, and very close by. Probably to emphasize the introvert characteristics of the piece. Bit resonating because of that reason, so if the speakers adds any resonances, it becomes irritating. So now and then you can hear Krystian humming very softly on the left channel.
9. Satie - the magic of Satie, Gymnopédie No. 1, Jean-Yves Thibaudet, Decca, 470 290-2, Classical Solo Piano.
Another piano recording, completely different captured, very closed and non-transparent. But that fits to the music, that is almost to the edge of kitsch. What should be explicit is the “perfect” tempo, attack and decay of the playing. If anything disturbs that, there is something wrong with your equipment.
10, 11. Debussy - Etudes, Arpéges composés (10), Degrés chromatiques (11), Mitsuko Uchida, Philips, 422 412-2, Classical Solo Piano.
About an impossible recording for a loudspeaker. If there is any coloration of resonance, it will become immediately apparent. The piano itself and the room in which it is resonates a bit as well, and that should distinguish itself clearly from any resonances of the speakers. Track #11 is very good as well, a bit more moderate, and more intervals and chords as opposed to track #7. Very impressive piano playing, you won’t be able to get any better than this!
12, 13. Sharon Isbin - Road to the sun, La Cathedral (12), Lament (13), Virgin Classics, VC7 91128-2, Guitar.
Compositions by Agustin Barrios Mangore and Abreu Quejas. Extremely useful to check whether there are resonances in the acoustical sum of the units. As I play guitar myself, it proves to be quite a useful reference for me to tweak the transition from low to mid. The recording should be very detailed, but preserve the warmth of a guitar, and not sound like a harp. On track 5 the snares are played with a high pitch, making the guitar cabinet resonate, and this is extremely sensitive to resonances as well. Only the guitar should resonate!
14. Grieg - Liedern, Veslemøy, Otter, Forsberg, DG, 437 521-2, Classical Vocal.
Very precisely recorded. The soprano voice can easily result in harshness.
15. Jessye Norman - Schubert Mahler, Ich bin der welt abhanden.., Norman, Gage, Philips, 426 642-2, Classical Vocal.
This arrangement of Mahler’s Rücket Liedern with voice and solo piano should be very introvert and emotional. Any form of sibilance, breakups or resonance will immediately disturb the reproduction. There is quite some hissing noise, but who cares with such a beautiful music?
16. Schubert - Winterreise, Gute Nacht, Dieskau, Moore, DG, 415 187-2, Classical Vocal.
Not a hi-fi record at all, on the contrary. But I’ve heard this record fail so many times, because the baritone voice sounds colored, and too much like it is recorded in the 30s. Hence a good check!
CD 9: Classical Orchestral Solo
1. Rodrigo - Concierto de Aranjuez, Allegro con spirito, Philips 432 828-2, Classical Concerto.
It is unfortunate that Philips stopped recording in the classical music sector, as this recording showed they did a good job! Vibrant, beautiful timbre, spacious and coherent. A model recording, with model playing!
2. Ravel - Piano Concerto in G, Allegramente, Burgos, Lortie, London S.O., Chandos, CHAN 8773, Classical.
One of the most transparent recordings I know of for a piano concerto. In most recordings the piano is muffled, but here it is available in its full detail.
3. Berg - Violin Concerto, Allegro - Adagio, Levine, Mutter, Chicago S.O., DG, 437 093-2, Modern Classical.
Not the type of music for people that already become scared when they hear more than 3 chords in a minute. Very intense playing, impressive big orchestra with an isolated violin in a big concert hall. Realistic and moving!
4. Gubaidulina - Perception, Am Meer, Reinbert de Leeuw, Philips, 442 531-2, Modern Classical.
Recorded in a church. Deep cello, supported by weeping violins. The voices (soprano, tenor) are incredibly precise. At the end the soprano is so loud, that even my headphone amplifier is distorting! The pronunciation of the vowels is even supported by the acoustics of the concert hall. Reference recording!!!
5. Szymanowski - Stabat Mater, Part 2, Rattle, Birmingham S.O., EMI, CDC 5 55121 2, Classical Choir.
This record will make your midrange burst with the choir, if it is has been tuned too loudly. Extremely useful breakup test. The spatial information of the female choir on the left is a bit weird so now and then. Also a good test for your relationship with your neighbors...
6, 7. Ramirez - Missa Criolla, Kyrie (6), Gloria (7), Carreras, Philips, 420 955-2, Classical Choir.
A well-known recording, that is a bit on the harsh side at loud volumes of the happening. That’s why I prefer track 1 over many others. Not so much the timbre, but especially the spatial positioning is impressive.
8. Shostakovich - Symphony No. 13, Adagio: Babi Yar, Haitink, Concertgebouw O., Decca 444 439-2, Classical Choir.
Yep, another one, because this one has a large male choir singing along, making deep and strong impact. Prepare for very dark tones, and incredible dynamics. Especially the deep bass combined with the high register violin tones make a scary sound. The solo voice is very well positioned in the whole happening. Thrilling stuff, this is music! And this will challenge your speakers for sure!
9. Grieg - Peer Gynt, Arabian Dance, Waart, Amerling, San Francisco, Philips, 411 038- 2, Classical Vocal.
Very open natural sounding recording. Very “classical” singing, with a lot of vibrato, giving a good impression of the concert hall. The transparency and details are never sacrificed by the dynamic outburst of choir and orchestra.
10. Shostakovich - Symphony No. 14, Sluß Stück, Haitink, Concertgebouw O., Decca 444 440-2, Classical Vocal.
The last symphonic work. This piece is selected because of the extreme dynamics in voice reproduction. The soprano should never get oppressive, which is a huge challenge.
11. Shostakovich - From Jewish Folk Poetry, Happiness, Haitink, Concertgebouw O., Decca 444 441-2, Classical Vocal.
Dynamic piece, with lots of energy in the upper mid-range. Makes it difficult for the Thiel units. A challenging track.
CD 10: Classical Orchestral
1, 2. Schubert - The Symphonies, Symphony No. 8, pt. 1 (1), Symphony No. 2, pt. 3 (2), Teldec, 4509-91184-2, Classical.
The first track shows very delicate playing of the violin sections. You should be able to “touch” them. The second track is very dynamic, and the orchestra clearly adapts its tempo to the reverberations of the low registers in the concert hall. This makes it into a nice full-filled sound.
3. Dvorak - Symphony No. 7, Scherzo (vivace), Philips 420 890-2, Classical.
In contrast to for instance the Shostakovich recordings, this is recorded very smoothly, where a lot of details get lost in the reverb. This should sound smooooooth, and not a single edge on the sound may be present.
4. Beethoven - The Symphonies, Symphony No. 8, pt. 4, Teldec, 0927 49678-2, Classical.
Decent recording of an orchestra. Should sound open, powerful and without any hard edge.
5. Rimsky Korsakov - The tale of the Sultan, Tsar’s farewell, Zinman, Rotterdam S.O., Philips, 442 605 2, Classical.
Large scale of orchestral instruments, in all kind of settings (soft, loud, dark, brilliant, etc. etc.).
6. Stravinsky - Petrushka, Russian Dance, Stravinsksy, Columbia S.O., Sony, SM3K 46291, disk 2, Classical.
The spatial openness, the brilliance, the dynamics and fun are very well captured on this recording from 1960. Part of the Stravinsky edition, with plenty of nice stuff.
7. Strauss - Also sprach Zarathustra, Introduction, Blomstedt, Dresden Staatsk., Denon, CO-2259, Classical.
Famous piece, known for its slow build-up. Starts with a deep organ, and accompanied with percussion. This Denon recording is not only well recorded (though a bit shrill at the end), but also performed very well.
8. Dvorak - Slavonic Dances Op. 46, No. 1, Dorati, R.P.O., Decca, 417 749-2, Classical.
A full scale orchestra in a warm ambiance, but still open and vivid. The conductor makes splendid use of the reverb, and adapts the tempo to it. That should be obvious, and the music should sweep, and not drool. Very joyful playing.
9. Shostakovich - Symphony No. 5, Allegretto, Haitink, Concertgebouw O., Decca 444 434-2, Classical.
The Royal Concergebouw Orchestra has a very nice reverbing concert hall, which suits the music of Shostakovich music very well.
10. Prokoviev - Romeo and Juliet, The quarrel, Gergiev, Kirov Orch., Philips 432 166-2, Classical.
Very good spatial recording, showing a lot of depth and width. The sound should make the speakers disappear, and come from besides the speakers.
11. Debussy - Images, Ibéria: 1. Par les rues..., Haitink, Concertgebouw O., Philips, 438 742 2, Classical.
Just a piece of well-recorded classical music. Good ambience of the music hall.
12. Ravel - Ma Mère l’Oye, Tableau 5, Dutoit, Montreal S.O., Decca, 410 2542 2, Classical.
Recorded with a very warm ambience, and still it has a very appealing freshness, especially when the percussion drops in.
13. Dutilleux - Symphony No. 1, Passacaille. Andante, Chandos, CHAN 9194, Classical.
This recording is one of the recordings with most spatial information I know of. You can look very deep into the concert hall. Very dynamic as well.
CD 11: Classical Old Music
1, 2. Monteverdi - Vespro della beata vergine, Negra Sum (1), Antiphon (2), Christie, Les Arts Florissants, Erato, 3394-23139-2, Classical Vocal.
Very transparent and dynamic male voice, supported with viola da gamba (kind of cello) and theorbo (kind of lute with a long neck). Beautiful singing!!! Track 4 gives a good idea of a choir with many voices. Shouldn’t sound harsh!
3. Mozart - Requiem, Lacrimosa, Harnoncourt, Deutsche HM, 82876 58705 2, Classical Choir.
Impressive piece of classical music, which shows huge differences between soft and loud singing, and an orchestra that very gently waves through the singing. Any malfunctioning in whatever part of the equipment will become deadly visible!
4, 5. Bach - Magnificat, Quia Respexit Humilitaten (4), Omnes Generationes (5), Herreweghe, Harmonia Mundi, HM 90, Classical Choir.
This recording of the magnificat is very well performed. You can hear the utmost devotion of the players to the piece. The choir should sound warm, and not harsh.
6, 7. El Cançoner del Duc de Calabria, Ah, pelayo que desmayo, Un niño nos es nacido, Jordi Saval, Auvidis, E8582, Classical Renaissance.
This music is played in a church, is very joyful, and is performed on authentic instruments with different prominent sound characteristics that can quickly sound very oppressive!
8. Storace - The Curfew, The Curfew, Kirby, Kelly, Hyperion, CDA66497, Classical Vocal.
Solo singing from Emma Kirby, who sounds like a young boy singing, accompanied with harp playing. Take note of the size of the instruments and voice, and their stability of their position when the voice increases loudness. Tweeters that are too sibilant will immediately be noticed.
9, 10, 11. Bingen - A feather on the breath of ..., Ave generosa (9), O Euchari (10), Columba Aspexit (11), Gothic Voices, Hyperion, CDA66039, Classical Vocal.
Medieval. Solo female singing in a big church. Perfect check for any break ups or any form of harshness. Track #1 is very beautiful as well, as the solo singer is extended with a small choir of 3 women (you should be able to count them), and a symphony (see for more details e.g. http://www.trouvere.co.uk/String%20instruments.htm).
12. Downland - Complete lute works, Vol. 4, Preludium, Paul O’Dette, Harmonia Mundi, HMX 2907163, Classical Solo.
This solo lute playing in a church should sound as a small instrument playing in isolation. Many speakers have the tendency to make everything sound like big scale instruments.
13, 14. Arvo Pärt - Des Profundis, O Adonai (13), O Morgenstern (14), Hillier, Theatre of Voices, Harmonia Mundi, HMU 907182, Classical Vocal.
This choir music is recorded in a church, and though the ambiance makes it sound like old music, the modern harmonics used by Arvo Pärt reveal it is modern music. The choir should sound very very far away, and you shouldn’t be able to point out the position of the speakers. Good piece to position the speakers as well! Use it in combination with a close-miked recording to also position for pinpointing, and you have a perfect set up. Beautiful music, if you can’t appreciate the quality of it, you are a music hater!!!
15. Brumel - Missa “Et ecce terrae motus”, Agnus Dei 1, Nevel, Huelgas Ensemble, CBS, SK 46 348, Classical Choir.
This is a piece for 12 voices, that each sing their own part in a church with a lot of reverb. Any resonances, presence or brilliance will make this recording unacceptable messy.
16, 17. Galacia Castilla, U queimara fogo (16), Que polos tues rogos (17), Saval, La Chapella Reial de C., Auvidis, ES 9900, Classical Voice.
This incredible delicate piece for solo voice (soprano) and choir is extremely delicate and dynamic. The piece from the 12th century is supported by instruments from that time, a harp, and a church bell. Music won’t get any better than this!
18. Charpentier - Te Deum, Prélude, Christie, Les Arts Florissants, Harmonia Mundi, 901298, Classical.
If you know the Eurovision songfestival from about 2 decades ago, you know this intro tune. Nice percussion and brass.
19. Scarlatti - Il Giardino d’Amore, Più non m’alletta e piace, Stadlmair,Catherine Gayer, Archiv, 431 122-2, Classical Voice.
Not an hifi record whatsoever, though the soprano, harpsicord and flute are recorded well, but the violin section is awfull. This music is so beautiful, and the speakers should not spoil the delicacy.
20. Merula - Canzoni, motetti, sonate, Ballo detto Pollicio, Ensemble Fitzwilliam, Valois, V 4641, Classical Renaissance.
This recording is made with old instruments, like baroque flutes, harpsicord, baroque guitar. The timbre is on the thin side, which means it quickly sounds too thin on an unbalanced system.
CD 12: Instruments and Sounds
Assembled from the following CDs:
EBU SQAM CD, 422 204-2, Test.
This CD contains many tracks of solo instruments, recorded very properly. Reproduction should give you the idea of the instrument being present in the room. Especially recommended are the violin, bassoon, tuba, castanets, side-drums, cymbals, triangle, glockenspiel, piano, harpsichord and organ.
Stereoplay Hörtest CD, Phono Music, CD 27110011 X, Test.
This recording was issued in 1997 by the German audio magazine Stereoplay. It contains music, and some test signals.
NVG PróCéDé, NVG-CD0790, Test.
This is a recording of fireworks at new years eve. Though the performers of this musical piece are a bit out of rhythm, it is amazing to hear how moving pieces of ceramic material can reproduce pulses so accurately. Just fun to impress people, nothing more, nothing less.
Checkpoint Audio, ISBN 90-806111-1-5, Test.
Checkpoint Audio issued a CD with many test signals. A book is provided that explains the backgrounds and use of all these signals. Very helpful!
Instruments
01. Violin
02. Viola
03. Violoncello
04. Double-bass
05. Piccolo
06. Flute
07. Oboe
08. Cor anglais
09. Clarinet
10. Bass-clarinet
11. Bassoon
12. Contra-bassoon
13. Saxophone
14. Trumpet
15. Trombone
16. Horn
17. Tuba
18. Harp
19. Claves
20. Castanets
21. Side drum
22. Bass drum
23. Kettle-drums
24. Cymbal
25. Triangles
26. Gong
27. Tubular bells
28. Glockenspiel
29. Xylophone
30. Vibraphone
31. Marimba
32. Grand piano
33. Harpsichord
34. Celesta
35. Accordion
36. Organ
Voices
37. Soprano
38. Alto
39. Tenor
40. Bass
41. Quartet
42. Female speech English
43. Male speech English
44. Female speech French
45. Male speech French
46. Female speech German
47. Male speech German
More instruments
48. Korean Temple Bells
49. Organ
50. Tuning Orchestra
51. Tuning Orchestra Solo Oboe
52. Tuning Orchestra First Violins
53. Tuning Orchestra Second Violins
54. Tuning Orchestra Violas
55. Tuning Orchestra Cellos
56. Tuning Orchestra Bass
57. Tuning Orchestra Recorder
58. Tuning Orchestra Oboes
59. Tuning Orchestra Clarinets
60. Tuning Orchestra Bassoons
61. Tuning Orchestra Horns
62. Tuning Orchestra Trumpets
63. Tuning Orchestra Trombones
64. Tuning Orchestra Timpanes
Sounds
65. Keys
66. Leiden, fireworks
66. Leiden, street
CD 13: Test
Some test signals, like frequency sweeps, noise, and spatial tests to quickly hear what adding or removing components in a filter setup are doing. Assembled from the following CDs:
Stereoplay Hörtest CD, Phono Music, CD 27110011 X
Denon Digital sound of the future, ISBN 90-806111-1-5
Checkpoint Audio, ISBN 90-806111-1-5
PART 1: PINK NOISE
Pink noise, by definition, has an equal amount of energy per octave, and would be a straight line on an octave band graph paper. An octave band is a band of frequencies in which the upper band limit is nearly two times the lower band limit (within 2%), hence the range 20 - 21. For example, the octave band centered at 1000Hz is roughly from 707Hz to 1414Hz. A third octave is the range 20 - 21/3, or 21/3-22/3 or 22/3 - 21. These small ranges can be used to more specifically detect problematic regions in the response
1 Correlated.
2 Uncorrelated.
3 Waterfall.
4 20-200Hz, woofer
5 200-1000Hz, woofer-midrange
6 1000-5000Hz, midrange tweeter
7 5000-22000Hz, tweeter
8 16-32Hz, super deep bass
9 32-63Hz, deep bass
10 63-125Hz, bass
11 125-250Hz, fundamental
12 250-500Hz, upper fundamental
13 500-1000Hz, midrange
14 1000-2000Hz, upper midrange
15 2000-4000Hz, presence
16 4000-8000Hz, brilliance
17 8000-16000Hz, treble
18 Tertsband, 25 Hz
19 Tertsband, 31,5 Hz
20 Tertsband, 40 Hz
21 Tertsband, 50 Hz
22 Tertsband, 63 Hz
23 Tertsband, 80 Hz
24 Tertsband, 100 Hz
25 Tertsband, 125 Hz
26 Tertsband, 160 Hz
27 Tertsband, 200 Hz
28 Tertsband, 250 Hz
29 Tertsband, 316 Hz
30 Tertsband, 400 Hz
31 Tertsband, 500 Hz
32 Tertsband, 630 Hz
33 Tertsband, 800 Hz
34 Tertsband, 1000 Hz
35 Tertsband, 1250 Hz
36 Tertsband, 1600 Hz
37 Tertsband, 2000 Hz
38 Tertsband, 2500 Hz
39 Tertsband, 3200 Hz
40 Tertsband, 4000 Hz
41 Tertsband, 5000 Hz
42 Tertsband, 6400 Hz
43 Tertsband, 8000 Hz
44 Tertsband, 10000 Hz
45 White Noise, -20 Db, L+R
PART 2: FREQUENCY SWEEPS
46 1 kHz + 5 Hz - 22.5 Khz
47 200 - 20 Hz
48 Steps, downwards 19.9kHz - 20.6Hz
49 5 - 22500 Hz, slow
50 5 - 22500 Hz, fast
PART 3: SPATIAL CHECKS
51 Left, Right, Mono
52 Out of Phase
53 Center, Left, Halfway Left
54 Center, Right, Halfway Right
55 Center, QSound Left, Right
56 Onno Scholtze walking in the Vienna Musik Verein concert hall. Onno Scholtze, a classical music producer, is walking around the the stage of the Vienna Musik Verein. This gives you a good idea of the reproduction of 2D and 3D. Do gaps occur when Onno walks around? Can you hear the depth? Can you hear “above” and “below”? Very helpful in filter design and loudspeaker positioning.
57 Spatial Ledr Test, Up and Down
Other
For the CD covers and images, click here.Other suggestions for the creation of test CDs:
- SoundOnSound.
- Linkwitz.
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