Music to test systems

For sub bass response for test cd try soundtract to movie Titanic. I use it to see what bass response speakers put out. Very dynamic recording. Almost every song is loaded with deep bass.

I agree with the gist of Blbloom's post, but I would like to elaborate. While I agree that it is certainly important and fun to test a system' abilities in the areas of bass, soundstaging etc.; the more elusive aspects of a system's capabilities are what ultimately define a great system for me. Those things, for me, are usually found in the area of dynamics; microdynamics specifically. If a system is good at reproducing microdynamic info then it can reproduce the expressive qualities of a performer. The tiny little swells or violent crescendos that a performer or say, a string section in an orchestra makes while phrasing, make all the difference in determining wether a recorded performance is good or not. Most systems in my experience, even very expensive ones, when asked to reproduce this info (assuming it is there to begin with) fail this test miserably. Some of my favorite test recordings are: the finale to Bartok's "Concerto for Orchestra" Solti and Chicago S. on Decca; if the almost manic feel of the string section playing at a tempo that is probably too fast is not obvious, then the system is not happening. Just about any recording of Marriner conducting Bach with the Academy of Saint Martin in the Fields, preferably on Argo; whoever said that classical music doesn't swing?, Sonny Rollins "The Bridge"; this recording is in most respects as far removed from audiophile standards as you can get. Mono, a little grainy, but man does it capture Rollins' amazing ability to grab a rhythm section by the balls. Amazing and pretty rare for a horn player. Most horn players, even many of the greats, play TO or WITH the rhythm section; Sonny feels like he IS the rhythm section. Dexter Gordon "Sophisticated Giant"; Dexter always had a tendency to play behind the beat, in his later recordings it became so exagerated that the tension created was unconfortable and almost painfull to listen to. The system should be able to reproduce this tension without sounding confused. Another recording that I like to use is Bill Evans "Waltz for Debbie"; this recording captures the "sound" of The Vanguard really well. After having been to the Vanguard many times over the years, including to hear Evans himself; I find that if a system can reproduce the distinctive sound of this club, then it's probably pretty good tonally in the more general sense. A musician acquaintance and colleague likes to point out that "no one (musician) ever got fired for having bad sound". Perhpas a bit of an exageration, but what he means is that solid rhythm and expressiveness are of paramount importance. Cheers.

The manic tempo in the last movement of the Concerto for Orchestra is in the score. Solti takes it at the marked tempo and even went so far as to examine the autograph score before the recording to resolve some tempo discrepancies between the parts and the conductor's score. Microdynamics, to use that audio term, in a live performance of Bartok's Concerto played in a dry hall like Orchestra Hall Chicago will show the gap between live and the best system. That piece is my favorite to see if a piece of equipment is an improvement or not.

The gap between live and the best system is indeed huge. We are in agreement, Pls1, about the merits of the Bartok/Solti. As concerns the tempo of the finale, you are quite correct; in absolute terms. By "probably too fast" I meant probably too fast for the strings to play confortably, hence the manic feeling. To my ears the strings sound as if they are collectively about to lose control. This creates a feeling of wildness which is actually quite exciting in a way, clearly not as controlled as Reiner's reading. Moreover, I'm sure you would agree that adherence to a specific metronomic marking is only one way to potentially capture a certain feeling in the performance of a piece. In other words, sometimes a slightly slower tempo combined with exciting use of dynamics can be more effective. In this particular case I'm torn, for as I said, I rather like that feeling of wildness in this particular reading. How about that brass section though? Talk about power and excitement. Regards.

I’ve spent quite a bit of time considering this one. Limiting to only 5 is difficult. I also agree with many of the comments about how you would take what you had been listening to recently—it establishes a base line that you are familiar with at that time. That too makes this question more difficult. One thing I’m sure of, I would take a variety of music that fits my tastes. This would include: female vocal, jazz trio or quartet, orchestral/symphonic music, piano solo, and guitar solo, upright bass, and something dynamic. When I say solo—it would not have to be entirely solo, enough so that the individual instrument can be heard similar to a solo passage. Also, there are seven selections, but any one album may contain 2 or 3 of the areas I would need.

CD:
1. Bobo Stenson Trio “War Orphans” ECM
2. Elliott Fisk Classical Guitar works by Bach and Scarlatti Mark Levinson Recording
3. Bach “Goldberg Variations” performed by Ito Ema on M*A
4. Eiji Oui “Mephisto and Co” Reference Recordings
5. Patricia Barber “Companion”

LP
1. Jacintha “Autumn Leaves” Groove Note
2. Harry Belafonte “Belafonte Sings the Blues” 45RPM Classic Records Reissue
3. Respighi “Church Windows” 45RPM Reference Recordings
4. Michael Newman Classical Guitar on Sheffield D2D
5. Pete Townsend “White City”