Some recordings may demonstrate better audiophile-related variables (e.g., soundstage, imaging, blackness, quickness, microdynamics, dynamic range, low/mid/high frequencies, sibilance, etc.) than others. Playlists are therefore offered as examples of music to use when evaluating hifi components or systems. I assume, for example, that it is necessary to have a recording that is able to demonstrate a wide soundstage in order to evaluate whether a system/component produces a wide soundstage. However, I have not found a playlist that also identifies which specific recordings are good for evaluating which specific variable that an audiophile may be interested in.
For example, is there an annotated playlist that provides something like the following entirely fabricated example: Bill Frisell's recording of Baba Drame on The Intercontinentals is a good track for evaluating imaging (but not microdynamics), whereas John Eliot Gardiner's Volume 3 recording of Bach Contatas is excellent for evaluating microdynamics (but not imagining), or Imogen Heap's recording of First Train Home on her Ellipse album is good to use for determining the degree of sibilance (but not low frequency definition) of your system.
Or is any good recording capable of demonstrating all qualities of interest?
Recordings in many cases are owned for a long period of time and the owner has been familiar with the owned recording being used on a wide range of equipment within the owned audio system and also used on audio systems belonging to others.
It is this type of a familiarity with a recording that creates a confidence in an individual when assessing a performance from a Audio Device added to the owned system, or assessing a selection of Audio Devices assembled to produce an alternate system.
Usually a few Albums which are the preferred in the owned collection, are the 'go to' for the Tracks selected for being used. To fulfil the individual with the interest needs, for getting the feel for the overall qualities for a System in relation to the perceived qualities of the replay for the recordings that have been selected.
The idea of a pre-ordained Playlist generically used at the time of Demo's of Audio Equipment by a wide selection of individuals is new to myself.
Personally, when not hedonistically seeking please with solving the n dimensional rubic cube of audio variable optimization, i use recording ive made myself of unamplified music recorded with a bare bones chain in a reverberant space… but of course, the first distortion starts with microphone selection.
Multi track studio or possibly worse DAW is imo the definition of cat chasing tail
On another site in the past I had started a thread of tracks with "extreme" soundstage/imaging.
I remember starting it with this cut where the Rhodes should extend well beyond the speakers and even walls with some saying they were getting end wrap toward the front.
I classify test-quality LP tracks by instrument and sound factor. For example, Cassandra Wilson's, Blue Light 'Til Dawn track C1: Black Crow is one of my tests of soundstage, bass, vocal separation, and imaging. Whereas track C4: Redbone is a test for analyzing reproduction of percussion. Another example is Philip Glass' Piano works. Here I listen to Etude No 6 (track A2) to test piano range and resonance. Bass notes should make palpable each pedal press with separation from the thematic melody.
Thank you all for giving me examples of what being an audiophile involves. It helps me learn how to listen and appreciate music presented by audio equipment of varying quality.
I have my favorites but I recall seeing a list from Crutchfield of several songs with notes about what each one features and I've become familiar enough with those songs to use them as well.
I'm surprised there are not a lot of responses to this perfectly reasonable posting. As it happens, there are "annotated playlists" (and CDs) that are specifically designed to demonstrate various audiophile virtues. Consider, for example, Chesky's "The Ultimate Demonstration Disc: Chesky Records' Guide to Critical Listening." This CD contains 30 tracks, half of which are voice announcements that tell you what each track demonstrates and what to listen for. A sampling: "Depth"; "Atmosphere"; "Midrange Purity"; "Transparency"; "Rhythm & Pace"; "Holographic Imaging." And so on. The voice announcements are brief (less than 30 seconds), and the musical examples are all well-chosen to illustrate what the voice announcements describe.
Another Chesky Records disc ("Jazz Sampler and Audiophile Test Compact Disc") contains, besides sonically dramatic musical tracks, the famous LEDR imaging tests that are difficult to find elsewhere. These sounds, created by computers at Northwestern University in a sound lab (Chesky describes them as "the world's first objective stereo imaging test"), demonstrate stereo effects left-to-right and also above and below.
Then there are various favorite familiar tracks anyone has easy access to that are recommended by particular individuals to demonstrate particular system abilities. Among my favorite are three tracks used by the CEO of Sonus Faber to show off his speakers: "What a Wonderful World" by Eva Cassidy; "You Want it Darker" by Leonard Cohen; "Diamonds on the Souls of Her Shoes" by Paul Simon.
Finally, some of us have put together our own "mix tapes" (as they used to be called) of favorite demonstration tracks. Musical taste (i.e., "subjectivity") comes into play for all of these options, of course, but at the same time, when the primary criterion is audio quality—or, in fact, some particular audio quality—then there is some "objectivity" to the selections.
On the Beatles Love SACD, as they "work into" Lucy in the Skies as the harpsichord pans left, it pans rearward (toward the front wall) and when it then pans right, it pans forward toward the listened to form an "oval" rotating in front of you.
Only happens as they work into the song and for a moment at the end.
@jrdavisphd Are you not able to just determine for yourself the quality of recordings, which recordings do the audiophile 'parameters' well, etc? You need some other guy to make a playlist for you with artists and tracks you may not like?
What is even the point of looking for such 'audiophile parameters" in artists/tracks/genres that don't fit your tastes in music?
I tend to ask others for advice in order to expand my horizons of intellectual understanding of something. Audiophiles are, in general, a rich source of information (sometimes utter BS, of course) about this topic. I have already learned about Chesky from "snilf" just now, and I did not know about Chesky five minutes ago. It matters to me, as I am awaiting new speakers I bought on a whim and am really hoping to be able to set them up properly.
The spirit of the OP was to ask for help from others - something that seems to be happening quite well. Perhaps you could contribute to his understanding, rather than to denigrate the impulse to seek out the opinions of others.
Are you not able to just determine for yourself the quality of recordings, which recordings do the audiophile ’parameters’ well, etc? You need some other guy to make a playlist for you with artists and tracks you may not like?
What is even the point of looking for such ’audiophile parameters" in artists/tracks/genres that don’t fit your tastes in music?
Sometimes you have to kiss a lot of frogs to find a prince. Wouldn’t it be nice if someone had already sorted out those frogs for you so that you could select the prince of your choosing and leave the other frogs alone?
These are some tracks I use to test out components, speaker positioning and sub integration. You may or may not like all the music, but that is not the point.
Like Someone in Love, Diana Krall - bass balance for sub integration. I know how the bass should sound relative to the mix.
Girl in the Red Dress, Greg Karukas - The keyboard should be ridiculously big. A good indicator that the system can soundstage and cast a image beyond the speakers.
Lineage (Lenny's Solo), Return to Forever, Returns Live - A great track to see how "tunefull"your system's bass is.
Papa was a Rolling Stone, Superbass 2 - If this track doesn't make you smile something is wrong.
The Boy is Mine, A-capella Remix, Ariana Grande, Brandy and Monica - you should be able to differentiate the vocals - Besides it proves that some pop singers have talent if you strip away the "pop machine."
Basic Drummer Free Improvisation, Jim Keltner, Shefield Drum and Track Record - Just an awesome test of you systems capabilities, keep one hand on the volume control the first time you play this one.
An audiophile is nothing more than one who pursues better sonics for recorded music through better equipment. Like the sky, ocean, mountains, etc words cannot describe how much more a musical connection from recorded music we each feel, a much more inviting musical and emotional connection.
There are different sonic presentations, we chase the ones we subjectively find more pleasing within the constraints of our budgets. Sonic differences in sources (analog, digital tape, tuner), typology (Solid State, tubed, hybrid), speakers (dipole cone, Omni, electrostatic, planar,…), DACs (r2r, chip..)….
To truly understand, you have to go out and listen for yourself to discover the sound profile that personally resinates with you. We cannot tell you what you’ll like.
Again, I appreciate all the comments. Having just resumed serious listening this year at age 71 I have found real enjoyment in hifi. But, I know my days are numbered and so want to squeeze as much pleasure from listening to music as I can. Therefore, I wrote my post with intention of seeking direction from those on Audiogon with far more experience and ability to articulate how to listen for the variety of parameters that hifi-reproduced music presents, and that are spoken about by knowledgeable audiophiles. In sum, I'm trying my best to learn to listen, talk about hifi, and explore both recordings and the devices that reproduce their music.
With Qobuz I can easily listen to a multitude of different recordings of Beethoven's Eroica Symphony, and identify which I like better than others. I am beginning to realize the value of spending time listening to many recordings of the same piece. But, I'd like to learn the proper lexicon for describing differences between recordings I like and those I don't. Additionally, when I cobble together the funds for a better streamer or DAC, and audition a device against what I currently have, I'd like to be able to have tracks that are known to be capable of demonstrating one or more parameters so that I can conduct the audition efficiently rather than "winging it" with a poorly recorded track that I still like for sentimental reasons from the '60s. However, I appreciate there must be many different methods or perspectives that people use to evaluate (or just plain enjoy) recordings and gear, and they may all have some value.
As a newcomer to the audiophile community, I appreciate all of the responses to my post.
i’m 72. But have passionately pursued high end audio since college. Let me just recommend a couple things to accelerate your learning curve.
First get Robert Harley’s book. The Complete Guide to High-End Audio. This will add a framework and flesh it out with the basics.
You have time. Go listen to great systems. Go to some high end dealers and listen to,their best systems. Not because you will want to,buy them, but they will exemplify “kinds” of sound and make detecting sound characteristics like micro textures and the less obvious ones easier.
A word of caution on having a list of tunes for evaluating sound. It better be highly varied. I used to take my three or four favorite albums with me when I auditioned equipment. I was going through an electronic music kick… to my disappointment, I optimized my system to electronic… and all other genre sounded much worse.
Finally. When you audition, spend most of the time listening to the music… not the system. Make sure you can tell which you are doing. As interesting as hearing the conductor move his foot… it is the overall gestalt of the music and its conveyance that will make you happy at home. You don’t want an instrument you want a musical reproduction system.
I'm not much younger. If you like electronic music, it is recorded at very high levels of dynamics, transients, accuracy, soundscape, 3D, swirling, 20 to 20000Hz Bear with me.
Tron Legacy Sound track. Daft Punk. This symphonic(classical) checks all the boxes
Eric Hilton. He is/was with Theivery Corporation. He has been going through various styles of music. Impossible Silience, infinite everywhere, lost dialect are superb. These are rhythmic, relaxed jazz with Samba influence. Top recording and production. He plays all the instruments.
Soundtracks are a good bet. Qobuz has a playlist of Soundtracks to test your system. Some good stuff there. Qobuz has several such playlists debut albums, Philadelphia sound.
There are lots of good sounding artists and recordings. So I will stop, enjoy
Very, very helpful. Adrian Low at Audio Excellence near to Toronto has been enormously helpful with the assistance of his great staff. I'm looking forward to Toronto Audio Fest this weekend.
Since OP listens to classical music, I'll give you my one-track work which I always use for auditioning components (CD or streaming - I cannot afford the prices this record commands second-hand).
This work was originally recorded by Decca (London in the US) to analogue tape at the height of their skills in 1963. The recording has been available ever since on various media. The track lasts just over a quarter of an hour.
One serious critic has described the work as the best ever classical piece of music. It covers virtually every instrument in an orchestra, singly and together, has huge dynamic range, features complex percussion cross-rhythms and a finale where every section seems to do its own thing - something lesser systems cannot properly resolve.
It is Benjamin Britten conducting his "Young Person's Guide to the Orchestra"
I use a different album for speed, soundstage, clarity and detail, each…
I am not a Fleetwood Mac fanatic but they have great recordings for all of the above. M Ward is another maximalist.
But #1: listen to music you know very well, so your can focus on the nuances
OP…. Glad you are going to the Toronto Hifi show… Listening to live or recorded music is like practicing a sports skill or any other skill, the more hours and effort you put into it the better you will be at putting together a system or systems that connect you emotionally to the music and musicians. Go to as many live concerts in good venues with good sound as possible, the time and effort will pay off.
And consider joining or starting a hifi listening group. Listening with other audiophiles can be so interesting…. Somewhat like seeing a film in a public theater the group vibe can make for a deeper and very cool experience.
The Jacques Loussier Trio’s The Bach Book intricately blends classical composition with jazz improvisation. The result is a piece that explores both precision and fluidity, with each note highlighting subtle shifts in dynamics and space. The dialogue between instruments invites listeners to explore the nuanced interplay of microdynamics and imaging, creating a soundstage that feels expansive yet intimate.
Electronic Complexity:
Daft Punk’s Motherboard layers complex electronic textures over organic instrumentation, offering a spacious soundstage and sharp imaging. Each element exists in its own sonic space, demanding a system capable of resolving high-frequency detail without sacrificing coherence. Here, the technical mastery lies in Daft Punk’s ability to evoke both depth and clarity, providing an immersive experience that transcends the mechanical nature of electronic music.
Minimalist Emotion:
Nils Frahm’s Says presents a minimalist electronic composition, building gradually in emotional intensity and dynamic range. It is in the quiet moments that Frahm’s mastery reveals itself, as the music explores deep soundscapes and the intricate balance between low frequencies and spatial clarity. A system that can maintain control across these dynamics is crucial to capturing the full emotional weight of this piece.
Vocal Intimacy:
Agnes Obel’s Citizen of Glass delves into the complexities of vocal presentation. Her ethereal voice cuts through layers of delicate instrumentation, showcasing microdynamics and control over sibilance. In this piece, the subtlety of sound is key—every whisper, every breath must be clear, yet natural, highlighting the system’s ability to handle midrange detail with precision.
Atmospheric Depth:
Ólafur Arnalds’ Saman takes the listener on a journey through vast sonic landscapes. The sweeping string arrangements and soft piano touches test the system’s ability to reproduce midrange detail while maintaining a wide, immersive soundstage. Arnalds’ minimalist approach emphasizes spatial depth, requiring a setup that can render each note with clarity and emotional resonance.
Rhythmic Precision:
GoGo Penguin’s Hopopono seamlessly merges intricate rhythms with melodic jazz elements. The complexity of their arrangements requires a system that can resolve quick transients and maintain clarity across the full frequency range. This track challenges the listener’s ability to differentiate between tight, controlled bass and shimmering high-frequency percussion, all while preserving the rhythmic flow.
Ethereal Jazz:
The Portico Quartet’s Ruins is a study in high-frequency detail and spatial precision. The band’s use of ambient electronics and jazz instrumentation demands that the system reveal every nuance in the upper registers while maintaining a clear separation of instruments across the soundstage. Here, clarity and delicacy go hand in hand, offering a rich auditory experience.
Cello Resonance:
Julia Kent’s Last Hour Story showcases the deep resonance of the cello, creating an emotional landscape where low frequencies play a central role. The piece unfolds slowly, emphasizing the importance of microdynamics and control over low-end reproduction. Kent’s cello swells demand a system that can balance warmth and clarity, ensuring each note resonates naturally within the larger composition.
Innovative Sound Design:
Yosi Horikawa’s Bubbles is a masterclass in imaging and dynamic range (friends are surprised as if it is real.) Each percussive sound is precisely placed within a vast soundstage, and the rapid shifts in dynamics create a challenge for any audio system. Horikawa’s innovative use of natural soundscapes blends with electronic elements, requiring both spatial accuracy and transient quickness to fully appreciate the track’s intricacy.
Emotional Elegance:
Max Richter’s On the Nature of Daylight offers a deeply emotional exploration of orchestral dynamics. The swelling strings create a lush midrange that tests the system’s ability to render complex harmonics and subtle shifts in dynamics. Richter’s composition demands attention to the smallest details, with each crescendo revealing the system’s capability to handle broad dynamic swings without losing focus.
Drone-Like Intensity:
Hildur Guðnadóttir’s Elevation explores the tension between low-frequency weight and subtle microdynamics. The drone-like quality of her cello builds slowly, demanding a system that can handle deep bass without overpowering the more delicate upper registers. This piece challenges both the system’s control and its ability to maintain clarity through dense, resonant sounds.
Polyrhythmic Mastery:
Nik Bärtsch’s Ronin in Modul 33 pushes rhythmic precision and imaging to the forefront. The interplay between piano, bass, and percussion is sharp, yet fluid, making this track a test of both quickness and spatial accuracy. Each instrument occupies a defined space, requiring the system to handle complex layers without losing coherence or rhythmic tightness.
Chamber Rock Exploration:
Esmerine’s The Neighbourhoods Rise presents an expansive soundstage filled with rich textures. The combination of strings, percussion, and atmospheric elements creates an evolving sonic landscape where microdynamics and midrange detail are key. The emotional depth of the piece is only fully realized when the system can reproduce the intricate layers with precision.
Improvisational Synergy:
Bugge Wesseltoft & Henrik Schwarz’s First Track blends live piano with electronic improvisation, creating a dynamic interplay between acoustic and synthetic sounds. The system must balance these elements, maintaining clarity in both the mid and high frequencies while capturing the live, spontaneous energy of the performance. This track is a study in dynamic range and imaging, offering a rich, layered experience.
Acoustic Innovation:
Tin Hat Trio’s Fear of the South delves into acoustic experimentation, with each instrument engaging in a conversation of microdynamics and spatial depth. The system’s ability to reproduce the intimacy of the recording while maintaining clarity across the midrange is key to fully appreciating the Trio’s avant-garde approach.
If you want layering, complexity, and the need for resolution and dynamic range in something a bit more up to date, this is hard to beat and is on my "go to" list:
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