What to listen for?

I use the song Nasty by Vincent Ingala and the song Little Person by Michael Wollny to demo my system.

OP,

I think you asked a great question. One that you would think is easy to answer. But typically the answers will take you in the wrong direction. It is easy to be seduced by being able to hear some musician move their foot or some other tiny detail. But great musical reproduction is not mostly about details. Sure, you want them, but in proportion. Turn on your analytical side and what can you determine? Details… probably making your system emphasize treble too much… strip it of the warmth and reality of music.

‘’What else? Bass, how does your system slap you in the face / chest with the bass lines. But, is this how real music sounds? No, not at the symphony, not at rock concerts… or jazz concerts.

So, while a quick survey of detail and bass is helpful… you need to immerse your self in the music and see if it draws you in. Or does it shout at you? You want a sound that is real, musical… technically with great rhythm and pace… engaging… sure with detail and bass… but has an emotional connection. This is really what high end audio is about.

When I was working having 45 minutes a day was a privilege. Also, a system that showed me every nuance of the venue and mastering was cool. But as I had more time. I would loose interest.

After hundreds of trips to the symphony, and concerts I learned that musicality was what it is really about. My system is the most engaging I have ever heard. I listen for two or three hours a day and have to tear myself away. It is musical. All the details are there, but they are in proper proportion to the music with fantastic rhythm and pace.

I often listen to jazz while working; I can't have lyrics playing when I am working on very technical stuff. I remember working while I had a live album on, recorded in a small club (I wish I remember which one). But at one point, I got annoyed at the couple at the table next to me, and wished they would shut up. Of course, that table was on the recording... I get pleasantly surprised now and again at random small things like that. 

Smoothness. Smooth, not dull; clear, but not etched. Smooth. Like real acoustic music.

When I changed to film and foil caps, I heard smoothness. When I changed to nude Vishay resistors, I heard smoothness. When I changed to an air bearing TT, I heard so much smoothness that I suspected that something had been lost - and it was - I lost the need to stop listening after 2 or 3 hours. Improved motor isolation - smoother. Panzerholz wand - smoother. Koetsu - smoother.

How do I know that it's really an improvement? I listen to a song in another language, or in dialect, and I can understand it more easily. I disentangle the lines in a symphony more easily. Clarity without compromise. Smoothness.

One well-known one here in London is the rumbling of the underground (subway) trains under Kingsway Hall that was used extensively by EMI in the 1950s-60s for orchestral recordings.

Check out whether that rumble is on the record or comes from your turntable.  In fact, when a train passes the rumble is easily heard.