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A place for discussion of general audio, music and related topics.
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Evaluation Tracks

June 12th, 2020, 12:40 pm

Which track(s) do you use to evaluate audio systems and what specifically you look for in that track?

Re: Evaluation Tracks

June 12th, 2020, 1:02 pm

I think it should be music you don’t like to get emotion out of the evaluation

Re: Evaluation Tracks

June 12th, 2020, 1:13 pm

The tracks I use have different characteristics. Some have tremendous dynamic range, some have massed vocals, some have lots of strings, some are poorly mastered, some have a great sense of the recording space, etc. I partially agree with Paul that you do not want the emotional link to the music interfere with the evaluation. However, if you listen to the same cut over and over the emotional side tends to decrease and the analytical side begins to dominate. Above all, regardless of the type of music, I look for the ability to clearly identify all the musical nuances of the artist including hands on instruments, inflections of voices, transients on percussion instruments, etc.

Re: Evaluation Tracks

June 12th, 2020, 1:29 pm

Cogito wrote:Which track(s) do you use to evaluate audio systems and what specifically you look for in that track?


Not so much tracks as recording done by companies that dial-in their recording equipment and methods for solid facsimile sound reproduction.

Here is my short list of recording companies not in any special order -- there are some others, they just come to mind right now:

Mapleshade
Chesky
Reference Recordings
Chasing the Dragon
Sheffield
Erato
M&A
M&K
Proprius

I look for for an open and natural "liquid" mid-range, overall transparency without stridency or edge, a sweet and open treble, tight well-defined bass, and for lack of better words, a sense of "the breath of life."
It doesn't matter whether it is a studio recording with multiple tracks or channels or simple two-microphone (stereo pair) recordings -- when done with an "ear" tuned to the live event you get good playback.

And that quality serves well to evaluate and dial-in an audio system.

Having said that -- it is most important to get to know live music without sound reinforcement. That above all is the benchmark.

Comparing your stuff to other's stuff is not going to help you other than duplicating the efforts of others that can be good -- or worst yet -- bad.

I used to record live events besides attending them -- it has been beneficial in terms of my DIY activities to develop and evolve a music playback system that -- well -- plays back music and not a cacophony of noise.

Re: Evaluation Tracks

June 12th, 2020, 1:47 pm

I believe you hear different things in the same track each time you listen whether you change things or not

Re: Evaluation Tracks

June 12th, 2020, 2:03 pm

Pelliott321 wrote:I believe you hear different things in the same track each time you listen whether you change things or not

:text-yeahthat:

Re: Evaluation Tracks

June 12th, 2020, 2:06 pm

At home when I make a change, my test is simple. Do I want to keep listening and exploring my collection or does it not thrill my soul.

At an audio event such as CAF, if the music is the usual audiophile stuff, I leave the room. At a meet, I just hope to hear music I haven't heard before that is interesting. Since a good part of my listening material is older classical, sound quality is not the key issue. I tend to listen thru the less than stellar quality and concentrate on the performance.

ray

Re: Evaluation Tracks

June 12th, 2020, 2:19 pm

ratbagp wrote:I tend to listen thru the less than stellar quality and concentrate on the performance.

ray


Ahh... Listening to the stereo rather than at it :music-listening:

Re: Evaluation Tracks

June 12th, 2020, 2:29 pm

It really about the music

Re: Evaluation Tracks

June 12th, 2020, 2:44 pm

Pelliott321 wrote:It really about the music


Yes, when listening for pleasure. Not so much when you are testing equipment. When testing you should listen to the same tracks a sufficient number of times that the discovery of new things is minimized. Then you can listen to how the equipment performs. Yes, Walt is right that you should be very familiar with live acoustic music to train your ears and brain on what is possible in sound. The reason I pick some poorly recorded stuff as well is at times most listeners will have some less than stellar recordings and including that type of recording will tell you how the equipment will deal with the warts.
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