Tír Na HiFi

We all have reference discs when auditioning new equipment components or cabling which enable us to hopefully evaluate objectively what we are hearing in our new or prospective purchase. I have been using my reference CDs a little more than usual in the last few months. They are not necessarily (read definitely) the best recordings available for each of my chosen pieces but they certainly would be among my favourite performances. In this case familiarity breeds familiarity; as I would have listened to these pieces many, many times over the years this then puts me in a position that when I am auditioning a new purchase I can critically evaluate what I am hearing because I am not focusing on the music but what effect, if any, that the new purchase is having on the music.

I thought that I would post my reference pieces and what specifically I look for when doing an A/B comparison test....

Bach: Cantata BWV 54, 1st movement sung by Marga Hoffgen



There are two reasons for choosing this one namely the quality of Hoffgen’s voice and (even though this is a re-mastered CD) the opening introduction has quite a muddied bass line. That bass line can be tightened up and the bass boom can be considerably reduced.


Bach: Brandenburg Concerto No. 4, 1st movement played by the Linde Consort....



An early purchase for me and not a top quality recording but I still like the performances very much. The recorders can sound bright and harsh in the higher registers and these can be made to sound smoother with a more round sound.


Strauss: Four Last Songs, No. 3 Beim Schlafengehen sung by Elisabeth Schwarzkopf....



This is a divine performance for me and it is used just to see how any new product will handle her voice. It is wonderful to hear her voice projected right into the room.


Beethoven: Archduke Trio, 1st movement played by Stern, Rose and Istomin....




This one is used to assess the sound of the piano in the higher registers as well as the sound of the ‘cello and particularly the impact as it enters after those first few moments.


Beethoven: Symphony No.6, 4th movement played by the BPO/von Karajan....



Not a particularly brilliant recording but the storm is very well captured here and as it develops this is my test for overall dynamics as well as the active bass lines that can be agitated. The roll over into the final movement when the storm subsides and the sun breaks from behind the black storm clouds can also be quite revealing.



What are your test/reference pieces, irrespective of genre, and why?

Good one Fergus!

I generally use these, choosing particularly tracks:



Breathing is the track on this one. About two thirds of the way through there is a spoken word part, quite low in the mix, which can be difficult to hear on some systems and is followed by loud guitar, so I find this good for overall balance and transient response. I've been using this as a reference track for over twenty years, so at this stage it's second nature to reach for Kate. (Did I really just say that)?



Kate again! The Man with the Child in his Eyes. The vocals can sound very sibilant on overbright systems and the cello gives a good sense of the weight available in the bass end.



Jimmy Page and the Black Crowes. Pretty much anything on this, but particularly Oh Well and Shake Your Money Maker. Such a well recorded live album you can almost feel the heat coming off the amps. Great sense of space and separation of instruments. Makes me smile on any system, the wider the smile the better the system!


The Boys of Summer. California punk at its best. A lot happening low in the mix, behind the in your face presentation. Normally after this one I'm asked to put up or shut up!

Got this Linn Records sampler CD back in 2001 [free with Hi Fi News & RR ...

The Linn catalogue is strong on jazz singers, and Claire Martin, Barb Jungr and Carol Kidd, featured on the sampler, provide a rich vein of vocal talent. Great tracks are included here from guitarist Martin Taylor, saxophonist Tommy Smith, and cool quartet the Perfect Houseplants, representing the instrumentalists.

The Linn Classical selection includes John Tavener's dramatic and beautiful Depart in Peace sung by soprano Patricia Rozario, and a recording of Samuel Barber's Agnus Dei, his famous Adagio for Strings set for voices, by vocal group The Dunedin Consort. Linn's critically acclaimed recordings of music from the Renaissance are featured with an elegant dance tune of Robert Dowland played by Nigel North.

Linn Scottish highlights Ian Bruce's Galloway Tam from our landmark series The Complete Songs of Robert Burns, alongside the haunting Ba Mo Leanabh (O My Baby), a traditional song from the remote Isle of Lewis, sung by the three sisters of Mackenzie.

And Shelby and Kate are 2 ladies I would audition with anytime ....

JAW wrote:Good one Fergus!

so at this stage it's second nature to reach for Kate. (Did I really just say that)?

Hmmm....Kate Bush.....hmmm....yes, definitey Johnny!!!!

1. How does it handle sibilance? It took me a while to discover that sibilance is a natural occurring phenomonen.Changing from an analogue aid to a digital aid 5 years ago showed me what I had been blissfully unaware of all my life!

2. How does it handle bass? Bass is extremely important for me because it sort of masks the horrible treble that sometimes poses as detail/transparency.Too much and it becomes boomy/overly rich/incredibly dull etc etc Too little and I’m running for the Panadol :-)

3. How does it handle treble? It has to be as natural sounding as possible but with enough detail to keep me happy without resorting to the screeching banshee like wails I’ve heard so often in the past!...and from excruciatingly expensive systems too…

4. How does it handle dynamics? Is it like a Jack Russell pretending it’s a Rotweiller? Again it has to be natural and not over emphasised.

5. Has it got a long or short listenability element? I want to be able to sit down and listen for as long as I want and not switch off after 20 minutes with my head spinning and in sore need of another Panadol :-)

6. Is it musical and believable? I’m not going there….

7. Does the system sound balanced? By that I mean, are all the important areas reasonably spotlighted and not overly so….ie it has to satisfy my crazy eclectic tastes from Noise to Jazz to Rock, Blues, Electronic,Classical and beyond….

8. Does it enhance the ‘good’ recordings and ameliorate the bad’uns?

This is an excellent guide Dermot....


Fran

Thanks Fran :-)

Fran wrote:

1. How does it handle sibilance? It took me a while to discover that sibilance is a natural occurring phenomonen.Changing from an analogue aid to a digital aid 5 years ago showed me what I had been blissfully unaware of all my life!

2. How does it handle bass? Bass is extremely important for me because it sort of masks the horrible treble that sometimes poses as detail/transparency.Too much and it becomes boomy/overly rich/incredibly dull etc etc Too little and I’m running for the Panadol :-)

3. How does it handle treble? It has to be as natural sounding as possible but with enough detail to keep me happy without resorting to the screeching banshee like wails I’ve heard so often in the past!...and from excruciatingly expensive systems too…

4. How does it handle dynamics? Is it like a Jack Russell pretending it’s a Rotweiller? Again it has to be natural and not over emphasised.

5. Has it got a long or short listenability element? I want to be able to sit down and listen for as long as I want and not switch off after 20 minutes with my head spinning and in sore need of another Panadol :-)

6. Is it musical and believable? I’m not going there….

7. Does the system sound balanced? By that I mean, are all the important areas reasonably spotlighted and not overly so….ie it has to satisfy my crazy eclectic tastes from Noise to Jazz to Rock, Blues, Electronic,Classical and beyond….

8. Does it enhance the ‘good’ recordings and ameliorate the bad’uns?

This is an excellent guide Dermot....


Fran

Fran got there before me Dermot but I agree 100% with him. Well done on a very insightful and thought through response and I apologise for any sleepless nights caused!!!

fergus wrote:



Fran got there before me Dermot but I agree 100% with him. Well done on a very insightful and thought through response and I apologise for any sleepless nights caused!!!

Thanks Fergus. Believe me it was worth it :-) Thank you for asking the question in the first place...

I have a few. Here's the top-of-my-head answer:



North Dakota is a fabulous track anyway, but if the cymbal crashes don't decay all the way into nothingness I'm not buying the component I'm testing. It's also a good album for testing hardness (Baltimore, Church), warmth (She's Already Made Up Her Mind) and space (Church again). This is my go-to disc for testing, the first off the rack every time.



My favourite Tori Album by a long way, full of gorgeous songs and gorgeous recordings. Jupiter should leave you rapt with attention, hanging on to every syllable, breath and lipsmack. Glorious. Way Down, with a gospel choir in a background role, tests the resolution again, and it should sound in real space. Hard to get right. Little Amsterdam should have perfect balance, and finally the brass throughout Putting The Damage On should sound open yet warm. Again, hard to get right. All through, Tori's voice should be 100% in the room, completely lifelike.


The Offertoire by Batiste has a ridiculous pedal opening, very loud, 32" reeds, the full monty. It should sound absolutely BLAZING, and if the deepest bass isn't there it won't work. Apart from that, if you get through this without a driver in the face, you're probably doing quite well.


Various tracks here to test clean, glistening guitar strings, and various other bits and bobs. Dee 'n' A, Machupicchu and Thanksgiving are the standouts.


This is all about the Duruflé Sanctus. Volume and scale should just keep increasing and increasing, and the climax should have your heart racing and your brain marvelling at what good hifi can do.

You know, there are loads more now that I've started thinking about it, but I'll leave it at that for the moment.