Favourite CD's for sound staging, imaging, etc.
500 Watt CAFz'r
Joined: May 2000
Posts: 871
CD Title: Saturday Night in Bombay
Label: Verve (4400141642)
This cd was recorded live in Bombay, India during December of 2000. This is a beautiful recording which has captured the excitement which unfolds during a live concert.
The type of music is very much haunting and exotic in sound.
But then again, Bombay is a very exotic city; a city which never sleeps, a city which is about 3/4 the size of Calgary and which has a population of 22 million, a city which is deeply steeped in very old cultures & traditions (and modern cultures as of late also), a city where the weather is always hot and humid and the food is equally hot and spicy, a city with beautiful palm and coconut trees which lies on the shores of the Arabian Sea, a city where you will find extremes in the conditions of mankind...from the exessively rich to the down-trodden.
The music on this recording expresses all of these ideas using a host of various Indian instruments and also Western insutruments.
The various instuments (Indian and Western) used are: guitar, tabla, mandolin, kanjira, ghatam, mridangam, slide guitar, drums&percussion, dholak, pakhawaj, def, dafli.
The soundstage of this recording in my car is quite wide and exceptionally deep. I could hear and visualize some of the instruments which were recorded in front of the stage at my steering wheel, while some of the other instruments and musicians at the back of the stage were placed waaaaay back towards the middle of the hood of my car.
Verve has done an immaculate job with this recording; it is very clear and clean and concise. It is possible(if you have a very good audio system) to hear the fingernails of the guitarist moving along the strings of the guitar, and it is also possible to hear the different strikes of the drummers various fingers hitting the skin of the tablas. Depending on which finger is hitting the skin, you should be able to recognize and hear a different intonation. If your stereo is properly balanced and the levels, eq and crossover are set correctly, then you should be able to hear the different tones caused by the different fingers striking the skins of the tablas.
The acoustics of the hall are also nicely captured on this recording as the echoes of the drums and tablas are audible during the drum and tabla solos.
My only minor complaint is that the recording/mastering engineer has reduced the sounds of the crowds' applause after each song. I think it would have been much more realistic if he had NOT reduced the levels of the crowds' applause...but anyways, this is a spectacular recording by Verve !!!!!!
This is definately an audiophile recording.
How do I know so much about Bombay, India ???
I lived there for 7 years.
[ September 23, 2004, 12:59 AM: Message edited by: Keith ]
Label: Verve (4400141642)
This cd was recorded live in Bombay, India during December of 2000. This is a beautiful recording which has captured the excitement which unfolds during a live concert.
The type of music is very much haunting and exotic in sound.
But then again, Bombay is a very exotic city; a city which never sleeps, a city which is about 3/4 the size of Calgary and which has a population of 22 million, a city which is deeply steeped in very old cultures & traditions (and modern cultures as of late also), a city where the weather is always hot and humid and the food is equally hot and spicy, a city with beautiful palm and coconut trees which lies on the shores of the Arabian Sea, a city where you will find extremes in the conditions of mankind...from the exessively rich to the down-trodden.
The music on this recording expresses all of these ideas using a host of various Indian instruments and also Western insutruments.
The various instuments (Indian and Western) used are: guitar, tabla, mandolin, kanjira, ghatam, mridangam, slide guitar, drums&percussion, dholak, pakhawaj, def, dafli.
The soundstage of this recording in my car is quite wide and exceptionally deep. I could hear and visualize some of the instruments which were recorded in front of the stage at my steering wheel, while some of the other instruments and musicians at the back of the stage were placed waaaaay back towards the middle of the hood of my car.
Verve has done an immaculate job with this recording; it is very clear and clean and concise. It is possible(if you have a very good audio system) to hear the fingernails of the guitarist moving along the strings of the guitar, and it is also possible to hear the different strikes of the drummers various fingers hitting the skin of the tablas. Depending on which finger is hitting the skin, you should be able to recognize and hear a different intonation. If your stereo is properly balanced and the levels, eq and crossover are set correctly, then you should be able to hear the different tones caused by the different fingers striking the skins of the tablas.
The acoustics of the hall are also nicely captured on this recording as the echoes of the drums and tablas are audible during the drum and tabla solos.
My only minor complaint is that the recording/mastering engineer has reduced the sounds of the crowds' applause after each song. I think it would have been much more realistic if he had NOT reduced the levels of the crowds' applause...but anyways, this is a spectacular recording by Verve !!!!!!
This is definately an audiophile recording.
How do I know so much about Bombay, India ???
I lived there for 7 years.
[ September 23, 2004, 12:59 AM: Message edited by: Keith ]
CD Title: Take Your Shoes Off
Artist: Robert Cray
Master guitarist Robert Cray's (strong persueder) tribute to the traditional soul of the sixties and the "memphis sound" evokes many of the fine recordings of the past while still having its own identity.
A strong pressence on the disc are the "Memphis Horns" -- the very trait one associates with the "memphis sound".
Listening to this well recorded disk, you forget about the recording and just tap your feet and crave a pint.
The disc is great for evaluating systems with its terrific brass, tight warm bass and well centered vocals and guitar.
Artist: Robert Cray
Master guitarist Robert Cray's (strong persueder) tribute to the traditional soul of the sixties and the "memphis sound" evokes many of the fine recordings of the past while still having its own identity.
A strong pressence on the disc are the "Memphis Horns" -- the very trait one associates with the "memphis sound".
Listening to this well recorded disk, you forget about the recording and just tap your feet and crave a pint.
The disc is great for evaluating systems with its terrific brass, tight warm bass and well centered vocals and guitar.
50 Watt CAFz'r
Joined: May 2004
Posts: 161
you missed the point bootleg. if you take that crappy mp3 disc and play it on a bad system OR a good system, it WILL STILL SOUND LIKE CRAP.
take metallica's st. anger for instance: it is recorded really raw, not much sound quality. no matter what you put it in, the recording is still the same, if you put a clean cd in, it's gonna sound cleaner for the most part, the most important part of sound quality is the quality of what you are even playing. (don't even get me started on 128 kb mp3's).
take metallica's st. anger for instance: it is recorded really raw, not much sound quality. no matter what you put it in, the recording is still the same, if you put a clean cd in, it's gonna sound cleaner for the most part, the most important part of sound quality is the quality of what you are even playing. (don't even get me started on 128 kb mp3's).
500 Watt CAFz'r
Joined: May 2000
Posts: 871
CD Title: Pat LaBarbera - From The Heart.
Musicians: Pat LaBarbera (Tenor and Soprano saxaphone), George Cables (Piano), Rufus Reid (Stand-up bass), Joe LaBarbera (Drums).
Label: JustInTime (JUST 163-2).
This is another fine jazz recording produced by JustInTime Records.
Unlike the David Murray productions, also by JustInTime (which are very fast&ferocious in sound), this quartet of fine musicians has provided us with an exceptional recording of more laid back jazz. The tempo does get quick on some of the songs, but never so fast as to bust your ***** as with the David Murray recordings. I do like both types of jazz, the slow and laid back type and the fast and loud also.
Again, comparing it to the David Murray recordings, I found this cd to be more balanced, in the sense that each musician played an equal role in the recording session. Each musician played equal parts of solo as well as group efforts, whereas with the David Murray cd's, I found that David definately had more of his saxaphone solos than any other solos. I guess that's just David's personality coming out in his music and recordings...David Murray attacks like a hungry wolf. Pat LaBarbera on the other hand, while leader of his band, is not so upfront and is very much more laid back in his style.
The sound quality is exceptional.
I loved hearing Joe LaBarbera's ever so soft brush work on the snare drum and the taps of the drumsticks on the edge of the cymbals. The kick drums had excellent impact. Beautiful stuff indeed!!! The drum kit seems to be placed centre stage behind the saxaphones.
The stand-up acoustic bass has a very deep and rich sound about it, providing us with some exceptional subbass frequencies that you can hear as well as feel all around you.
The tenor and soprano saxaphones were upfront and that's where you should hear them in your car audio system...upfront. Very milky & smooth sounding are the saxaphones played by Pat LaBarbera.
The piano was between centre and the right of the soundstage, and George Cables' fingers graced the ivories with a flowing ease.
Recorded in Toronto Oct. 11&12, 2000.
Mixed in Montreal March 6, 2001.
Mastered in Montreal 2001.
Yet, another very sweet recording by this Canadian jazz label.
[ October 02, 2004, 10:57 PM: Message edited by: Keith ]
Musicians: Pat LaBarbera (Tenor and Soprano saxaphone), George Cables (Piano), Rufus Reid (Stand-up bass), Joe LaBarbera (Drums).
Label: JustInTime (JUST 163-2).
This is another fine jazz recording produced by JustInTime Records.
Unlike the David Murray productions, also by JustInTime (which are very fast&ferocious in sound), this quartet of fine musicians has provided us with an exceptional recording of more laid back jazz. The tempo does get quick on some of the songs, but never so fast as to bust your ***** as with the David Murray recordings. I do like both types of jazz, the slow and laid back type and the fast and loud also.
Again, comparing it to the David Murray recordings, I found this cd to be more balanced, in the sense that each musician played an equal role in the recording session. Each musician played equal parts of solo as well as group efforts, whereas with the David Murray cd's, I found that David definately had more of his saxaphone solos than any other solos. I guess that's just David's personality coming out in his music and recordings...David Murray attacks like a hungry wolf. Pat LaBarbera on the other hand, while leader of his band, is not so upfront and is very much more laid back in his style.
The sound quality is exceptional.
I loved hearing Joe LaBarbera's ever so soft brush work on the snare drum and the taps of the drumsticks on the edge of the cymbals. The kick drums had excellent impact. Beautiful stuff indeed!!! The drum kit seems to be placed centre stage behind the saxaphones.
The stand-up acoustic bass has a very deep and rich sound about it, providing us with some exceptional subbass frequencies that you can hear as well as feel all around you.
The tenor and soprano saxaphones were upfront and that's where you should hear them in your car audio system...upfront. Very milky & smooth sounding are the saxaphones played by Pat LaBarbera.
The piano was between centre and the right of the soundstage, and George Cables' fingers graced the ivories with a flowing ease.
Recorded in Toronto Oct. 11&12, 2000.
Mixed in Montreal March 6, 2001.
Mastered in Montreal 2001.
Yet, another very sweet recording by this Canadian jazz label.
[ October 02, 2004, 10:57 PM: Message edited by: Keith ]
500 Watt CAFz'r
Joined: May 2000
Posts: 871
CD Title: Kirk MacDonald Quartet - Pure & Simple.
Label: JustInTime (JUST 170-2).
Musicians: Kirk MacDonald (Tenor and Soprano Saxohone), John Taylor (Piano), Neil Swainson (Stand-up Bass), Terry Clarke (Drums).
A beautiful, soft, jazz cd with four of Canada's extraordinary jazz musicians leading the way on this excellent sound quality cd.
There are 7 songs on this recording and each one is fairly long in length and each song also goes into quite a bit of depth.
The stand-up bass is heaven for subbass frequencies as the cabin of my Cavalier was filled with bass frequencies swelling up and around me, especially when Neil Swainson went into one of his bass solo ventures. If I could describe the stand-up bass in terms of a painting, I would say that it is a painting done with very broad strokes with a wide paint brush. If I could describe its sound in terms of food, I would say that it is like eating a thick T-bone steak with a large baked potato.
If your amplifier(s) are fairly transparent in their nature, then it will be easy to hear Terry Clarke's soft&quick tapping of his drum sticks on the skins of the drums and on the peripheries of the cymbals, while the stand-up bass is resonating its low frequencies at a louder level.
Described in terms of a painting, I could say that the drumming on this recording is like an articulate and delicate painting done with a very narrow paint brush. In terms of food, it would be the dessert.
Both the stand-up bass and the drum kit are for the most part in the back of the sound-stage, but not too far back, except when they are doing their solo thing....then they step up to the front.
John Taylor does a magnificent job with his piano playing supporting the rest of the quartet with a definite sense of rhythm and style. The solo piano piece is beautiful to listen to as the depth of John's piano virtuosity really shines here.
Kirk MacDonald has won several awards for jazz music in Canada. His exemplary tenor and soprano saxophone playing on this recording shows us why he has won so many awards. Once again, in terms of food, I would say that the saxophones are like a milkshake...very, very smooth indeed!!! The sax's do go into their upper registers but not so high as to make them sound shrill. Kirk has made sure that even when he is playing in the higher frequencies, the sound eminating is still very soft and smooth. The saxophones are always in the front of the soundstage throughout this recording, except ofcourse when another instrument is doing its solo thing.
Recorded in Richmond Hill, Ontario during 2001.
Mixed, edited, and mastered in Montreal, Quebec during 2001.
Label: JustInTime (JUST 170-2).
Musicians: Kirk MacDonald (Tenor and Soprano Saxohone), John Taylor (Piano), Neil Swainson (Stand-up Bass), Terry Clarke (Drums).
A beautiful, soft, jazz cd with four of Canada's extraordinary jazz musicians leading the way on this excellent sound quality cd.
There are 7 songs on this recording and each one is fairly long in length and each song also goes into quite a bit of depth.
The stand-up bass is heaven for subbass frequencies as the cabin of my Cavalier was filled with bass frequencies swelling up and around me, especially when Neil Swainson went into one of his bass solo ventures. If I could describe the stand-up bass in terms of a painting, I would say that it is a painting done with very broad strokes with a wide paint brush. If I could describe its sound in terms of food, I would say that it is like eating a thick T-bone steak with a large baked potato.
If your amplifier(s) are fairly transparent in their nature, then it will be easy to hear Terry Clarke's soft&quick tapping of his drum sticks on the skins of the drums and on the peripheries of the cymbals, while the stand-up bass is resonating its low frequencies at a louder level.
Described in terms of a painting, I could say that the drumming on this recording is like an articulate and delicate painting done with a very narrow paint brush. In terms of food, it would be the dessert.
Both the stand-up bass and the drum kit are for the most part in the back of the sound-stage, but not too far back, except when they are doing their solo thing....then they step up to the front.
John Taylor does a magnificent job with his piano playing supporting the rest of the quartet with a definite sense of rhythm and style. The solo piano piece is beautiful to listen to as the depth of John's piano virtuosity really shines here.
Kirk MacDonald has won several awards for jazz music in Canada. His exemplary tenor and soprano saxophone playing on this recording shows us why he has won so many awards. Once again, in terms of food, I would say that the saxophones are like a milkshake...very, very smooth indeed!!! The sax's do go into their upper registers but not so high as to make them sound shrill. Kirk has made sure that even when he is playing in the higher frequencies, the sound eminating is still very soft and smooth. The saxophones are always in the front of the soundstage throughout this recording, except ofcourse when another instrument is doing its solo thing.
Recorded in Richmond Hill, Ontario during 2001.
Mixed, edited, and mastered in Montreal, Quebec during 2001.
500 Watt CAFz'r
Joined: Oct 2004
Posts: 870
I think the best cd to use for tuning is the one you are most familiar with, and know how it's "supposed" to sound.
I have been using Annie Lennox Medusa for years as my initial setup disc.
Track 2 Take Me to the River has very intense bass, recorded quite high. Very useful for setting the initial gains, and crossover points.
Then I move to Track 8 A Thin Line. This track has a varying bass riff, useful to set the phase of the subs, and further adjust the crossover slope and frequency.
She should be sitting in your lap, directly in front of you, so very useful in setting tweeter location and phase.
I use a phase inverter relay to set the phase of the tweets. a simple push of a button, and the tweets are inverted instantly....makes it easy to get a proper image focus, without relying on my short term memory of what it sounded like a few minutes ago...
Very handy gadget that can be built for a few bucks.
Anyone want the schematic, just ask.
Charlie
I have been using Annie Lennox Medusa for years as my initial setup disc.
Track 2 Take Me to the River has very intense bass, recorded quite high. Very useful for setting the initial gains, and crossover points.
Then I move to Track 8 A Thin Line. This track has a varying bass riff, useful to set the phase of the subs, and further adjust the crossover slope and frequency.
She should be sitting in your lap, directly in front of you, so very useful in setting tweeter location and phase.
I use a phase inverter relay to set the phase of the tweets. a simple push of a button, and the tweets are inverted instantly....makes it easy to get a proper image focus, without relying on my short term memory of what it sounded like a few minutes ago...
Very handy gadget that can be built for a few bucks.
Anyone want the schematic, just ask.
Charlie
1000 Watt CAFz'r
Joined: Oct 2003
Posts: 1,783
Um...Keith, I can't remember.
I just went to the local music store, had them list all the HDCDs they could get, and ordered a few Telarc and Refference Recordings that I was familiar with the artists. The Eric Kunzel stuff from Telarc should be good!!!
I just went to the local music store, had them list all the HDCDs they could get, and ordered a few Telarc and Refference Recordings that I was familiar with the artists. The Eric Kunzel stuff from Telarc should be good!!!
