I think that is aimed at me for my sheep comment, but I’m not sure. Regardless, I stand by what I said. And I doubt the sheep will mind.
Curious. As an observationalist, I'm the diametric opposite.I also would not bother testing with what I have heard countless times, I would test with something I've never heard before. Otherwise, my judgement would be subjective and skewed.
This question has come a lot in the years, and most no one really seems to pick good music for testing records, they all almost use the same old music, Dire Straights or Steely Dan, hell I am surprised someone doesn't pick the Beatles "Hey Jude".
This reminds me of an experience I had about ten years ago. I was at a local audio store auditioning a pair of Paradigm Studio Monitor speakers which were there on consignment. I brought a few of my CDs with me, namely "The Who Sell Out" and Frank Zappa - Hot Rats (one I forgot to add to my test recording list). As it happened, the gentleman who had brought said speakers in for consignment happened to be visiting the store at the time, and when he heard me playing "Peaches En Regalia", he apparently made a remark along the lines of "Beethoven must be rolling over in his grave!" I was related this after the fact by one of the employees at the store, along with a suggestion to try some more varied recordings from their own CD collection. I did end up buying the speakers in the end, and I found the experience rather interesting, if more than a tad surreal.My response to this is one mans trash is another’s treasure. Since we all hear differently, and have different gear, it makes sense that there will be many different choices.
SRV - Tin Pan Alley
So did I (play familiar stuff, that is) and I liked what I heard, no question.Curious. As an observationalist, I'm the diametric opposite.
I play familiar stuff that I'm able to play back in my head so that I can discern minute differences in tonal balance, dynamics and imaging.
I always delighted in taking favorite tunes to hear on an audio reviewer friend's spectacular systems. I would almost always hear additional detail I was never aware of. And he would introduce me to new stuff as well.
It seems your previous content was not particularly demanding. I prefer using more complex and dynamic content than jazz quartets. Would you care to share some of the new music you heard?However, in most cases, the unfamiliar stuff had material that the familiar stuff didn't. So, I wasn't able to justify the extra $$$ outlay if all I heard was what I was familiar with. I mean Miles Davis' trumpet sounded a bit sweeter, yes, but new speakers $$$ sweeter?
I use live unamplified music as the ultimate arbiter of what an audio system can do. !
I bought my Devores in 2008.It seems your previous content was not particularly demanding. I prefer using more complex and dynamic content than jazz quartets. Would you care to share some of the new music you heard?
As a season ticket holder at the symphony, I use live unamplified music as the ultimate arbiter of what an audio system can do. Listening to familiar symphonic scores I've heard live always convinces me. In current rotation is the 192/24 master recording of John William's score to The Last Jedi. I'm looking forward to hearing some excerpts from that and other of his work in two weeks at the symphony. We have center seats in row O which provides wonderful dynamics.
Good luck on the Devores!
Then you know well how that worked out!I bought my Devores in 2008.
I know the ASO version of The Firebird quite well as I played a minor part in the recording. Another large scale choral work with the ASO and Robert Shaw is Orff's Carmina Burana with explosive dynamics of the raise-the-hairs-on-your-arm type.As for the music, some were new discoveries, others were records I already had but decided to get the audiophile pressings of them (my post #41). I have also grown a liking to classical and especially some opera in the last couple of years, something which I thought would never be possible. Never say never!
Indeed.Then you know well how that worked out!
I know the ASO version of The Firebird quite well as I played a minor part in the recording. Another large scale choral work with the ASO and Robert Shaw is Orff's Carmina Burana with explosive dynamics of the raise-the-hairs-on-your-arm type.
My long term mentor, friend and former TAS reviewer is part of the Atlanta Symphony Chorus and performed in both (along with getting me that minor part in the FB recording).
So, I wasn't able to justify the extra $$$ outlay if all I heard was what I was familiar with. I mean Miles Davis' trumpet sounded a bit sweeter, yes, but new speakers $$$ sweeter? Had to really think about this one...
I play familiar stuff that I'm able to play back in my head so that I can discern minute differences in tonal balance, dynamics and imaging.
What an incredible experience for that 21 year old observing the recording process, meeting Robert Shaw, Jack Renner and... Dr. Stockham. He was there with his then ground breaking Soundstream 50/16 digital recorder. Shaw was very picky about getting some parts exactly the way he wanted them. I recall going downstairs between takes to review newly recorded sections and for him to use that towel to wipe off the sweat (AC was turned off and it was pretty toasty). With the clarinet solo in Polovetsian Dances, he carefully instructed the performer how he wanted that to sound differently - who nailed the final take.Amazing sounding record. Just played it recently and posted it on the Classical Music forum:
Hate to break it to you, unamplified electric guitars aren't going to reveal anything about how I want my system to sound.Yep, this is what everyone should be comparing their system to.
Hate to break it to you, unamplified electric guitars aren't going to reveal anything about how I want my system to sound.