These are just a few of the tracks and what we listen for when testing that our loudspeakers will play all types of music (are ‘omni-musical’) and not just designed to favour one type. They are also enjoyable music!
Classical
Chopin’s Nocturne in C_sharp Minor played by Meneham Pressler – tonal colouration with frequency
Bartok Quartet no. 3 2nd movt played by Engegårdkvartetten – attack & decay of notes
Bach Brandenberg concerto no. 3 in G major BWV1048 played by the Tasmanian Symphony Chamber Players – integration of sound
Britten’s Young Person’s Guide to the Orchestra by Kansas Symphony Orchestra – tonal colours of different instruments plus orchestral power
‘And He Shall Purify’ from Handel’s Messiah by Dunedin Consort – distortion particularly of upper frequencies
‘I Feel Pretty’ from Bernstein’s West Side Story by the San Francisco Symphony Orchestra – female voices
Nigel Westlake Compassion played by Sydney Symphony Orchestra – resolution of complexity and dynamics
Rodrigo Guitar Concerto 2nd movement played by Antony Hermus – atmospherics
Jazz
Holly Cole ‘Hold On’ – particularly for testing timing/rhythm
Modern Jazz Quartet ‘Fine’ – high frequency purity (of xylaphone)
David Becker Tribune ‘Frebahn’ – high frequencies hardness (cymbals etc)
Diana Krall ‘My love is’ – bass performance (of plucked double bass)
Ray Charles & Natelie Cole ‘Fever’ – midrange performance of male & female voices
Patricia Barber ‘Touch of Trash’ – resolution of complexity & difficult timing
Steve March Torme ‘On the street where you live’ – hardness/harshness (of big band)
Popular
Garett Brennan ‘The Dog Song’ – extraordinary dynamics (closed miked guitar)
Baker Boy & Yothu Yindi ‘Treaty’ – rhythm, detail & emotion
Kasey Chambers ‘Too Long In The Wasteland’ – resolution of detail & hardness in voice
Rebecca Pidgeon ‘The Raven’ – purity in female voice & piano
Jackson Brown ‘Casino Nation’ – male voice in big production
Arab Strap ‘Turbulence’ – bass depth
Kraftwerk ‘The Man Machine’ – complex computer music
Nils Liefgrun ‘Keith Don’t Go (live)’ – low level ambience plus audience applause
Michael Jackson ‘Billie Jean’ – bass tightness
Rock and R&B
John Butler Trio ‘Treat Yo Mama’ – resolution of general complexity
John Lee Hooker ‘Highway 13’ – male voice (lower midrange)
Heart ‘Crazy On You’ – female voice (upper midrange)
Pink Floyd ‘Time’ – treble detail
Silverchair ‘Tomorrow’ – bass complexity
AC-DC Live ‘Hells Bells’ – rythmic drive & resolution of detail
Peter Gabriel ‘Sledgehammer’ – hardness/harshness
The Flaming Lips ‘Yoshimi Battles The Pink Robots Pt. 2’ – more complex sounds
When our loudspeakers pass all these test tracks then they are truly ‘omni-musical’!