In general classical is the hardest to reproduce... and I would say and interpret what is good and bad about a component if you are thinking analytically. Because of its complexity.
I concur regarding classical in general.
As far as compression/congestion is concerned, symphonic finales/crescendos give one a quick clue as to what a system can and can’t do. The better the symphonic soft passages are reproduced along with the crescendos (sans congestion), without having to increase the volume for the soft passages and decrease for the crescendos, the better the system.
I’ve seen some mention of sibilance (herein & elsewhere) as something to ameliorate. But I’ve never encountered sibilance either as a negative or a positive. I’m unsure why not.
Use whatever vocal and instrumental recordings are well recorded and you’re familiar with; to make sure frequency response, harmonics and timber are as close to reproducing the live instrument as possible.
Frequency response, harmonics, timber etc., plus objective measurements are great to get one in the ballpark. But, in a 2-channel system, they don’t display or measure what’s to me the vitally important 3D illusion of: you-are-there. Moving from mid-high-end, to high-end was a move to get the timber and harmonics of instruments correct, but then also to increase/improve the all-important instrument separation/imaging and soundstage.
In general, I’ve found numerous recordings from:
Reference Recordings, Sheffield and Chesky to provide audiophile performances.
In no particular order, some favorites follow:
- Chesky’s Ultimate Demonstration Disc
- Burmester’s CD III, particularly Hugh Masekela’s (Live): “Stimela”.
- As others have mentioned, Patrica Barber, Diana Krall provide good demos.
- Alison Krauss + Union Live, especially Jerry Douglas’ Dobro on: “A Tribute to Peador O’Donnell/Monkey Let the Hogs Out” and “The Boy Who Wouldn’t Hoe Corn”.
- Dr. John’s: Perdido (from: Duke Elegant)
- Nils Lofgran’s: Keith Don’t Go (from: Acoustic Live)
- Diana Krall’s: Live in Paris album (The Look of Love & ‘S Wonderful)
- The Peter Malick Group (featuring Norah Jones) on: New York City (from: New York City)
- The Who’s: New York (1971) Record Plant Session
- Audiogon’s Presents the Wake-Up Your Ears Sampler: Stank & Get Behind the Mule
- 1812 Festival Overature, op. 49 Antal Dorati, Minneapolis Symphony Orchestra (not only for how great a 1958 recording can be, but also for its historic use of West Point cannons and the Rockefeller Memorial Carillon as described is the commentary following the performance.).
- Wynton Marsalis, The Magic Hour: Feeling of Jazz (when the trumpet kicks-in,wow). Speaking of a trumpet, Hugh Masekela’s trumpet on the aforementioned Stimela is also a good one.)
- Keb Mo’s: Every Morning (from Keb’ Mo’) and A Better Man (from Slow Down)
- Erykah Badu’s: Rimshot (intro) on Baduizm
- John Lee Hooker’s: Healer on the Healer album
- Lyle Lovett’s: North Dakota (from Joshua Judges Ruth)
- With 100's more....
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