Ok first of I have spent days searching for this info.
Not finding anything Im asking the question.
Im looking for music that covers all freq from 30Hz to 20Khz.
Or even if its split into parts like Music for Bass testing. Music for Mids and music for highs.
The best bet would be to have a track that covers everything from Freq range to stage separation.
I like to listen to music with RTA s/w running on the laptop or phone. With peak hold. And at the end of the song with a glance I can see what freq hit what DB. And how swapping out a driver in the equation impacts the RTA results.
So a CD does a better job from 4K to 10K. But falls flat on its face after that. A silk dome tweeter does a better job from 8K to 20K just examples of what Im trying to figure out.
Or just what is your fav music you use when testing and why.
Not finding anything Im asking the question.
Im looking for music that covers all freq from 30Hz to 20Khz.
Or even if its split into parts like Music for Bass testing. Music for Mids and music for highs.
The best bet would be to have a track that covers everything from Freq range to stage separation.
I like to listen to music with RTA s/w running on the laptop or phone. With peak hold. And at the end of the song with a glance I can see what freq hit what DB. And how swapping out a driver in the equation impacts the RTA results.
So a CD does a better job from 4K to 10K. But falls flat on its face after that. A silk dome tweeter does a better job from 8K to 20K just examples of what Im trying to figure out.
Or just what is your fav music you use when testing and why.
Some of the test song:
https://www.soundstageaccess.com/in...es/1259-dr-sean-olive-on-35-years-of-fast-car
https://www.soundstageaccess.com/in...es/1259-dr-sean-olive-on-35-years-of-fast-car
Charles-Marie Widor's Toccata from his 5th Symphony certainly covers that. I've only got one recording of it by Virgil Fox (The Digital Fox). It's a difficult piece to record well, as well as play back well. Here is a partial spectrogram:
A rather slow performance from YouTube (compared to Mr. Fox's performance):
BTW, the fugue from Bach's Toccata & Fugue in D minor (BWV 565) also covers those extreme limits fairly well--and there are a lot of those recordings around.
Chris
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A great piece of music, the first time I heard it was at Chautauqua about 30 years ago played on the Massey Organ, nothing quite as impressive as hearing it live.
I like the versions performed by Rachel Laurin, Melanie Barney etc.
I think that the notion of playing the full range of audible/sensory frequencies at once (fairly loudly--as in the Toccata) is pretty much the definition of hearing modulation distortion--opaque/loud sounding reproduction--unless extraordinary means are taken to avoid it in loudspeakers' design. The Toccata is awe-inspiring in person, where many separate ranks of a large pipe organ in a large, well-designed acoustic auditorium play in parallel, in harmony, to produce a full-body experience in 3-D space. This, in my experience, is largely beyond the capabilities to reproduce convincingly in stereo in a small home-sized listening space. The spacial effects of stereo begin to break down at 1100 Hz, according to psychoacoustic testing. Even very high quality 5.1 reproduction strains to reproduce the live experience.
Separating the different frequency bands in playback for auditioning loudspeakers in a reasonably well-designed acoustic space is actually not the same thing due to the nature of modulation distortion production in loudspeakers, and strangely, in the human hearing system itself, which can distressingly create phantom modulation distortion tones in the ears of listeners-- which are not actually being produced by the loudspeakers.
I'd re-examine closely what the goal is, and reformulate what is actually desired for your personal needs.
Chris
Separating the different frequency bands in playback for auditioning loudspeakers in a reasonably well-designed acoustic space is actually not the same thing due to the nature of modulation distortion production in loudspeakers, and strangely, in the human hearing system itself, which can distressingly create phantom modulation distortion tones in the ears of listeners-- which are not actually being produced by the loudspeakers.
I'd re-examine closely what the goal is, and reformulate what is actually desired for your personal needs.
Chris
Not 30-20000, but I use Karajan's recording of Dvorak bassdrum concerto nee 9th final movement running into Smetana triangle concerto nee Moldau/Vltava. Goal of resolving clearly both the drumroll and triangle shlepping though not at the same time. Everything else too. In a pinch the final minutes of Moldau would do. My other standard test tracks include violin-piano duets and Engleskyt organ and soprano (which I had heard at the Grace Cathedral in San Francisco -- no matching that until I can build an unshakable listening room of appropriate size filled with sacks of water).
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The best music for testing is minimally-miked recordings of acoustic instruments. A full orchestra will push the limits of frequency response. The sound of a solo piano or guitar is instantly familiar.
You are testing the system's ability to disappear. A passing grade is when the listener does not feel like he/she is listening to a recording (*).
Ed
(*) No systems pass, but some come closer than others.