Μουσικά κομμάτια για testing

[Mr Spock]

- τεστ ρυθμού

- το κάτωθι είναι μία υπνωτιστική ''μάντρα'' ( μονότονος και επαναλαμβανόμενος ρυθμός ) , όπου πρωταγωνιστούν η drums του Jaki Liebezeit , το μπάσο του Holger Czukay και το ενίοτε ανυπόφορο φαλτσέτο του Malcolm Mooney

- 20 καταιγιστικά και όχι εύπεπτα λεπτά ρυθμού , οι νότες σε αμφότερα τα όργανα της rhythm section θα πρέπει να αποδοθούν γεμάτα και κοφτά , η ''εικόνα'' των κρουστών θα πρέπει να παίζει δεξιά - αριστερά , αλλά και εμπρός - πίσω

- η παραγωγή και η εγγραφή είναι άρτιες , όπως σχεδόν όλες οι δουλειές των CAN

- προσοχή : μήν δώσετε ιδιαίτερη βάση στην αληθοφάνεια των χροιών στην ντραμς , καθ΄ ότι ο εν λόγω ντράμερ έπαιζε με δικά του κουρδίσματα αλλά και συχνά με ιδιοκατασκευασμένα κρουστά

CAN - MONSTER MOVIE - Yoo Doo Right

 

[spmk]

 

[Sleep]

Όλοι οι δίσκοι των Steely Dan.
Ο περφεξιονισμός τους στο studio μπορούσε να τρελάνει άνθρωπο. Γι' αυτό άλλωστε κατέληξαν να συνεργάζονται μόνο με session-άδες.
Αν έπρεπε να διαλέξω θα διάλεγα το Pretzel Logic ή το Aja, αλλά όλοι οι δίσκοι τους είναι υποδείγματα παραγωγής.

Μπορεί στους σημερινούς εικοσάρηδες ή και τριαντάρηδες να ακούγονται σαν jazz rock για συνταξιούχους, αλλά έχουν πολύ ζουμί. Αξίζει να τους ψάξει κάποιος.

Εδώ τους συνοδεύει το σαξόφωνο του Wayne Shorter:



Και εδώ η φοβερή διασκευή σε Duke Ellington:

 

[Mr Spock]

. . . soul - test . . .

- εδώ ο Βασιλιάς ερμηνευέι τα blues , απίθανη εγγραφή-παραγωγή , θα παίξει τέλεια παντού , αλλοιώς το σύστημα κλίνει προς το ''μηχανικό''

Elvis Presley - Reconsider Baby

 

[Mr Spock]

- ακόμα ένα test μπάσου & χαμηλού ( αλλά και δυνατοτήτων του ενισχυτή ) . . . ξεκινάμε πάντα από χαμηλές εντάσεις . . .

Massive Attack - Sly



- αλλά και αυτό : . . . galliano : five sons of the mother . . . δυστυχώς δεν το βρήκα πρόχειρο , το προτιμώ από το Massive Attack - Sly , λόγω περισσότερων φυσικών οργάνων


- και στα δύο οι κατώτερες συχνότητες δεν είναι καθόλου ''γρανιτένιες'' , αλλά ''πλαστικές''

 

[Mr Spock]

- test '' κουτίλας '' . . . το κάτωθι έχει πολύ ενέργεια στους 315 με 400 κύκλους , εκεί περίπου που συντονίζονται οι καμπίνες των ηχείων ( αναλόγως κατασκευής πάντοτε )

- εδώ θα ξεγυμνωθούν οι όποιοι συντονισμοί . . . πολύ κρίσιμη αυτή η συχνοτική περιοχή καθ΄ότι ενώ η παραπάνω ενέργεια καταλήγει σε κοδωνισμούς , λίγο παραπάνω στους 630 με 800 κύκλους αρχίζει μία ζεστή ευφωνικότητα . . . ισορροπίες τρόμου δηλαδή

Black Rebel Motorcycle Club - Love Burns

 

[Mr Spock]

- ο απόλυτος κατ΄ εμέ οδηγός ακρόασης . . . δεν γράφω κάτι διότι ο ομιλητής αναφέρει πρίν από κάθε κομμάτι , τί πρέπει να προσέξουμε και πως θα ακουστεί εάν αναπαραχθεί σωστά . . .

Welcome To The Ultimate Demonstration Disc - 1 - Chesky Records Guide to Critical Listening - 1995


- και το κερασάκι στην τούρτα . . . πολλά διαφορετικά είδη μουσικής - παραγωγής - εγγραφής κλπ

 

[Mr Spock]

- analog vs digital test

- κατ΄ εξοχήν τραγούδι για ψηφιακή εγγραφή , εδώ όμως έγινε αναλογικά ( τότε ) . . . παρατηρήστε το πόσο καθαρός στα όρια του αιχμηρού αλλά και σωματώδους ήχου είναι το κομμάτι . . .



Pink Floyd "On The Run" The Dark Side Of The Moon [Vinyl] [LP]




. . . βέβαια στην κονσόλα κάθισε ο 5ος floyd ( ? ) . . . Alan Parsons . . . https://en.wikipedia.org/wiki/The_Dark_Side_of_the_Moon#Recording




Abbey Road Studios

he EMS VCS 3 (Putney) synthesizer

 

[Mr Spock]

- ένας δίσκος που όποτε τον ακούω μου έρχονται στον νου οι λέξεις : διαφάνεια , καθαρότητα , τέλοιο mix . . . ( vinyl A&M records ) , τζαζο-new wave δίσκος γιά να κελαηδήσει το σύστημα ειδικά από τις μεσο-υψηλές και άνω , ας δούμε όμως τι λένε και οι ειδικοί . . .

"With all due respect, what the hell is the matter with you?"

Over the years, I've felt obligated to ask this question of several friends who somehow concluded that their life's work involved founding a record label.

"That is the best question isn't it?" Shane Buettner said with a big laugh. "Why do I want to hurt myself this badly and spend a lot of money doing it?" He smiled again, with a mild shake of the head.

"Actually, yes—that's exactly what I mean."

So went the conversation between the former Home Theater editor and me, conducted over Cobb salads (hold the bacon) at Reichenbach Hall, in midtown Manhattan. We were there to talk about why he'd decided to launch his own LP reissue label, Intervention Records.

"The short of it is, I think that there's a lot of great music that has not been captured in the reissue market. I think we all see the same reissues of the same records. The catalog, especially in rock and pop from the '50s to the '80s, has been trolled hard and heavy. But I think from 1980 to now has been under-served. And there's also some great stuff from the '70s that hasn't been reissued. So there's an opportunity, and more than that, I thought there was a lot of great music that people should be able to hear, and hear on vinyl."

Saying that he wants his LPs to be "the last copy of these records that anybody will ever want to buy," he's hired Kevin Gray, of Cohearent Audio, to supervise their remastering. The LPs themselves are being pressed by RTI, in Camarillo, California, and their beautiful, glossy jackets, many painstakingly re-created because the original artwork is long gone, are printed on heavy stock by famed LP jacket printer Stoughton Printing Co. Buettner plans initial pressings of 1000 LPs per title, and to sell his re-creations for $35 apiece, or $50 for two-disc sets. While Intervention's web store is still in the works, the debut releases are currently available from ElusiveDisc.com, AcousticSounds.com, and MusicDirect.com.

The first of Intervention's initial seven releases is Stealers Wheel's self-titled debut album (1972), containing "Stuck in the Middle With You"; to be followed by the band's second, Ferguslie Park (1974). Also in this batch are reissues of Everclear's Sparkle and Fade (1995) and So Much for the Afterglow (1997). Most interesting are three Joe Jackson titles: Look Sharp! and I'm the Man (both 1979), and Night and Day (1982). Other than the last, none of these albums has previously been remastered or been reissued in an audiophile LP pressing. It was with Night and Day, by far his most successful record both artistically and in terms of sales, that Jackson made his bid to be considered a truly great songwriter—hence the Cole Porter title. Songs like "Cancer," "Breaking Us in Two," and "Real Men" are among his most tuneful and heartfelt originals, and are enhanced on this album by inspired performances.

Since its release, Night and Day has seen a number of remasterings for and repressings on LP and CD, including a 1983 Mobile Fidelity Sound Lab LP reissue and a 1990 gold CD reissue, also on MFSL. It's also been reissued on LP by Speakers Corner (1998) and Music On Vinyl (2011). In 2003, the album's original label, A&M (now owned by Universal), also released a deluxe two-CD edition that included demos and live tracks. A test pressing of the Intervention Records version had presence and detail superior to all but MoFi's original 1983 vinyl. The reason, of course, is that, unlike most of the reissue labels that have sprung up with the return of vinyl, Buettner is picky and upfront about his sources.

"A lot of brands are coy. When they say they have the original master, they don't tell you whether it's analog or digital. Others will say, 'mastered from the original analog tape,' and what they mean is they did a digital rip of the original analog tape and still did it digitally.

"When the original is analog, I will only do analog. If the source that I can get is not good enough to make the best-sounding record that's ever been produced, then . . . If I'm too ashamed to say what the source of something is, then I shouldn't be doing the record."

"Lastly, what's with the name?"

"If you're not listening to vinyl yet, somebody should probably hold an intervention with you and ask why you're not. And if you've already gotten the bug, somebody's gonna hold one the other way, to get you to stop filling your house with crates and shelves and stacks of records. Lastly, by choosing titles that are new to the reissue market, that, in itself, is sort of an intervention.

"I'm 45, and I'm curious if people my age and even a little younger are willing to buy premium on a bunch of the great records from the late '70s on. There's gonna be a lot of stuff in my catalog that will test that as a theory."


Read more at https://www.stereophile.com/content/shane-buettner-intervention-records#tcL14B6stKKv964w.99

 

[Mr Spock]

Όλοι οι δίσκοι των Steely Dan.

- καί αυτός πάει ''πακέτο'' , ίδια ιλουστρασιόν παραγωγή . . .

 

[cybernaut]

 

[ika]

 

[ika]

και το all times classic (παλιό αλλά καλό)
The dark side of the moon

 

[Mr Spock]

και το all times classic (παλιό αλλά καλό)
The dark side of the moon

- αριστοτεχνική δουλειά , αλλά τα εύσημα θα πρέπει ως επί τω πλείστον να πάνε στον παραγωγό αρχιμάστορα alan parsons

 

[Mr Spock]

- τέστ : μή - φυσικότητας

- έκτο άλμπουμ των Ελβετών χρηματιστών ( και μάλιστα επιτυχημένων με τέτοιο στούντιο που έχουν ) , εδώ οι δύο εναπομείναντες yello : Dieter Meier & Boris Blank ( παλαιότερα συμμετείχε και ο Κάρλος Περόν , ο οποίος τράβηξε πρός industriall μονοπάτια ) , μας παρουσιάζουν έναν χορευτικό αμάλγαμα με μπόλικους ήχους φυσικών οργάνων . . . όμως οι περισσότεροι εξ αυτών είναι αναλογικά σύνθια

- μπορεί η δουλειά να είναι άψογη , όμως το καλό σύστημα μαζί με την ακουστική εμπειρία θα πρέπει να ξεσκεπάσουν αυτό το τρίκ . . .


. . . εδώ το παθιάρικο Blazing Saddles με τις παραμύθι τρομπέτες - κιθάρες κλπ


Yello - Blazing Saddles (1989 Video)



. . . καί επίκαιρο : . . . The summertime has gone
You'll never ever be alone

 

[wizzy]

Πόση bassάτη παραμόρφωση "σηκώνουν" τα woofers των ηχείων σας;

Pallbearer - Worlds apart

 

[Mr Spock]

- ταινία και soundtrack σταθμός , αδυνατώ να ξεχωρίσω κομμάτι , ακούγεται όλος . . .

"Blade Runner" Soundtrack Delivers Sonic Fireworks
Michael Fremer | Jun 24, 2013

Blade Runner Original Soundtrack
Vangelis

Audio Fidelity AFZLP 154 180g red vinyl LP
Produced by: Vangelis
Engineered by: Raine Shine, Frederick Rousseau and Philippe Colonna
Mixed by: Vangelis
Mastered by: Kevin Gray at Cohearent Audio



MUSIC

,




SOUND

Ridley Scott's 1982 "future noir" classic "Bladerunner" based on Philip K.Dick's "Do Androids Dream of Electric Sheep" was a box-office flop when first released. Like "TRON", another flop, it has gained stature over the years, though like "TRON", the movie's visual and sonic pleasures are greater than the storytelling.
The soundtrack by Vangelis was as sonically memorable as were the visuals of a dysfunctional 2019 Los Angeles.

Harrison Ford plays a dispirited "Blade Runner", whose job it was to hunt down and dispose of organic robots difficult to distinguish from humans, who were created to do grunt work on outer space colonies, but who find a way to return to earth where, to survive, they attempt to blend into the human population.

Ford's character agrees to one more assignment and adventure turns into a dangerous but melancholic and confusing exercise.

Vangelis's synthesizer soundtrack moves appropriately from bombast to heartbreak, while mostly remaining cool (if not icy) and detached. Side two adds Middle Eastern and Pakistani Qawwali music to the mix. The combination of synth, pulsing drums and world music set the tone for many soundtracks to come and influenced generations of film composers from "Terminator 2"'s Brad Fiedel to much of Hans Zimmer's output, including "Gladiator."

On one track, "Memories of Green," Vangelis sounds to have been influenced by Brian Eno's stark mid 1970s work, but his inner Yanni shows and it gets a bit florid. The end credits' "harp" glissandos and other musical accents sound a bit hokey and dated to 2013 ears, but overall this soundtrack's creativity and innovation hold up remarkably well 30+ years later.

Back in 1982 sonics we take for granted now were stark, cold, other-worldy and could be alienating. Vangelis managed to produce a track that was both cold and yet emotionally involving, thanks to the vocals and particularly an evocative saxophone part that represented Harrison Ford's character's dismay as he began falling for one of the robots he was assigned to de-commission, and having unexpected sympathy for the plight of the band of robots. A synthesized harmonica handles the rest of the melancholy.

For one reason or another, this music was not released as a music soundtrack until 1994. This Audio Fidelity issue on 180g is its first vinyl issue and from Vangelis's comments in the gatefold packaging written in 1994, some of the material was not in the film, though it was composed for it.

Surely Kevin Gray cut this from a digital source, though the source is not identified on the record or in the press release.

However, this is almost all from synthesizers so who cares?

The soundtrack includes some dialogue mixed into the music plus a few songs including an unrecognizable Mary Hopkin singing "Rachel's Song," and "One More Kiss, Dear", a crooned (by Don Percival) retro-forties number a la "We'll Meet Again" that you might know from The Byrds' version, but which was a WW II anthem. It ends side one. The lyricist, Peter Skellern had a modest hit remaking Irving Berlin's "Puttin' On the Ritz" so he probably had a "thing" for this kind of music.

Side two combines moody atmospherics, synth bombast and synth bass that will shake your room if your system goes very low. Dynamics are wide, soundstages, expansive and deep. In other words, whatever the source, this is a sonic spectacular.

For fans of the movie, this kind of soundtrack listened to in the dark can effectively conjure up movie scenes and produce other-worldly "theater of the mind" images. For everyone else, it's just a more abstract kind of emotional evocation.


Read more at https://www.analogplanet.com/conten...-delivers-sonic-fireworks#LfWUeefTTOB3DaJQ.99

 

[Rodemis]

Θα ήθελα τα φώτα σας.
Θα ήθελα να προτείνετε μουσικά κομμάτια οποιουδήποτε είδους μουσικής με τα οποία μπορούμε να τεστάρουμε τα ηχεία που διαθέτουμε.
Για παραδειγμα ένα τέτοιο κομμάτι κατα την υποκειμενική μου γνώμη ειναι το :
Caribbean blue της Enya.

Ψάχνοντας βρήκα ένα site που έχει κάποια μουσικά κομμάτια και εξηγεί πχ για μπάσο είναι αυτά τα κομμάτια ή για ευρύ δυναμικό εύρος είναι αυτά
https://www.cambridgeaudio.com/blog/test-your-speakers-cambridge-audio-engineer

Γιαυτό ότι κομμάτια πιστεύετε...είμαι όλος αυτιά

Ενα πολυ καλο cd,που χρησιμοποιω πολλες φορες,για τεστ κ ακροαση,περιλαμβανοντας διαφορα κομματια,κ με πολυ καλη εγγραφη k που βρεθηκε τυχαια στα χερια μου,ειναι αυτος:
[DOUBLEPOST=1506013325][/DOUBLEPOST]

Ενα πολυ καλο cd,που χρησιμοποιω πολλες φορες,για τεστ κ ακροαση,περιλαμβανοντας διαφορα κομματια,κ με πολυ καλη εγγραφη k που βρεθηκε τυχαια στα χερια μου,ειναι αυτος:

Οποιος ενδιαφερεται κ θελει να τον ακουσει,ας επικοινωνησει μαζι μου.

 

[Mr Spock]

- τέστ αρτιότητας μιξαρίσματος

- αρκετά επηρεασμένοι από του floyd ως επί τω πλείστον , εδώ επιδίδονται σε ανακάτεμα και συγχώνευση αρμονικών ηχων και μουσικής , φτιάχνοντας ονειρικά και φευγάτα ηχοτοπία , ok δεν είναι οι μόνοι αλλά είναι καλοί

Porcupine Tree - Lightbulb Sun


https://en.wikipedia.org/wiki/Lightbulb_Sun

 

[Mr Spock]

- και γιά εμάς τους νεότερους ( φορουμικά ) , βρήκα αυτό το βραχύβιο σχετικό νήμα . . .

https://www.avsite.gr/forum/threads/Μουσικά-Θέματα-Δίσκοι-Ηχογραφήσεις-Αναφοράς.17317/page-2