A Favorite Test Album: Radiohead Amnesiac

Radiohead’s Amnesiac album is a favorite test album here. It tests many things about a high fidelity audio system that most other albums do not.

Many people say test tracks must be music where the musicians use exclusively acoustic instruments. That one can only compare a reproduction of the sound of a musical instrument to an instrument whose sound one is familiar with in the real world. The ‘absolute sound’.

First, people who use this technique aren’t any better, in my experience, at understanding what they are hearing when listening to a system than anybody else. And maybe a little below average at that.

Second, real acoustic instruments have a wide variety of sounds e.g. all guitars do not sound alike. So, which one are they comparing the sound on the stereo to?

Third, most acoustic instruments are extremely easy to reproduce. All percussion, flutes, most instruments in a 3- or 4-piece jazz composition, etc.

Fourth, classical music, the gold standard of acoustic music, is usually recorded so badly that it is largely just a wall of sound. Great systems help; but still, poor, so poor, oh so poor quality.

OK. Back to Radiohead. Back to heavily processed very complex very well-recorded music.

Using consensus-based evaluation, after listening to a track on many different systems, at least some of which do not suck, one learns where sounds are supposed to come from: their location in the sound stage, how far away they are, how large they are, where the are moving to, what the decay is supposed to be, etc.

One learns that some systems can disambiguate a pair of notes and some cannot.

One learns that some systems can communicate that the vocals are full of angst and others the vocalists always sound bored [voice is the only overlap with the ‘absolute sound’ people, though they seem to not pay much attention at all to this ‘most popular acoustical instrument EVER’ that we all are so familiar with – especially those with talkative spouses :-)]

One learns that many of the sounds on these tracks are so weird that they are extremely hard for inferior systems to reproduce at all well – it often will sound like something is broken (though sometimes that is the way it is ‘supposed’ to sound 🙂 ) [whereas reproducing a violin or piano, possibly the most complex acoustic instruments, can be done by the most modest of stereo systems well enough to fool some people all of the time].

Anyway, Radiohead in general is great for testing hifi systems, and especially the later albums where the quality continues to improve. Amnesiac is just the first Radiohead album that I happened to fall in love with.

Anyway, that is our opinion and these techniques have worked well for us. For example, they are extremely useful when we want to know immediately the capabilities of an unknown system.

 

Dark Star [Grayfolded]… Forever

The Grateful Dead playing Dark Star forever and ever and ever… Or. Are. They?

[Dark Star] Grayfolded 1 & 2 – John Oswald Grateful Dead. As CDs or as 3-LP 180-gram set

Let me pull some quotes from the Amazon comments:

“What Oswald did was use parts of the Dead playing “Dark Star” to create his own piece.”

“In some pressings of [CD] disc 2, there are three minutes of extra music hidden before the Multiple Garcias shout “transitive nightfall of diamonds”.

“He has taken over a hundred hours of tapes from the Dead Vaults ,all of performances of Dark Star and compiled ,segued and overdubbed a symphony of the Dead.”

“…as we hear Jerry Garcia in 1971 duelling with Jerry Garcia in 1991”

Part of “The Dark Star” effect, for me, is that we could listen as they actually had the guts to subject unwary crowds to this kind of  “This is how your thoughts sound on Pluto. Say Hello’ music. And how much the crowds [and me!] liked it.

This is not that.

That said, this album sounds like it would be very … uh…. inspiring. Yeah. That’s it. I bet they sell a lot in Boulder. It’s on my list [have to see if Neli will… uh…. not like…. them tampering with perfection by remixing the Dead like this. 🙂 ]

[Thanks to TwoGoodEars for posting about this album. Wow.]

Miles Davis: Pangaea – A genre of its own

On the front page of the Audio Federation website Neli and I get to post our favorite albums of the day, week, whatever.

[These favorite albums take the place of what was previously our Linkedin profile photos. Neli got tired of seeing this photo of herself everywhere. I think it is a great photo of her. Women… 🙂 ]

I currently have ‘Miles Davis Pangaea‘ as my Audio Federation front page album.

This double-album is part of a set of concerts during Miles’ electric funk space jazz phase. Agharta is another double live album of this concert series from Osaka, Japan. To a large extent Black Beauty, Dark Magnus, In a Silent Way, and even Miles Smiles are other examples of his of this genre. And as far as I am concerned he has this genre all to himself. Although Live-Evil is much more widely available, and many consider it part of this phase of his, I do not – it is more commercial electric jazz-fusion – nice but without the ‘space’ and ‘deep rhythm’ these other albums mostly have (Miles Smiles is missing a lot of the deep rhythm of these others, but it still stands above Like-Evil IMO in terms of groove and aggressiveness).

Here is what Amazon has to say:

“(2-LP set) Recorded on the same day as Agharta (FMN 811), Pangaea‘s 2 LPs of material are culled from the evening performances at Osaka’s Festival Hall. Featuring just 2 songs, both clocking in at over 40 minutes, Pangaea shows Miles’ band really stretching itself to the limit. Live electric jazz-fusion from the undisputed master of the genre. 180 gram vinyl in a gatefold jacket with a reproduction of the original black and white insert.”

I discovered these albums back in the late 70s, early 80s. There was a store on the ‘Hill’ in Boulder that sold lots of cutouts for $3 and lots of mostly Japanese and some European (mostly German) imports for $7. I spent a large percentage of my wealth here at the time [not much to speak of, but it was a lot to me…]. I got this as a Japanese import.

It was definitely an OMG experience that has lasted for 40 years. At the time it was also life-affirming in the sense that an ‘old’ master of ‘boring’ jazz could do something that was so now and ‘with it’.

There is nothing out there like it that I have come across. They lay down a groove with a significant beat and then overlay electric jazz and space all over it for over 40 minutes [on the album].

Make no mistake, this is NOT Kind of Blue. This is more like Funkadelic if you imagine them at the end of a week of playing in front of 100,000 people after being dosed to the gills over and over again. Or Sun Ra if Sun Ra knew what the heck a beat and a melody was.

There are some bootlegs of these concerts. Haven’t played them in awhile, so forget what quality they are [the music itself is, of course, awesome in the sense that It does Inspire Awe].

Neli likes these albums too and they are accessible to the average listener –  just Not At All what you would expect to hear from Miles Davis.

The sound quality is B+. It is really quite good IMO. I have mostly played the original Japanese import LP, though we have been playing the CD for convenience lately. 40 minute songs do require a commitment – there are no obvious places to stop the rhythm once it gets started – so you have been warned 🙂