How does solo piano help you evaluate audio gear?

@nonoise  

If the initial movement (of a key, valve, etc.) is captured, followed by the strike of it, followed by the burst and then bloom, and then the associated spread, decay and reverb, the whole soundstage develops to a degree that can make one momentarily forget they're listening to a recording. 

@whart 
listen to the hammer strike, the initial overtones, and their decay. Instructive in terms of how the system handles the whole sonic envelope, not just wide frequency range

Excellent! I'll listen for this. Well said and thank you.

@cd318  Good point about the reverb and character.

@czarivey  -- right. Drum and note together. Well put.

@edcyn 

massed strings is the true litmus test for determining the ultimate veracity of a system

I think this is what is pushing me beyond my otherwise very nice stand mounts toward a ribbon tweeter tower.  And your caution about fuzzy midrange tone of many pianos is noted. Agree about wanting tonal quality with smaller cost of dynamic hit.

@lalitk Thanks for your notes. I'm not on the verge of my forever speakers -- that will have to wait a couple years for my forever room -- but for now I'm looking for my next speakers. If my present shoot has a clear result, I'll be putting a pair up for sale (or sending one on trial back!)

@brownsfan  -- French horn is a good tip. I've been hearing bassoons and oboes with greater interest but I need to find a good French horn featuring piece. ECM Schiff Beethoven -- got it. ECM is a standard label for other things I use as critical listening.

@mahgister 

Moravce or Feltsman -- thanks. I have heard the Feltsman but will now add it to my list for critical listening.

Chorus -- I've been listening to Nordic 2L tracks and some Chesky. Thanks for the Tallis.

    
@dynamiclinearity -- 

ability to accurately follow all level changes, small to medium to large --Kissin  'Pictures At An Exhibition,.

Thanks!

@jjss49  I have an upright, so not quite the comparandum!

@erictal4075  I have avoided the pipe organ because it seems like it's too difficult for the level of speaker I have. It's like giving a calculus exam to two third graders. Maybe there's something to compare, though. Thank you.

More A/B testing will happen today using these suggestions. Much appreciated.

It's clear to me that with the two speakers I'm comparing, there are strengths to each, and part of the reason I have been looking to piano is that I need a way to show that one speaker is clearly better than the other. I love and will listen to classical piano, so this is not just an academic exercise.

@whart You make some great points and I agree with all you wrote.

@hilde45 try the music of Richard Strauss for some great music featuring the French Horn. Fritz Reiner/Vienna Philharmonic “Till Eulenspiegel” on RCA Living Stereo is a classic with outstanding sound; available on vinyl as a reissue. Beautifully realistic horn sound. Also, try the great Radovan Vlatcovick’s recording with The English Chamber Orchestra of Strauss horn concertos 1&2 on EMI classics.

@hilde45 

I don’t think piano will be very useful unless you listen to a lot of piano, and already know some good piano music note for note. And there is plenty a Piano cannot tell you. I think this applies to all instruments/genres - there just isn’t one instrument at the apex (other, perhaps, than the human voice)

If you do listen to a lot of piano, then piano music critical for your auditioning - listen to the music you already know by heart, not someone else’s recommendation

I believe in auditioning with the music we listen to in our lives, and that we know intimately - that’s how we catch differences in reproduction. One captures range, tone, staging, pacing, dynamics, etc., in the track choices for the audition. I think very difficult to audition with unfamiliar music, or music chosen to check some box

I am sure Piano is very difficult to capture.  But if I listen to Janos Starker on Cello, “Mining for Gold’ by the Cowboy Junkies, and Song Remains the Same (or Ramble On) by Zep, that covers a lot of ground, as well - and it’s representative of what I listen to (I’ve got a ~15 track standard list, like most folks). I do love all Bach, and so get my piano there (but it’s his cello works on my audition list)

I do not feel you can use "one instrument" as an evaluator of gear.

Sound reproduction depends on engineering and design of the audio equipment itself.

I have heard realistic timbres of an instrument coming from one set of speakers that absolutely botched a plethora of other timbres.