“Real” bass vs. “Boom” — how do you know which?

Chadnliz got this one in my opinion. I have a cd of James Cottons "Deep in the Blues" on the Gitanes jazz productions/Verve label recorded in august 1995. Track ten is a solo bass instrumental by Charlie Haden called Ozark mountain railroad. You can hear every pluck and the vibrating of the strings and the stop and start of each note and every change in tone that note actually plays as it vibrates. No one note bass when played on a system that is getting it right and deep with no boom. I also like to use this CD for auditioning gear or speakers as it also features some very good Harmonica playing that is as hard as piano is to do properly and unfatiguing. Cheers

depends on the recording.

Yeah, its all "real", the question is how much is the right amount?

"Beyond the Missouri Sky" by Haden and MEthany is another recording that represents a special challenge. If the bass playing on this one comes in clear and defined throughout (no "one note" stuff), you are probably in the right ballpark.

BTW this recording NEVER sounded completely satisfying on my system with any speaks until the recent move to the Arc SP16 TUBE PRE-AMP. Now: Bingo!!! So there is more to really good bass than just speakers and room acoustics for sure!

As you might know the same speakers driven by a different amp can affect the bass like you wouldn't believe. Oh, and lets not forget the source because it also impacts (pun intended)the bass and or quality,thereof.

Consider purchasing "The Sheffield Drum and Track Disc,"

Good suggestion - you can also get this on XRCD from Japan (they used the original master tapes which were made at the same time as they made the Direct-to-disc masters). The nice thing is that the first two tracks offer different examples of tuned drums. This way you can have a feel for where you system sits dynamically and how "tight" your bass is. Of course it would help to hear these tracks on a SOTA system to train yourself how it sounds.

Other tracks are, as suggested above, Chesky's Rebecca Pigeon "Spanish Harlem" with its nicely spaced bass lines - listen to see that all bass notes are of equally loudness (very useful for checking the critical 50 to 80 Hz range).

Other great drum tracks are: George Benson "Weekend in LA" Live "On Broadway" with Harvey Mason on drums. Also Keb'Mo's albums seem to have well recorded drums (unusually they have preserved the drum kit dynamic range on many of his tracks whereas typical rock/pop will crush drums with compresion/limiters). Another (but slightly bass heavy) great sounding CD is Dave Grusin "Hommage to Duke" - listen for balance in the bass riffs.

I'd also recommend funk music due to the heavy importance of drums and bass in this type music. Nils Landgren Funk Unit playing "Da Fonk" is a great one for the bass - very articulate. On the pop music side Peter Gabriels "Sledgehammer" has great bass which can be overpowering if you get it wrong but can sound "goldilocks just right" if you get your bass acoustics adjusted well.

If you get the bass right you will also find there is more depth to the soundstage - perhaps because you hear the lower midrange better and the "ambience" on the recording comes through.

When you listen to music and something sticks out ( say a particular bass note) then you have to ask yourself if it was intended or is a result of an incorrect setup. Usually recording engineers are msuicians and they try to keep everything in balance...

Nevertheless it takes a while to adjust to get used to "real" bass which can be subtle and understated. I