Establishing a common analog listening bias


Maybe it is possible to establish a widely accepted common ground in terms of listening bias by choosing and agreeing on 10-30 LPs all readily available new to all audiophiles for decent price.
If all listening tests and personal comments regarding the sound of components and systems in the various threads and posts would refer to any of these LPs mainly, everyones comments and experiences would much easier be understood by their fellow Audiogoners.

How about an "Audiogon baker's double-dozen"?

This would create a solid ground for all of us.

How do you think about this ?
dertonarm
Dear friends: Nice to read that almost all of you are getting fun here.

I hope that what I want to share with all of you could help in anyway:

in the last 3-4 years I'm using 5-6 different LP's with one two tracks in each one to set up by ear my cartridges and to know how is the peformance an set-up in other audio systems ( several and different ones. ), till today these LP's and " process " are working fine for me.

Basically what I try to do is to be " sure " that the VTA and Azymuth are in good shape. I will talk on just three different recordings ( that anyone can buy if not already have it in both formats: LP/CD. ) all 180grs and recorded around the same years, what I report is what I hear with a volume around 83-84db SPL at seat position with 90-92db on peaks:

The first recording ( VTA ) is Janis Ian “ Breaking Silence “ ( Analogue Productions APP-027. 33rpm. ), here I use the side two first ( walking on sacred ground ) and second track ( this train still runs ):

First track: At the very first 4seg. You can hear in the right side a cymbal that was “ rubbing “ with the stick, here you can be sure that your wiring is correct channel to channel. Then ( and this is critical ) at 1.45 minutes you will hear three shots in a small drum ( I don’t know its name. ) then something that sing Janis ( three seconds. ) and again other three drum shots, all these 6 shots and especially the three last ones are tight and dry and the drum sound is “ alive “ and a little on the “ bright “ side ( the right word is not bright but I don’t know any other ): if you hear these drum shots a little soft or warm then you have to change the VTA in positive angle. All over this track the cymbal sound in the right ( a little in up side. ) channel is not only clear and transparent but well defined, you have to distinguish each stick stroke on the cymbal. The Janis voice always dead at the center.

Second track: this track is very dynamic in the drum/percussion work and you have to distinguish the differences in strength that the drummer put when hit the different drums.
The track start with drums and acoustic guitar and after 20 seconds and in the left side after ( immediately/along ) a drum stroke you have to hear a tiny cymbal/percussion sound ( so tiny but clear. ). Then at the 3.20 minutes you will hear the part with the strongest drum strokes ( at least ten of them. ), the first 4 are big, thick, no overhang, almost organic and tight. The percussions all over the track are clear, transparent and tactile.

The second recording ( Azymuth ) is a double album by Eagles “ hell freezes over “ ( Geffen SVLP 050 . 33rpm. )here I use the side two second track ( hotel california. ).

This track start with some acoustic guitar melody and at the 28 seg you will hear the first big stroke in a big drum ( it is not really a drum but I don’t know the word for this instrument. ), the sound will comes slightly at the right of the center stage, the sound has to be big and deep with no overhang or bass resonance, it has to be a little on the warm side thick not strictly tight or dry but not soft either ( if your system has good low bass you will love this track. ). After 8 seg of that first “ drum “ big sound you will listening a percussion ( low level ) in the right side and after additional 6-7seg. you will hear a second ( lower level. ) percussion instrument in the left side.

If your system has the resolution and the VTA and Azymuth are near “ perfect “ then you will hear what I say. If you can’t hear the left side percussion then you have to try little azimuth changes till you can hear it, btw when you have to change the cartridge azymuth and after that you can hear this left side percussion you will note too that that big “ drum “ sound “ suffer “ an improvement in its quality reproduction.

Sometimes even if you try the azymuth changes you can’t hear this left side percussion sound and that can be for multiple “ problems “ : maybe the SPL ( volume ) is not at the right level, maybe the tweeters are not well aligned with your ears, maybe in that tonearm/cartridge combination the cartridge left side output level on that frequency range is to low or smeared, maybe your phono stage has not the right resolution or the cartridge load is not the adequate and I can go on and on in the subject.

The third recording ( and when the VTA and azymuth are near “ perfect “. ) is to confirm what we do before.

This album is the Patricia Barber “ Café Blue “ ( Premonition Records 737. 33rpm. ), here I use side one second track ( nardis, yes the one by Miles D. ).

Start with the Patricia voice where in the very first 8seg. you will hear clearly a complete and deep Patricia breathing slightly at the right of the center stage.

The very first percussion sound ( first sound is voice and piano. ) you will hear ( very tiny. ) a cymbal at 2.32 minute.

The track is very dynamic through piano, drums and percussions/cymbals. Well, at 4.45 minute you will hear a cymbal at the left side where you have to distinguish the stick stroke/shot on the cymbal very clear not only the harmonics and in the same left side with the same cymbal at 5.22 through 5.36 minute you have to distinguish how that cymbal is “ touched “ by the stick in the inner part of the cymbal where you can hear very clear/brilliant the stick stroke several times in that brief time.

Then at 5.47 minute and coming slightly at the left side of the center stage you will hear 5 ( five ) shots/strokes by the big drum ( where the drummer use his right foot. ) that are tight, deep, a little warm, fast, clear, with real presence and with no overhang.

This track ( all the recording. ) is overprocessed but if your system is spot-on then the dynamic of the recording is a beautiful fireworks time. The recording comes a little lower in volume you will need to change your volume level by 5db.

Of course that there are other several " things " to " see " on all those recordings but these highlights are IMHO good enough to start.

Almost always I make this three recording exercise twice. I use other 3-4 recordings for fine tunning but this will be for other better time.

I have to say that due to my problems in the English language is really hard to explain in precise way those “ experiences “ step by step but I hope it can be usefull for you.

Maybe for many of you these recordings does not like you ( because it si not the kind of music that you really like. ) but this is not important, the important subject is what you hear or what you can't.

Of course that depending of each one system there will be different “ flavors “ on what you hear but you can’t hear nothing totally different of what I told here.

As better is your system set-up as better and nearest you will be on what I post here.

Is it perfect this experience?, certainly not. Is it the “ Bible “? Again certainly not. It is only a “ tool “ with I have a lot of experience in different audio systems and like I say at the begin: always works.

Regards and enjoy the music,
Raul.
Raul:
one question I have to add:
What about the pretty sibilant opening of the 1st track on side two "Tequila sunrise"?

It is even to some degree apparent on the CD.
Axel
Dear All, what Raul explained with his elaborating post is exactly what I meant.
Very good Raul !
It is about being able to describe certain sonic details as well as complete impressions on a common ground - a given (or several...) record with known pressing and VTA.

Sorry Eric, - I still don't see why my intentions which I explained over and over again still seem to be so mysterious?

If we have a known pressing of a readily available record and the known VTA, then we have for once a chance to run identical software - i.e. - all differences heard or unheard in various systems running with this or that particular record out of a selection of agreed upon LPs are differences in set-up (as Raul nicely explained with VTA settings altering balance and detail response) and abilities of the systems.

We can exchange our opinions and experiences on a common ground.
Thats it.

What I tried to explain in mere theory Raul did - apparently with better success - by a detailed example.
Raul - thank you!
Cheers,
D.
Dear friends: This Dertonarm " common ground " subject is really usefull not only for your own system set-up and for other system comparison ( including our each audio system items. ) but as heard again and again the " common ground " recordings we will learn more and more of those recordings till the time that when we hear the very first track on a different system that the one of us we know ( overall ) what is " happening " in that system. Of course that that " common ground " give us unique and universal audio language with no single frontier.

Using a " common ground " approach give us a constant parameter where we are really experienced and where the experiences can be repeat each time we try it. We have to hear those recordings ones and again many times in our system and in other systems before we obtain the faculty to discern in precise way what we are hearing through those recordings.

Regards and enjoy the music,
Raul.