Ok...I really use the following tracks to audition systems (notice I didn't not say "components"):
Track 1 - Quick Rejuvenation from the IsoTek Full System Enhancer & Rejuvenation Disc I swear by this CD to break-in and warm-up a system. If Im going to audition a system, I ask if I can let this track run before listening. The original CD has (2) additional 30-minute tracks (one with more low-frequency information than the other).
Track 2 - Ave Maria by Sarah Brightman off the Classics release Yes, this is the common wedding classic. However, if Ms. Brightmans voice alone doesnt make you want to leave your wife-to-be at the altar, youre good until death do you part. Sarahs voice floats and never sounds shrill; always lovely and relaxing.
Track 3 - The Mummers' Dance by Loreena McKennitt off the Book of Secrets release Its very easy for the low-end to become muddy; it should be a platform for the ethereal vocals. The harmonies should be clear and distinct; not one voice. The system should not over-sweeten this track (overall engineering could have been better) it sounds very good, but not amazing. All focus should be on the vocals.
Track 4 - Song of The Nile by Dead Can Dance from the Spiritchaser release So many things to listen to during Song of The Nile (this track stands in contrast to the previous the system should make this obvious). Imaging and panning is always interesting. The skins of the percussion have texture. The vocals hang in the air and the decay lingers without seeming confused. Each instrument is very well recorded, and the overall piece is exquisitely produced.
Track 5 - Prelude from the Bridal Suite by Eric Tingstad off the Windham Hill Guitar Sampler This is a very simple arrangement; miced very closely, yet the room is still captured. There is good dynamics, nice tonal balance, and great PRAT.
Track 6 - The Ballad of Bill Hubbard by Roger Waters off the Amused to Death release The challenge in this track isnt the obvious the holographic sound staging and imaging. This track is about making nuance obvious. The low-end can be boomy; it should add to the tension. I hate how this track just suddenly ends, though.
Track 7 - Kitkahaki by the Sea Beggars from the unreleased Sea Beggars EP This was a demo that I recorded and produced for some friends; one take (with only the female vocal recorded later). The vocal is very aggressive; but the overall sound is natural and honest. Since I was there (and I recorded it) I know what it should sound like.
Track 8 - Amy by Ryan Adams off the Heartbreaker release You should be able to peel apart the layers of vocals. The contrast of the percussion (which should be appropriately felt) and bells (that float) give this track nice dynamic contrast.
Track 9 - Sandusky by Uncle Tupelo from the March 16-20, 1992 release Each part should be distinct. The kick drum should not be lost, as it drives the tempo. Some systems will make this track sound like a beautiful mess; it should be a sonic choose your own adventure depending on which part you follow.
Track 10 - I Am Trying To Break Your Heart by Wilco from the Yankee Hotel Foxtrot release- Its not the song, but all the other things that are going on in this track that makes it interesting (particularly at the end). The shakers make you swear youre wearing headphones
Track 11 - Danko / Manuel by Drive-By Truckers off the Dirty South release Simple, clean and clear the polar opposite from the previous track. A lesser system will present this track as boring.
Track 12 - I Could Have Lied by the Red Hot Chili Peppers from the Blood Sugar Sex Magik release Rick Rubin did a nice job producing this track (and the whole album, actually). There is an essence of rawness that allows the emotional intensity to come through. It would have been easy to sugar-coat this track. Note the general instrument texture and the minimal, but appropriate, guitar solo.
Track 13 - Lithium by Nirvana off the Nevermind release Opening bass line should have a rich fullness. The impact of the first kick should be a warning of the upcoming onslaught of guitar noise. If this tsunami of guitar sounds thin, your system doesnt rock. Period.
Track 14 - Saint by Catherine from the Sorry! release This song is a sonic train wreck (not to mention the lyrics). However, a good system will make some sense of this mess. It wont make it sound good (by any stretch of the means), but youll say, I think they meant it to sound like that as opposed to What the hell were they thinking? I use this track because I dont own any Husker Du on CD.
Track 15 - Know Your Enemy by Rage Against the Machine from the self-titled debut Rage Against The Machine the analysis of this track is essentially the same as Lithium. The ability for a system to rock your face is essential for this track. The guitar work is pretty amazing I had to see them live to learn how those sounds are made (a mute toggle on the guitar).
Track 16 - The Grudge by Tool off the Lateralus release Listen for the opening depth charge kicks; the system should be able to articulate each of the kicks as they arrive in rapid-fire succession. This song is really about the percussion; and if it is lost in the noise. There should be fullness in the presentation without the guitar or cymbals sounding harsh or shrill.
