Here's Mine!\n\n\nOVERALL\n\n\nAja, Steely Dan: This is my all around everything track. Not only did the Annandale duo record and engineer this album incredibly well, it simply has it all, vocal range, acoustical variety, highs, mids, lows, sub bass, imaging, and depth.\n\n\nThe Holy Men, World Saxophone: Imaging and sound stage; and this is an incredibly tough test. The four saxes playing should all be distinctly located across your sound stage. Even if two of three saxes seem on top of each other that’s fine unless you spent thousands on your speakers.\n\n\nFlight of the Bumblebee, Nikolai Rimsky-Korsakov: An easier imaging and soundstage test but still useful.\n\n\nSentenza del Cuore, The Coryells; Depth imaging, and detail: The castanets should sound like they are coming from several feet behind your speakers and even echoing off large cathedral hall walls. For an added bonus the castanets should sound like they are made of wood, not plastic. This wood\/plastic effect is subtle, and you may need to hear them on good headphone to know what I’m talking about. Of course, very good speakers will do this too.\n\n\nBASS TRACKS\n\n\nTrain Song, Holly Cole; Bass Imaging, the sound of bass traveling across the soundstage with other acoustical accompaniments should sound enveloping.\n\n\nFalling, Olive: clean captivating bass\n\n\nKnockin’ On Heaven’s Door, Guns N Roses; The initial bass riff should be as immersing as possible without being muddy.\n\n\nHigher Love, Steve Winwood: This recording is done with near perfect resolution, and bass should have maximum detail and contrast\n\n\nHappy Pills, Norah Jones: The beat intro should sound clean and detailed\n\n\nLatch, Disclosure: Club bass should do what you think clean club bass should do.\n\n\nVOCALS\n\n\nCome Away with Me, Norah Jones: Her voice is actually recorded a tad hot IMPO, but quality speakers should handle this without being fatiguing.\n\n\nNevermind, Leonard Cohen: This is a fantastic sounding record which Cohen does with a hot mic. This gives his voice incredible detail down to a spittle “lip-smacking” sound. He did this to give the impression of being talked to very closely, and intimately. But, it also shouldn’t echo or sound like it’s coming from all around you but secured with the front soundstage. This is a hard test.\n\n\nOTHER:\n\n\nTwo tracks, Sex Action, LA Guns, and Better Together, Jack Johnson. Playing these two tracks side by side will show you the effect of acoustical advantage. It makes me long for a “bass knob” which I had in car audio. For home audio, it should show you what range of adjustment you’ll be making with your speakers\/sub, and there will be one.