EASCA 2009

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JUAL AUDIOPHILE CD EASCA 2009

JUAL CD AUDIOPHILE EASCA 2009

SAMPLE SONG

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Tracklist :

EASCA’s competition division provides a platform for all sound-quality fans in Europe. Although this CD is designed for judging a car-stereo-system, it is also a very helpful tool for your home stereo. But it is not only a tool, because tools are for working. It is a collection of some very fine Stockfisch tracks, designed for your audiophile pleasure.

Features:
• Made in Germany
• Produced & recorded by Gunter Pauler
• Premastering by Hans-Jorg Maucksch at Pauler Acoustics

Selections:
1. left-right test
2. pink noise – phasetest
3. No Sanctuary Here (Chris Jones)
4. Youngstown (Steve Strauss)
5. The Tennessee Waltz (Allan Taylor & Chris Jones)
6. I Can’t Stand the Rain (Sara K.)
7. Beyond Love (Eugene Ruffolo)
8. Closer (Steve Strauss)
9. The Amber Room (Ewen Carruthers)
10. Embraceable You (Bassface Swing Trio)
11. Children’s Song 12 & 16 (Blue Chamber Quartet)
12. Chopin’s Nocturne Es-Dur Op. 9, No. 2 (Gergely Boganyi)
13. piano chord (mono)
14. sinus 50 Hz
15. sinus 315 Hz
16. sinus 500 Hz
17. sinus 2500 Hz
18. pink noise

Total playing time, 49:33

NOTES :

Hifi is always an illusion. An illusion that attempts your imagination making your eyes see what you are listening to. You can help your imagination by closing your eyes

EASCA’s competition division provides a platform for all sound-quality fans in Europe.

Although this CD is designed for judging a car-stereo-system, it is also a very helpful tool for your home stereo. But it is not only a tool, because tools are for working. It is a collection of some very fine Stockfisch tracks, designed for your audiophile pleasure.

It is needed to define some categories. We define:

Sub bass within the frequencies 0 – 45 Hz
Bass from 45 – 120 Hz
Fundament from 120 – 250 Hz
The mids from 250 Hz to 3 kHz
The high frequencies from 3 kHz on
In the first part we evaluate the tonality and distortion of the separate categories. A soundsystem can make several mistakes. Wrong coloration of the signal is a very common one. Sara K. on Track 6 just has to sound mostly warm, perhaps a bit smoky sometimes, but never light or harsh. Also it can be that a narrowbanded peak (or decay) unnaturalizes the soundsource. Also the distortions are examined here

The next part is the overall spectral balance. We evaluate the harmonious interaction between the above defined categories. If narrowbanded mistakes within one category are counted within the tonality because they have conducted to a loss of that they also have to be considered here – cause it is a mistake with two effects. Do not bother if you are a victim of this, you can improve two mistakes with one correction 😉

The next part is staging. We judge the width, height, front and depth as well as the focus.
The width means on one hand the absolute spread from left to right, on the other the correct relations along the stagewidth.

Focus also combines two properties. First the system must be able to let you locate the acoustic source exactly. The next thing is, that the source must have correct dimensions. A flute is mostly smaller than a contrabass 😉

Depth can be judged by the differentiation into the room and front is judged by the distance of the stage from the driver position.

The height is a quite difficult discipline for stereo systems. To set the middle of the scene at eye level is one not so challenging part. But spreading it up and down to prevent the stage from being flat without influencing the focus negative is not so easy.

Two very important quality characteristics for a sound system to sound naturally and authentic are their dynamic abilities. Nature is unbeatable in dynamic. Ever listened to a woodpecker hitting on a tree or a rhino trampling through the shrub? The noises are raising fast, clear cut and containing finest vibrating details as well as tremulous attacks.

Dynamic is therefore divided into acute and rough dynamic.

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