Robert Brook runs a blog called The Broken Record, with a subtitle explaining that the aim of his blog is to serve as:
A GUIDE FOR THE DEDICATED ANALOG AUDIOPHILE
Finding the DEMO DISC in Your Collection: A New Champion is CROWNED!
We Love the Record Too
Here is how we described a recent shootout winning copy:
The mastering EQ is close to perfection, with correct tonality from top to bottom. It’s surprisingly rich and smooth. Transparency and top-end extension were excellent as well. The timpani has the weight and whomp of the real thing, and they’re way at the back where they should be.
This is a superb Demonstration disc, but it is also an excellent Test disc. The sound of the best copies is rich, full-bodied, incredibly spacious, and exceptionally extended up top. There is a prodigious amount of musical information spread across the soundstage, much of it difficult to reproduce.
Musicians are banging on so many different percussive devices (often at the far back of the stage, or, even better, far back and left or right) that getting each one’s sonic character to clearly come through is a challenge — and when you’ve met it, a thrill. If you’ve done your homework, this is the kind of record that can show you what you’ve accomplished.
On the best copies the strings have wonderful texture and sheen. If your system isn’t up to it (or you have a copy with a problem in this area), the strings might sound a little shrill and possibly grainy as well, but I’m here to tell you that the sound on the best copies is just fine with respect to string tone and timbre. You will need to look elsewhere for the problem.
Tops for Table Tweaking
The recording has tremendous transients and dynamics as well; be prepared to have trouble tracking it. In that respect it’s a prime candidate for table, cartridge and system tweaking. (I once adjusted my anti-skate while playing this very album, at the time dialing it in to a “T”.
Over the years I’ve found that the best test for fine anti-skate adjustment is massed strings, and not just at the end of a side but right at the beginning too.
When you have all the rosiny texture, the high-end harmonic extension, the least shrillness and the widest and deepest staging, you are there, assuming that tracking weight, azimuth and VTA are correct as well.
Four variables to mess with is admittedly a bitch, but having the right record to test with is absolutely critical as well. Maybe we should call it five variables.
And if I only had one record to bring to someone’s house in order to evaluate their equipment, this would certainly be a top choice. If you can make this record sound the way it should, your stereo is cookin’. If you are having problems, this record will show them to you in surprisingly short order.
More on the The Carmen Ballet by Bizet-Shchedrin
Robert’s Approach
Robert has methodically and carefully — one might even say scientifically — approached the various problems he’s encountered in this hobby by doing the following:
- Improving his equipment,
- Teaching himself how to do a better job of dialing in his turntable setup.
- Learning how to do controlled shootouts for his favorite albums, and, most importantly of all:
- Carefully testing every aspect of audio and records empirically, with only his ears as his guide
More on Robert’s system here. You may notice that it has a lot in common with the one we use. This is not an accident.
And it is also no accident that these two systems just happen to be very good at showing their owners the manifold shortcomings of the modern remastered LP, as well as the benefits to be gained by doing shootouts in order to find dramatically better sounding pressings to play.