Audiophile Speaker Set-Up (2018)

Messiaen, Stravinsky, Mussorgsky, Prokofiev, Chabrier, Sibelius, Hindemith, Bach, Traditional, Chopin, Debussy, Anonymous, Evans, Mancini

Various Artists

This album was created to help the audiophile - as well as the neophyte - find the best placement for installation of their speakers in order to obtain optimum performance within their personal parameters. With over 115 minutes of music, sonic examples and instructions, this companion to the best-selling album 2xHD Audiophile Hi- Res System Test will help you set up your speakers for an ultimate listening experience.

The album includes 13 tracks of spoken instructions for speaker placement and tweaking which are also reproduced in the accompanying 61 page booklet with colorful, helpful illustrations. The other 56 tracks contain music and sonic examples to use for judging the progress of the placement, as well as a good dose of music tracks for listening pleasure.

This album is a must for all.

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Robert Len

I was fortunate to come from a musical family. My father was a country & square dance fiddler and there was always music in the house. My first instrument was an acoustic guitar which I got when I was 9. We were celebrating Christmas at my uncle Nantel. He had given his son an acoustic guitar. I grabbed the guitar and played a tune from a known group at first try. I’d never touched a guitar before. My uncle was so amazed and delighted that he gave me the guitar and changed my life forever. I practiced every day, copying Buck Owens and The Ventures’ repertoire (particularly the song ‘Wipe Out’). Seeing my passion for music, my dad promised to give me an electric guitar if I learn to play The String-A-Long’s hit song ‘Wheels’. I worked on that song for weeks in order to get the guitar and then, with two of my sisters and my younger brother I formed my first musical group which I called ‘The Silver Stars’. I was introduced to the trumpet in high-school, when I was 14. It was love at first sound; I decided to take private lessons and to further study music in order to have a career as a trumpet player. I followed my studies through the years and obtained a Bachelor degree from Concordia University followed by a Master’s degree from the Université de Montréal. I started to compose music in 1982, when I formed a jazz fusion group called Barclay Road. We had a good 10 year run which included several appearances at the Montreal International Jazz Festival. 1996 was an important year for me as composer as I was introduced by a friend to the sound of Celtic music. We were having dinner and suddenly I stopped talking as the sound I was hearing went straight to my heart. I had no idea what instrument I was hearing. I looked at the CD album cover and noted that I was listening to David Spillane’s ballad ‘Midnight Walker’ played on an instrument called Uilleann pipes. The music captured me completely. I’d never seen nor heard this instrument before, had no idea on how it’s played, but I had to get one and learn to play it. After a year of searching, I finally found a manufacturer and had to wait another year before receiving my order. I was told that I could start to learn to play it by practicing the Irish flutes, so as to learn the fingering. So I got an Irish Penny Whistle and in 2 weeks, composed my first piece for this flute. This fed my appetite for flutes and for composing. Today I have a collection of 60 flutes of all origins; American Indian, Irish, Chinese, Armenian, Argentinian, Tunisian as well as panoply of percussions and didgeridoos. Each instrument brings me to a new musical, cultural and emotional universe. I built a home studio and with my partner Carole, created a production company called Apollonia which permitted me to record my compositions for these instruments and to release them. I then got involved in many other recordings and got to grow as a more astute sound engineer. Since the last few years I had forsaken my trumpet for the ethnic flutes, feeling that they touched me more, but I regained the desire to play the trumpet and especially the flugelhorn. Hope’ is much more than merely the fruit of a second tight collaboration. We succeeded in developing a unique sound using 4 trombones, 4 French horns, a flugelhorn, trumpet, muted trumpet, various flutes, acoustic guitar, various electric guitars with country, rock, R&B styles, not to mention a variety of percussion instruments. photo: Michel Raymond

Sonny Boy Williamson

When ‘Willie’ Rice Miller, aka Sonny Boy Williamson, made these intimate, casual recordings in 1963, he was already (probably) 66 years old. Most of his long career was over; only two years later he would die in his little apartment in Helena, Arkansas. He was recognized as a giant throughout the blues world as a harmonica player, vocalist, songwriter, prolific recording artist, live performer and wildly colorful personality.

Holly Cole

Born into a musical family in Halifax, Nova Scotia, Canada, Holly Cole from birth was inundated with a wide range of musical styles. Both her parents were classical musicians, pop and rock were the music of choice for her peer group at school, and Celtic and country were omnipresent within her immediate community. In this environment singing was as natural as riding a bike. While most families spend their after dinner time engaged in discussions as to what television shows to watch, Cole’s family debated over what to sing. Everyone in her family played piano and, upon graduating from high school, her older brother headed off to study jazz at the prestigious Berkelee College of Music in Boston.

Cole was sixteen when she decided to take a couple of months off, head down to Boston and spend some quality time with her elder sibling. For the next eight weeks, she hung out with her brother and his friends listening to the seminal recordings of every important post-war jazz artist. The experience changed her life.

"When I first heard jazz," recalls Cole, "the music had all the harmonic complexity, richness and level of musicianship that classical music had but it also had a few elements that classical music did not have, for instance improvisation, and most importantly, it sounded bad, like it was on the dark side! As a sixteen year old, that was entirely compelling. It had all the right ingredients! Hearing singers such as Sarah Vaughan, Billie Holiday, Anita O’Day and Betty Carter, I was shocked by how personal and intimate their statements were. They seemed so completely in control of their art form. I dove into the music." 

Moving to Toronto a couple of years later, the budding chanteuse established the Holly Cole Trio, featuring bassist David Piltch and pianist extraordinaire Aaron Davis. Between 1990 and 1993, the Trio recorded three superb albums, 1990’s Girl Talk, 1992’s Blame It On My Youth and 1993’s Don’t Smoke In Bed. While all three discs were largely steeped in the jazz tradition,Don’t Smoke in Bed included a soaring version of Johnny Nash’s "I Can See Clearly Now," suggesting that the group’s sonic palette was beginning to widen. This was more than confirmed with 1995’s stunning Temptation album, which consisted entirely of material by song writing iconoclast Tom Waits. Cole’s most recent album, Dark Dear Heart released in the winter of 1997/98, brought everything together. Utilizing the possibilities of an expanded ensemble, the blossoming singer turned pop classics such as Joni Mitchell’s "River" and the Beatles’ "I’ve Just Seen a Face" inside out, finding new meanings in both, ultimately making them undeniably her own. "I’ve Just Seen a Face" went on to become her first bona fide radio hit.

Such a shift in repertoire and style has occurred organically. "As I grew and changed," explains Cole. "I decided to explore other avenues of my musicality, the music I had grown up with." Coming into full maturity as a vocalist, Cole began to inject pop material with a jazz sensibility and, conversely, jazz material with a pop sensibility. The results were inspiring.

"That’s the only honest thing I can do," she concludes. "I know and love jazz music. I know and love pop music. They’re both important and part of my musicality!"

photo: from cover 'HOLLY' (2018)

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Audiophile Speaker Set-Up (2018)

Messiaen, Stravinsky, Mussorgsky, Prokofiev, Chabrier, Sibelius, Hindemith, Bach, Traditional, Chopin, Debussy, Anonymous, Evans, Mancini

Various Artists

Mastering Engineer: René Laflamme
Producer: André Perry
Recording Engineer: René Laflamme
Recording Type & Bit Rate: Analog

Quality & Channel Selection
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Album Download duration price
2XHDFT1095: Audiophile Speaker Set-Up
01:57:26   Select quality & channels above
Audiophile Speakers Test Presentation
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The Pink Panther
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Everybody Loves Somebody
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Very Early
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Good Morning Heartache
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Jazz Session
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Greek Tycoon - Bouzouki Music
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Cello Suite (excerpt)
00:02:27   N/A
String Quartet in G Minor (excerpt)
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Concert Piano
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J'entend la chanson des filles
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Brandenburg Concerto No. 1 in F Major, BWV 1046 (excerpt)
00:05:28   N/A
Trumpet Solo
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Lieder Recital
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00:03:36   N/A
Cello Sonata, Op. 25, No. 3 (excerpt)
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Bassoon - Bassoon 1
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Bassoon - Bassoon 2
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00:02:00   N/A
00:00:59   N/A
00:00:52   N/A
00:04:47   N/A
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Violin Concerto (excerpt)
00:06:40   N/A
Romeo and Juliet Suite No. 1, Op. 64bis - Dance of the Knights
00:02:09   N/A
Orchestra Excerpt
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Pictures at an Exhibition (arr. for orchestra) - Pictures at an Exibition (excerpt)
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Le sacre du printemps (The Rite of Spring) (excerpt)
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Organ Music
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Extreme Dynamics
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Extreme Dynamics - Percussion 1
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Extreme Dynamics - World Music 1
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Extreme Dynamics - World Music 2
00:00:58   N/A
Extreme Dynamics - Percussion 2
00:01:47   N/A
Extreme Dynamics - Percussion 3
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Extreme Dynamics - Percussion 4
00:00:42   N/A
Extreme Dynamics - Percussion 5
00:01:39   N/A
Extreme Dynamics - Percussion 6
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Extreme Dynamics - Percussion 7
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Instructions for Speaker Placement - STEP 1. BASS
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Instructions for Speaker Placement - Djembe - extreme bass
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Instructions for Speaker Placement - Octobass - 28Hz, 56Hz
00:00:27   N/A
Instructions for Speaker Placement - Octobass - 42Hz, 84Hz
00:00:26   N/A
Instructions for Speaker Placement - Octobass - 28Hz to 224Hz
00:00:32   N/A
Instructions for Speaker Placement - Octobass - 36Hz, 56Hz,112Hz, 224Hz
00:00:27   N/A
Instructions for Speaker Placement - STEP 2. Toe-in
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Instructions for Speaker Placement - STEP 3. Levelling
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Instructions for Speaker Placement - Angle
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Instructions for Speaker Placement - STEP 4. Subwoofer Placement and Phasing
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Instructions for Speaker Placement - Crossover Setting
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Instructions for Speaker Placement - Subwoofer Second Option
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Instructions for Speaker Placement - STEP 5. Corner Treatment and Imaging
00:00:54   N/A
Instructions for Speaker Placement - Corner Absorber
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Instructions for Speaker Placement - Room Challenges
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Precise Location and Depth of Field
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Precise Location and Depth of Field - Center, 8 ft.
00:00:49   N/A
Precise Location and Depth of Field - Mid left, 11 ft.
00:00:37   N/A
Precise Location and Depth of Field - Left, 18 ft.
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Precise Location and Depth of Field - Mid right, 11 ft.
00:00:46   N/A
Precise Location and Depth of Field - Right, 18 ft.
00:00:43   N/A
Precise Location and Depth of Field - Left, 30 ft.
00:00:38   N/A
Precise Location and Depth of Field - Mid left, 28 ft.
00:00:28   N/A
Precise Location and Depth of Field - Center, 28 ft.
00:00:39   N/A
Precise Location and Depth of Field - Mid right, 28 ft.
00:00:34   N/A
Precise Location and Depth of Field - Right, 30 ft.
00:00:35   N/A
Precise Location and Depth of Field - Octobass recording
00:01:28   N/A
Precise Location and Depth of Field - 2xHD Audiophile High res system test album
00:00:23   N/A

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