guys i found new test song...some of the song is abit hard to get...
<Instrumental>
Chesky Records “Bass Resonance”
This solo standup bass was recorded in the middle of a large studio, mic’ed 3’ from the instrument. According to the voice introducing this track, its design purpose was specifically for testing the accuracy of subwoofers. The basis of the song is a strong transient pluck followed by the resonance of the body of the instrument. Some woofers, when pushed to their limits, will create non-musical sounds displaying their weaknesses.
<Reggae>
Ziggy Marley “Gone Away”
The heavy recording of the bass guitar on Ziggy Marley’s “Gone Away” lends itself to be a good test in determining purity of a subwoofer. Overlapping bass lines can be downright difficult to distinguish if not faithfully reproduced. The kick drum playing through the thick bass guitar, as presented on this track, can sound one-notish and muddy on lesser subs.
<Electronic/House>
Daft Punk “Da Funk”
“Da Funk” has a sharp snap-beat that plays throughout most of the song; it’s a simple, electronically derived beat that has a strong kick-to-the-head snap before the fundamental. This track intros with a 25-second segue before the beat checks in. Playback of the snap-beat was powerful with a full-bodied fundamental; no overhang or cone breakup was noticeable even at the highest tolerable listening level. At 2:26 into the track, the snap-beat stops and a synthesized low frequency shortly replaces the monotony. This ultra-low frequency requires a subwoofer that has good extension to capture its essence.
<R&B>
Usher “Caught Up”
When I listen to “Caught Up” by Usher, I play close attention to a couple of items. The first is the assortment of both tight and strong bass notes. The former was produced with good attack and timbre, close to (but not) the best I have experienced. On the other hand, the strong notes were well rounded with a nice fat tone and ideal decay—the perfect amount of that “boom” I enjoy from time to time, without an exaggerated or muddy overtone. The second thing I fixate on is the scaling bass note, each note with a distinct tone of its own.
<Jazz>
Michael Allen Harrison & Friends “Turn Back the Pages”
“Turn Back the Pages” by Michael Allen Harrison and Friends. This track uses a bass guitar and percussions that bleed down in the subwoofer range. While complementing each other, these instruments overlap one another throughout the composition, overlapping instruments can be difficult to reproduce authentically since the woofer is already in motion when the second instrument is sequenced. Often is the case that a drum attack playing through a bass guitar can sound muddy and blend into the latter.
