That’s maybe an unusual thing I usually do to ensure the capability of the (possibly changed) setup of the most important and demanding: emotional involvement in the music and realistic, holographic imaging and rendering of voices instead of a just nice, normal presentation.
I choose recordings on the edge, which can sound just normal in less than a really good state of the setup, but spectacular if things fit.
Two examples are the Analogue Productions versions of the following recordings. It’s easier to achieve the level with the 45 RPM AP vinyl versions and in case of the Holiday album , the Classic Records 45 or 33 RPM version is even a bit better, but it also works for the SACD’s.
Even on a really good setup the e.g. the first track on the Billy Holiday album can sound just like a nice old recording with good music. The Nina Simone album can just sound like a strongly left/right panned recording with excellent music and a quite good recorded voice.
But if things fit, the Billie Holiday track quietly swings like hell, has musicians positioned with much air in the room and warms your heart with THE interpretation of this song.
The Nina Simone will be an example of how irrelevant a strong left/right panning can be. This is not only musically one of the best vocal jazz albums on earth, but it is the best and most involving recorded vocal I know. Instruments are never really directly in the speaker (still strong left/right), but airy around the speakers or inbetween. The cymbals have fantastic resolution and extension, the voice is absolutely breathtakingly 3D. Of this album I have a few Stereo and mono originals, the 33 and 45 RPM AP LP’’s and the AP SACD + a spare 45 RPM one. Now you know my weak point
Such comparison tracks are the most meaningful for me, as when they play according to their emotional and 3D potential, usually everything else fits, too. It doesn’t make much sense to play tracks which sound really good on almost any setup.