For critical evaluation of audio components, listening environments, and your critical listening ability; Sheffield Labs answers the technical needs of the serious audiophile. For discriminating audio enthusiasts, here is the ULTIMATE TEST RECORD for component evaluation and adjustment. Produced by design guru Richard Clark with Doug Sax, this CD will tell you what your sound system is capable of, and what you can do to bring it up to standard. The disc puts a system, and your ears, through many hoops – with tones, frequency sweeps, phasing, dynamic range, stereo placement, and distortion checks, plus a sampling of Sheffield's music to keep things real! The CD comes with a comprehensive liner detailing each track, its characteristics and some technical information. It also explains how to use each track.
About Sheffield Labs: The audio industry's choice since 1968. Sheffield Lab has been selected by many of the most respected names in high-end audio manufacturing and testing to create custom products using the "Sheffield Sound". Custom electronics thoughout the entire recording chain, plus Sheffields legendary "live to two-track" engineering, cobine to deliver deliver all the musical excitement created by world-class musicians in live sessions. Conniosseurs agree that Sheffield Lab recordings deliver substantially greater transparency, phase linearity, and dynamic range.
Music Tracks
- Track 1 - Stranger In My Bed - The Power of Seven
- Track 2 - Dish Rag - Thelma Houston & Pressure Cooker
- Track 3 - Dance of the Knights - Sergei Prokofiev
- Track 4 - Dirty Blue - Adam Makowicz with Phil Woods
- Track 5 - Wishing Well - Michael Ruff
- Track 6 - Dock Of The Bay - Lincoln Mayorga & Distinguished Colleagues
Technical Tracks
- Track 7 - 1 kHz Sinewave at -20 dBFS
- Track 8 - 1 kHz Sinewave at 0 dBFS
- Track 9 - 20 Hz One Octave Warble
- Track 10 - 62 Hz One Octave Warble
- Track 11 - 125 Hz One Octave Warble
- Track 12 - 250 Hz One Octave Warble
- Track 13 - 500 Hz One Octave Warble
- Track 14 - 2.5 Khz One Octave Warble
- Track 15 - 5 Khz One Octave Warble
- Track 16 - 10 Khz One Octave Warble
- Track 17 - 15 Khz One Octave Warble
- Track 18 - 19 Khz One Octave Warble
- Track 19 - Person Counting From 1 To 25
- Track 20 - Right Channel Identification
- Track 21 - Left Channel Identification
- Track 22 - Relative Polarity Between Left and Right Channels
- Track 23 - Polarity Pulses
- Track 24 - 1 Khz Sinewave With Bottom Half Clipped
- Track 25 - 3 People Describing Position On Sound Stage In Stereo
- Track 26 - Same As 25 Except Talking Simultaneously
- Track 27 - Music For Evaluating Accuracy And Focus Of Sound Stage In Stereo
- Track 28 - Same As 27 Except In Mono (L & R)
- Track 29 - Same As 27 Except Sent To Left Channel Only
- Track 30 - Same As 27 Center
- Track 31 - Same As 27 Except Sent To Right Channel Only
- Track 32 - Same As 27 Back to Center
- Track 33 - Music Recorded With Normal Transfer Level Of 0 dB
- Track 34 - Music Recorded With Transfer Level Down -10 dB
- Track 35 - Music Recorded With Transfer Level Down -20 dB
- Track 36 - Music Recorded With Transfer Level Down -30 dB
- Track 37 - Music Recorded With Transfer Level Down -40 dB
- Track 38 - Music Recorded With Transfer Level Down -50 dB
- Track 39 - Music Recorded With Transfer Level Down -60 dB
- Track 40 - Music Recorded With Transfer Level Down -70 dB
- Track 41 - Recording Of Digital Black Or 0 Bits
- Track 42 - High Frequency Low Level Alternating Between 0000 & FFFF for Bench Tests
- Track 43 - Correlated Pink Noise 20 Hz To 20 Khz
- Track 44 - Uncorrelated Pink Noise 20 Hz to 20 Khz
- Track 45 - Pink Noise Raised In 1 dB Steps Every 3 Seconds
- Track 46 - Pink Noise Raised In 3 dB Steps 4 Times
- Track 47 - 1-3 Octave Pink Noise At 25 - 31.5 - 40 Hz
- Track 48 - 1-3 Octave Pink Noise At 50 - 63 - 80 Hz
- Track 49 - 1-3 Octave Pink Noise At 100 - 125 - 160 Hz
- Track 50 - 1-3 Octave Pink Noise At 200 - 250 - 315 Hz
- Track 51 - 1-3 Octave Pink Noise At 400 - 500 - 630 Hz
- Track 52 - 1-3 Octave Pink Noise At 800 Hz - 1 - 1.2 Khz
- Track 53 - 1-3 Octave Pink Noise At 1.6 - 2 - 2.5 Khz
- Track 54 - 1-3 Octave Pink Noise At 3.15 - 4 - 5 Khz
- Track 55 - 1-3 Octave Pink Noise At 6.3 - 8 - 10 Khz
- Track 56 - 1-3 Octave Pink Noise At 12.5 - 16 - 20 Khz
- Track 57 - 20 Hz To 20 Khz Continuous Warble
- Track 58 - 100 Hz To 20 Hz Warble For Subwoofer Evaluation
- Track 59 - Individual Frequencies From 10 Hz to 99 Hz
- Track 60 - Flat Low Distortion Sweep From 20 - 200 Hz
- Track 61 - Flat Low Distortion Sweep From 200 Hz - 2 Khz
- Track 62 - Flat Low Distortion Sweep From 2 - 20 Khz
- Track 63 - Contains The Musical Note A (440 Hz)
- Track 64 - 100 Hz Tone Burst With Duty Cycle Of 25%
- Track 65 - Tone Burst At 1 kHz
- Track 66 - Tone Burst Centered At 10 kHz
- Track 67 - Square Waves At 100 Hz
- Track 68 - Square Waves At 1 kHz
- Track 69 - Full Detailed and Revealing Distortion Track to Evaluate Distortion
- Track 70 - Compressed Version Of 69 With Same Peak Level
- Track 71 - Same as 69 With 0.03% Distortion
- Track 72 - Same As 71, Except With 0.1% Distortion
- Track 73 - Same As 71, Except With 0.3% Distortion
- Track 74 - Same As 71, Except With 1% Distortion
- Track 75 - Same As 71, Except With 3% Distortion
- Track 76 - Same As 71, Except With 10% Distortion
- Track 77 - Music With Distortion Of About 0.03%
- Track 78 - Same As 77, Except With 0.1% Distortion
- Track 79 - Same As 77, Except With 0.3% Distortion
- Track 80 - Same As 77, Except With 1% Distortion
- Track 81 - Same As 77, Except With 3% Distortion
- Track 82 - Same As 77, Except With 10% Distortion
- Track 83 - Musical Selection With No Added Delay
- Track 84 - Same As 84 With 7 Ms Of Group Delay Below 100 Hz
- Track 85 - Indy 500 Recording with ITE Microphones (In The Ear) Demonstrating Externalization
- Track 86 - Short Walk Down Pit Row Of Race Car