Every device audition or potential purchase begins with a question: “How do I know what it will sound like and what should I listen for to figure that out?” Today, we’re continuing our series that explores the critical tools of audio evaluation – reference tracks. These aren’t just songs we love; they’re precision instruments for understanding and assessing audio reproduction.
Our second installment comes from Jamie Madden, Roon’s resident music lover and marketing voice. Jamie also has a diverse background in music with experience in live music production, as a record store clerk, recording engineer, sound archivist, compilation producer, and radio DJ.
Jamie’s reference tracks span ’70s radio hits, jazz, folk-rock, classical, polyrhythmic pieces, and exotic sonic explorations. He breaks down their components, commenting on what makes each recording special, and how they can reveal the true nature of gear and the listening experience.
Join us as we explore these captivating music landscapes through the ears of a passionate and discerning listener.
From the Test Bench: Jamie’s Reference Tracks Playlist
When I audition gear, I use reference tracks that serve a dual role — ones that allow me to listen for specific production techniques, musical qualities, and instrument tonality or simply become engrossed in the music, according to my mood. I’m a music first critical listener, first and foremost I’m looking for sound reproduction that provides an engaging and enjoyable listening experience.
Gordon Lightfoot — “Sundown” from Sundown
This track offers a masterclass in layered acoustic guitars that shimmer with presence and clarity. The soundstage is enormous and airy with excellent depth, perfectly capturing the vibe of this early 70s classic.
What makes this reference track special is the textural separation and production. Each instrument occupies its own distinct space in the mix, with the bass and drums locking in wonderfully while exhibiting rich instrumental detail. Lightfoot’s voice exudes warmth like fine winter cognac, while the plate reverb on the double-tracked vocal chorus becomes a standout element in its own right. Listen for precise detail retrieval, space, and instrumental balance that reveals the producer’s meticulous attention to sonic placement.
Tom Waits — “Alice” from Alice
Tom Waits, musical shape-shifter extraordinaire, leans into a sweet tube mic here to deliver a spoken jazz vocal that showcases microphone technique and vocal texture. He’s accompanied by a Paul Desmond-ish sax line, stand-up bass, vibes, piano, snare brushes, and other assorted sonic magic.
My favorite elements here are the worn edges of his vocal and its delivery, the warm, the standup bass that seems to come up from behind when listening in headphones, the fuzzy sax reed texture, and the way the entire piece sizzles with some elusive electricity that hints at heavily sweetened tape hiss or vinyl sizzle.
This track transmutes into a moody film noir with undercurrents of loss and unrequited love. The recording captures both the intimacy of Waits’ voice and the mysterious atmospheric elements that are a fixture of his music, making it excellent for evaluating tonal character, soundstage, ambience, and textural reproduction.
Orchestra Baobab — “Mouhamadou Bamba” from Bamba
This Senegalese ensemble opens with ethereal guitar work and an ocean of plate reverb on the vocals before being joined by Afro-Caribbean percussion and a pulsating reggae bass motif. A stinging tremolo-drenched overdriven guitar solo lights up the bridge with Afro-rock flavor.
The vintage recording carries a touch of tape sizzle that reveals how your system handles mid-high frequency artifacts and varying recording quality without diminishing the musical experience. It’s also perfect for demonstrating how well your system reproduces complex rhythmic patterns and captures the character of various reverb effects.
John Coltrane — “Afro-Blue” from Live at Birdland
This reference track spotlights the John Coltrane Quartet’s emotional and visceral power in live performance. The group drives headlong into one of their most renowned and passionate readings of Mongo Santamaria’s classic, with Coltrane’s soprano sax soaring above and inside McCoy Tyner’s fluid runs and block chords.
Elvin Jones’ electrifying percussion propels the ensemble while Jimmy Garrison’s double bass holds the foundation. The intimate recording sits you mere feet from the band in full flight making this track excellent for evaluating how your system handles the dynamics and micro-details of acoustic instruments in a small venue. Listen for the incandescent sax lines, combustible cymbal work and the way each instrument occupies its own space during solo parts then segues into a cohesive whole.
Brian Eno — “Under Stars” from Apollo: Atmospheres and Soundtracks
Eno’s ambient masterpiece captures the vastness and sensation of drifting weightlessly through space. The track features an immense dark background that completely envelops the listener in sound, forming a dome above and even slightly behind the head when listening in headphones — my preferred way to listen to this album.
This recording excels at revealing a system’s ability to reproduce soundstage depth and width. The atmospheric textures create a three-dimensional space that good equipment will render with precision, allowing you to hear the careful placement of sounds and the subtle details in the background ambience.
When I want to feel like I’m floating in space with a quality pair of cans you’ll find me here.
Led Zeppelin — “Black Mountain Side” from Led Zeppelin
This reference track hints at shared DNA hidden within the folk traditions of the British Isles and Indian classical music. I listen to this Bert Jansch inspired Irish traditional piece for Jimmy Page’s middle eastern flavored DADGAD tuning and earthy tonal color and extension of Viram Jasani’s percussion.
The hard-panned stereo image places the listener directly inside the song, swimming in an exotic mix of multilayered guitars, tablas, and hand drums whose interplay creates dense yet distinct polyrhythmic complexity. This track is analyzing how a good system renders detail even during complex layered musical passages. It’s also great for playing around with Roon’s Crossfeed tool, which can help narrow the donut in the center of the soundstage to simulate a more speaker-like stereo image.
Gábor Szabó – “Mizrab” from The Sorcerer
This version of Mizrab was recorded before a live audience at Boston’s Jazz Workshop in April 1967. It’s one I listen to for its entrancing atmosphere and subtle nuances to analyze transient sensitivity and a system’s ability to elicit emotion.
I pay particular attention to the delicate harmonics and treble response of the hand cymbal in the opening. I want those to be airy, have texture, and decay naturally. Szabo’s amplified acoustic unfurls fluid serpentine ribbons of mesmerizing gypsy jazz guitar that encircle and commune telepathically with Jimmy Stewart’s counterpoint telling me how mids are being treated. Hal Gordon’s hand drums feel like they’re just a few feet away—I listen closely to their tonal character—as they establish a pulsing rhythmic exchange with Marty Morell’s kit and the bass. I’ll know right away if low end has been added.
A great system should transport you right to Mizrab’s heart, creating a hypnotic musical journey. By the time Szabo takes his solo I’m usually enfolded in the music until the songs fades dreamfully like the dying embers of a gypsy caravan campfire. Gabor Szabo is simply mesmerizing…
The Byrds — “Here Without You” from Mr. Tambourine Man
There’s a reason why The Bryds were called “America’s Beatles”, and this reference track provides both the perfect study and explanation.
It’s a heady mixture of folk-rock decadence that opens with Fender amp fueled mid-range resonance from the Rickenbacker 12-string and rhythm guitars that quickly gives way to dreamy vocal harmonies from lead singer Gene Clark, Roger McQuinn, and David Crosby. The lyrical interplay is so rich and lush it’s hard to believe it’s virtually free of added reverb. You may be well into the tune before you even notice the snare rim, drum head articulation and warm fullness from the kick and loping bass. The song is dense but mixed wonderfully, you should be able to switch between tonal features and instrumentation effortlessly. If you can’t, the system lacks accuracy.
It also enfolds the listener in a chimey folk-rock embrace that creates an ethereal experience — like the song is a memory from a dream. This is textbook example of how some 60s tracks could create an entire world in just two and a half minutes. I experience withdrawal the second it ends, and almost always hit repeat.
Jackie McLean — “Love and Hate” from Destination Out
This Blue Note recording showcases Larry Ridley and Roy Haynes providing a sparse yet ample rhythmic foundation with room for Grachan Moncur III’s soulful trombone breaks. Bobby Hutcherson’s vibraphone fills are the star sonic element, revealing how well your system reproduces the attack, resonance, and decay tails of percussive instruments.
Jackie’s expressive alto lines are simultaneously soulful and searching, weaving laid-back phrases with brisk flurries of cascading notes. McLean’s playing was always just a touch sharp (Miles Davis once commented, “Jackie McLean plays like somebody’s standing on his foot!”), making this track excellent for evaluating how your system reveals timbre and stylistic grain of brass instruments without adding harshness.
The recording also captures Rudy Van Gelder’s legendary studio in Englewood Cliffs—an immense cathedral-like space with a 39-foot ceiling built to evoke a spiritual atmosphere and inspire artists. A good system will convey the room’s contribution to the performance, revealing spatial and ambient qualities that lesser equipment often fails to capture.
The Beatles — “Within You Without You/Tomorrow Never Knows” from Love
This masterful mashup from the Cirque du Soleil production welds John Lennon’s avant-garde Revolver closer to George Harrison’s Eastern-influenced Sgt. Pepper centerpiece. The track shows off sub-bass extension as it plunges to the center of cosmic consciousness at 1:03—whisking listeners into a technicolor spiral as the floor drops out from underneath.
The originals were already an intoxicating blend of exotic instrumentation; when conjoined, they form a captivating tapestry of swirling sound layers. The thundering synergy of bass and drums is thick and rollicking in places, making this track excellent for evaluating low-end control and clarity. Listen for John’s opening lines from the demo version of “Tomorrow Never Knows” as they drift diaphanously toward the listener before George’s mystical vocals levitate just above the center of the forehead.
Tape loops, strings, Indian hand drums, and mellotron weave a sonic kaleidoscope before elements from “Lucy in the Sky With Diamonds” usher the dreamy arrangement to a close. This reference track tests your system’s bass extension capabilities and its ability to maintain clarity and separation amid incredibly dense and complex production.
Arthur Rubenstein — “Chopin: Nocturne No. 19 in E Minor” from Chopin: The Nocturnes
This later-era Rubenstein performance is utterly lyrical, assured, relaxed yet percussive. Duke Ellington once said, “The piano is an orchestra…” and this performance illuminates that statement brilliantly. Rubenstein’s interpretation of Chopin’s Nocturnes in his later life is decidedly less technical but more romantic and truer to their essence of longing and melancholy.
This piece reveals how well your system delivers the intoxicating richness of solo piano. Listen for the percussive left-hand attack deep in the bass register as delicate right-hand motifs dance fluidly inside the body of the instrument. When Rubenstein’s reading of the high register becomes more insistent, quality equipment will render the notes crisp and textured yet sublimely controlled and passionate.
A good system will allow notes and piano body resonance to resolve distinctly while drawing the listener deep inside the performance’s embrace. The final notes resolving completely inside the body vibration of the piano are a subtle detail that exceptional equipment will reveal.
Fred Neil — “I’ve Got a Secret (Didn’t We Shake Sugaree)” from Fred Neil
Fred Neil was an eccentric troubadour who reigned over the late 50s/early 60s Greenwich Village scene, taking young arrivals like Bob Dylan and David Crosby under his wing. This incredibly soulful revision of Elizabeth Cotton’s folk tune showcases all of Neil’s majestic talents.
The track opens with reverb-laden guitar, a submerged acoustic, and looping jazz bass, quickly joined by a silky whistled melody line. Fred’s vocals drop right into the pocket, cradled in the mother of all reverb. A second electric guitar leans in, pulling rubbery tremolo behind it. The snare picks up, and another acoustic guitar slides in. The track floats along on rich mids and bass with a softened but lovely high end.
The star element is Fred’s vocal presence—his heavenly polished mahogany baritone massaging the plate reverb and plumbing bass notes from a well of smoky vibrato that makes it seem like we’re inside his head. The instrumental layering is dense and somewhat amorphous, making this reference track excellent for evaluating how well your system handles reverb tails and densely layered mid-heavy production.
Compay Segundo – “Yo Vengo Aquí” from Nueva Antología. 20 Aniversario
Yo Yengo Aquí was recorded a year before Segundo garnered renewed fame as the elder statesman of the Buena Vista Social Club album and accompanying documentary. He’s joined by a Trio from Madrid for a set of Cuban and Spanish folk standards. The shallow soundstage sits us near the grupo for a gorgeous, enveloping listening experience with the small, lively recording space adding a slight organic compression to the track.
Compay’s fluid guitar lines weave through the mix as his warm voice anchors the ensemble. Spanish lead vocalist Julio Fernández fits hand in glove with Segundo’s baritone and adds tasty yet couched maracas texture. Benito Suarez deps nicely on the second guitar as Salvador Repilado’s Contrabasso provides a robust foundation. This is a dense yet natural mid-forward track with a deliciously rich smokey body, like a finely rolled Cuban maduro cigar. It perfectly highlights the effortless fusion of voices and acoustic instrumentation typical of Son Cubano — all of which can be distinctly enjoyed.
On brighter systems’ the recessed maracas with step forward slightly and the flourishes on higher notes will be crisp and accentuated. It either sounds grainy, harsh or brittle then treble is excessive and artificial.
Beastie Boys — “Shake Your Rump” from Paul’s Boutique
This reference track exemplifies the Dust Brothers’ groundbreaking production and the Beasties’ lyrical skills. Its sophisticated sample layering creates a three-dimensional sonic experience with meticulous stereo placement.
Key samples include Alphonze Mouzon’s “Funky Snakefoot” drums, Harvey Scales’ percussion, Ronnie Laws’ guitar, and Rose Royce’s Moog bass—all strategically positioned across the stereo field.
Quality systems reveal these distinct elements while maintaining their cohesive groove. If bass sounds muddy, try reducing the 120-200Hz range.
The vocals add spatial complexity—MCA’s baritone centers, Ad-Rock’s nasal tone cuts through on the right, and Mike D balances on the left. Good midrange reproduction differentiates their voices while preserving clarity.
This standout track demonstrates why Paul’s Boutique remains a landmark of sample-based production, transforming disparate elements into a unified musical statement.
Fleetwood Mac – “Gold Dust Woman” from Rumours
This track is pure 1970s album rock gold-dust at its most sublime. On quality gear, the listening experience should feel like sitting in the studio with the band for the final mixdown. The soundstage should be spacious but not exaggerated with excellent overall instrumental and tonal balance that delivers stunning clarity and immersive depth. The resolution is often truly breathtaking, even on budget systems, and each instrument is afforded ample room to breathe. If anything sounds off the system is having a negative effect.
Stevie Nicks’ spellbinding vocals exhibit an intoxicating depth of emotion and yearning that gives the lyrics visceral power. Even the air around Stevie’s vocal is electric and ethereal while deftly blended vocal harmonies display added texture and nuance. Mick Fleetwood’s metronome-like cowbell shots are crisp and the impact of each tom and kick strike is full and punchy. McVie’s accompanying bass line is warm, fat, and natural. Together they’re the cardiac rhythmic underpinning of the track. Buckingham’s guitar parts feature intricate layering with spectacularly vivid Dobro sparkle, depth, and detail. Christine’s Fender Rhodes electric piano is more submerged offering understated mid-low coloration that is more felt than heard in places.
As the song builds and the mix thickens with multi-tracked Nick’s vocals taking on the eerie qualities of a midnight witches coven drenched in reverb, the airy sense of space is retained. When I only have five minutes to demo a set of headphones or speakers this is my go-to reference track because of its dynamic qualities and spacious detailed mix.
Art Blakey and the Jazz Messengers — “Moanin'” from Moanin’
This archetypal hard bop classic from 1958 embodies the sub-genre’s funky, back-to-the-roots embrace of blues, gospel, and R&B fueled by a driving modern jazz engine. The track sets up a classic hybrid gospel/blues call-and-response groove from Bobby Timmons’s percussive piano figures and the Morgan/Golson horn team.
Benny Golson’s sax reed sizzles with fuzzy warmth as The Messengers lock in underneath the swinging motif. Lee Morgan’s trumpet bars crackle with brash energy, half-valve slurs, and peppery staccato riffs. The plosive power at the leading edge of his breaks can push the limits of many transducers. If you don’t hear a bit of pop in this section your drivers may be underpowered and unable to capture dynamic transients. It’s a production and microphone technique issue that should be revealed by headphones and most speakers with higher sensitivity.
Golson’s two choruses add strut, shuffle, and sass with a rounded body over the rhythm section’s foundational groove. Jymie Merritt’s bass bops along with Blakey’s effortless swing as he adds tight press rolls and crash cymbal punctuation between solo choruses. When Timmons takes his turn, Merritt digs in on the stand-up bass, offering lovely interplay.
The piano is expansive with nice heft, depth, and punchy bite, with someone (likely Blakey) grunting approval in the background. The piece closes with that classic call-and-response motif, building in power before ending in a flourish of rolling piano figures. This reference track tests your system’s ability to handle the full dynamic range of a jazz ensemble—even revealing production and technique lapses—while maintaining swinging cohesion, listenability, and the distinctive character of each instrument.
Conclusion
As we close this second installment of our Reference Track Series, we’re reminded that the pursuit of audio excellence isn’t just about having the finest equipment—it’s about knowing how to listen. Jamie’s carefully selected playlist demonstrates how specific tracks can serve as powerful diagnostic tools, revealing subtle nuances in reproduction that might otherwise go unnoticed.
Whether you’re setting up a new system, evaluating headphones, or simply wanting to develop a more discerning ear, having a thoughtfully curated reference playlist is invaluable. These tracks become familiar friends, allowing you to immediately recognize when a system is performing at its best or if something sounds off.
We invite you to explore Jamie’s selections and begin developing your own reference playlist. In future installments, we’ll feature perspectives from other audio professionals and critical listeners across different genres, disciplines, and musical tastes — maybe even yours.
Ready to discover how much better your headphones can sound? Fire up Roon — or sign up for a free trial — find your headphone model in OPRA, and prepare to fall in love with your music all over again!