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I. ANECHOIC RECORDING PROGRAM
1 MOZART: Overture - "Le Nozze di Figaro" 4:19
2 MENDELSSOHN: 4th mov. - Symphony No.3 in a minor, Op.56 "Scottish", bars 396-490 2:20
3 BIZET: Menuet - "L'Arlesienne" Suite No.2 4:13
4 Johann & Josef STRAUSS: Pizzicate-Polka 2:35
5 GLINKA: Overture - "Ruslan and Lyudmila" 5:22
6 VERDI: Prelude to Act 1 - "La Traviata" 3:27
7 BRUCKNER: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 517-573 1:41
8 DEBUSSY: Prelude a l'Apres-Midi d'un Faune, bars 1-20 1:55
II. ANECHOICALLY RECORDED SAMPLES FOR EVALUATION
9 HANDEL/HARTY: No.6 - Water Music Suite, bars 1-11 0:21
10 MOZART: Overture - "Le Nozze di Figaro", bars 1-18 0:16
11 BEETHOVEN: 4th mov. - Symphony No.9 in d minor, Op.125 "Choral", bars 1-7 0:10
12 BRAHMS: 1st mov. - Symphony No.4 in e minor, Op.98, bars 354- 362 0:17
13 BRUCKNER: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 560-573 0:28
14 TCHAIKOVSKY: 1st mov. - Symphony No.4 in f minor, Op.36, bars 1-6 0:20
15 MAHLER: 4th mov. - Symphony No.5, bars 1-3 0:25
16 DEBUSSY: Prelude a l'Apres-Midi d'un Faune, bars 1-3 0:22
III. SAMPLES OF SOUND WITH SIMULATED REVERBERATION
(1) Mozart: Overture - "Le Nozze di Figaro", bars 1-18
(2) Bruckner: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 560-573
(3) Debussy: Prelude a L'Apres-Midi d'un Faune, bars 1-3
IV. INSTRUMENTAL COMBINATIONS AND SCORE-READING
BRAHMS: 1st mov. - Symphony No.4, bars 386-407
V. DIFFERENCES IN SOUND RECORDING METHOD
(1) MOZART: Overture - "Le Nozze di Figaro", bars 1-50
(2) BRUCKNER: 1st mov. - Symphony No.4 in E-flat
VI. TEST SIGNALS FOR MEASUREMENT OF ROOM ACOUSTICS
45 1001 Hz Sine Wave Channel Check (L-R) -15dB 0:29
46 1001 Hz Sine Wave -l5dB 0:29
47 1 kHz, 5 Hz - 22.05 kHz Sweep -20dB 1:07
48 1001 Hz Toneburst (EIJ) 0dB 0:29
49 1001 Hz Toneburst (EIAJ) 0dB 0:29
50 Impulse I (I Sample) 100ms ±20% (random) cycle. 256times OdB 0:29
51 Impulse II (I Sample) 4S ±20% (random) cycle, 8times OdB 0:27
52 Pulsive Signal (40ms) 7S ±20% (random) cycle, 4times OdB 0:30
53 White Noise Uniformly distributed noise in the M-.sequence OdB 2:02
54 L: 25Hz, 31.5Hz, 40Hz -20dB / R: 31.5Hz -16dB 0:16
55 L: 50Hz, 63Hz, 80Hz -20dB / R: 63Hz -16dB 0:13
56 L: 100Hz, 125Hz, 160Hz -20dB / R: 125Hz -16dB 0:13
57 L: 200Hz, 250Hz, 315Hz -20dB / R: 250Hz -16dB 0:13
58 L: 400Hz, 500Hz, 630Hz -20dB / R: 500Hz -16dB 0:13
59 L: 800Hz, 1 KHz, 1.25KHz -20dB / R: 1 KHz -16dB 0:13
60 L: 1.6KHz, 2KHz, 2.5KHz -20dB / R: 2KHz -16dB 0:13
61 L: 3.15KHZ, 4KHz, 5KHz -20dB / R: 4KHz -16dB 0:13
62 L: 6.3KHz, 8KHz, lOKHz -20dB / R: 8KHz -16dB 0:13
63 L: 12.5KHZ, 16KHz, -20dB / R: 16KHZ -16dB 0:10
64 Pink Noise -14dB 0:27
1 MOZART: Overture - "Le Nozze di Figaro" 4:19
2 MENDELSSOHN: 4th mov. - Symphony No.3 in a minor, Op.56 "Scottish", bars 396-490 2:20
3 BIZET: Menuet - "L'Arlesienne" Suite No.2 4:13
4 Johann & Josef STRAUSS: Pizzicate-Polka 2:35
5 GLINKA: Overture - "Ruslan and Lyudmila" 5:22
6 VERDI: Prelude to Act 1 - "La Traviata" 3:27
7 BRUCKNER: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 517-573 1:41
8 DEBUSSY: Prelude a l'Apres-Midi d'un Faune, bars 1-20 1:55
II. ANECHOICALLY RECORDED SAMPLES FOR EVALUATION
9 HANDEL/HARTY: No.6 - Water Music Suite, bars 1-11 0:21
10 MOZART: Overture - "Le Nozze di Figaro", bars 1-18 0:16
11 BEETHOVEN: 4th mov. - Symphony No.9 in d minor, Op.125 "Choral", bars 1-7 0:10
12 BRAHMS: 1st mov. - Symphony No.4 in e minor, Op.98, bars 354- 362 0:17
13 BRUCKNER: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 560-573 0:28
14 TCHAIKOVSKY: 1st mov. - Symphony No.4 in f minor, Op.36, bars 1-6 0:20
15 MAHLER: 4th mov. - Symphony No.5, bars 1-3 0:25
16 DEBUSSY: Prelude a l'Apres-Midi d'un Faune, bars 1-3 0:22
III. SAMPLES OF SOUND WITH SIMULATED REVERBERATION
(1) Mozart: Overture - "Le Nozze di Figaro", bars 1-18
(2) Bruckner: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 560-573
(3) Debussy: Prelude a L'Apres-Midi d'un Faune, bars 1-3
IV. INSTRUMENTAL COMBINATIONS AND SCORE-READING
BRAHMS: 1st mov. - Symphony No.4, bars 386-407
V. DIFFERENCES IN SOUND RECORDING METHOD
(1) MOZART: Overture - "Le Nozze di Figaro", bars 1-50
(2) BRUCKNER: 1st mov. - Symphony No.4 in E-flat
VI. TEST SIGNALS FOR MEASUREMENT OF ROOM ACOUSTICS
45 1001 Hz Sine Wave Channel Check (L-R) -15dB 0:29
46 1001 Hz Sine Wave -l5dB 0:29
47 1 kHz, 5 Hz - 22.05 kHz Sweep -20dB 1:07
48 1001 Hz Toneburst (EIJ) 0dB 0:29
49 1001 Hz Toneburst (EIAJ) 0dB 0:29
50 Impulse I (I Sample) 100ms ±20% (random) cycle. 256times OdB 0:29
51 Impulse II (I Sample) 4S ±20% (random) cycle, 8times OdB 0:27
52 Pulsive Signal (40ms) 7S ±20% (random) cycle, 4times OdB 0:30
53 White Noise Uniformly distributed noise in the M-.sequence OdB 2:02
54 L: 25Hz, 31.5Hz, 40Hz -20dB / R: 31.5Hz -16dB 0:16
55 L: 50Hz, 63Hz, 80Hz -20dB / R: 63Hz -16dB 0:13
56 L: 100Hz, 125Hz, 160Hz -20dB / R: 125Hz -16dB 0:13
57 L: 200Hz, 250Hz, 315Hz -20dB / R: 250Hz -16dB 0:13
58 L: 400Hz, 500Hz, 630Hz -20dB / R: 500Hz -16dB 0:13
59 L: 800Hz, 1 KHz, 1.25KHz -20dB / R: 1 KHz -16dB 0:13
60 L: 1.6KHz, 2KHz, 2.5KHz -20dB / R: 2KHz -16dB 0:13
61 L: 3.15KHZ, 4KHz, 5KHz -20dB / R: 4KHz -16dB 0:13
62 L: 6.3KHz, 8KHz, lOKHz -20dB / R: 8KHz -16dB 0:13
63 L: 12.5KHZ, 16KHz, -20dB / R: 16KHZ -16dB 0:10
64 Pink Noise -14dB 0:27